Look at me, look at you 

Hannah Hyun Jeong  

Photographs  by Bjoern Siebert, Jimmy Vuong

https://jochenhempel.com/hannah-jeong-colorado-projects-2024

The colors cradle me, warm me, and caress my senses. The colors are the melody that grants us access. My eyes grow heavy as I inhale the scent of pine trees and overripe magnolias.It is an eternal twilight.I feel the juicy, colorful body of the blossoms under my feet, and the young sprouts under my skin, bursting with vitality. They are me and I am them, and you are them too. I can hear the breeze blowing through the translucent drapery and the green grass. The breeze that makes the deer prick up their ears and scent their fine nostrils in all directions.

Everything in this world makes sense and is connected. Everything has been created since time began, when we were also one in the visible world. I can only hold on to my memory of this state with invisible threads, threads that were placed in my hands as a child like a magical instrument. So that I don't forget where we come from. So that I tell so as not to forget, and so that I remind others. So that I can let the light shine and bring to life the beings that are more alive than any memory can ever be.

Look at yourself, and you will see how your hair swims in the water, like countless little rivers of thoughts and questions. Look at yourself, and you will see how your heart shines from within. Look at me, and you will see how I pluck the stars, linger on the playhouse, and speak all the languages of light and colors with you. Look at me, and you will see us, how we dream, and then you will dream too.

Hannah Hyun Jeong, born in 1997 in Seoul, South Korea, lives and works in Munich, Germany. She began her artistic education at Ehwa Womans University in Seoul, where she studied Textile Art in 2017. She continued her studies at the Academy of Fine Arts Munich, first with Prof. Axel Kasseböhmer and later with Prof. Schirin Kretschmann. She also studied as a guest student at the State Academy of Fine Arts Karlsruhe with Prof. Vivian Greven and at the University of the Arts Bremen with Prof. Heike Kati Barath. Hannah's works have been featured in various group exhibitions, including 'POWDER' at KICHE in Seoul, ‘Dinosaurs were Birds too’ at SpaceNN in Munich, as well as exhibitions in Milan, Munich and Saarbrücken.

In her first solo exhibition at Galerie Jochen Hempel/Colorado projects in Leipzig, the artist shows her latest paintings and drawings, along with her artist's book, which is being presented for the first time in this exhibition.

Tinatin Ghughunishvili-Brueck art historian 

Deutsch Text

POWDER

Arang Choi 
HaSeulLin Jeong  
Hannah Hyun Jeong  

Photographs  by Gallery KICHE

https://www.gallerykiche.com/exhibitions/2499

The finest qualities of our nature, like the bloom on fruits, can be preserved only by the most delicate handling.”  『Walden, or Life in the Woods』, Henry David Thoreau

When both sunlight and humidity have ripened this summer, KICHE presents POWDER, an exhibition introducing three artists: HaSeulLin Jeong, Hannah Hyun Jeong, and Arang Choi. “Powder,” meaning “fine, dry particles” or “something unique,” takes reference from the above quote found at the beginning of Henry David Thoreau’s book, Walden. The book is an essay of the philosopher’s records of the two years spent on a lakeside in the woods in search of the essence of life. Thoreau takes it upon himself to live with minimal expenses and possessions, and while being in the midst of nature alone, he records what he encounters every day – morning, day, and night. Surrounded only by nature, he drastically simplifies his life and constantly examines his ego or the hidden gist of life. In the early works, the artists reveal their unique interests and expression methods in detail, like the white powder on ripening grapes. Similarly, POWDER introduces the three artists who are now starting their artistic journeys and presents their works that translate their inner worldviews and experiences into unique tastes and scents that come to fruition.

Hannah Hyun Jeong projects the spectrum of emotions entangled in experiences and memories latent in the unconscious into misty and symbolic moments, as if walking on a dreamlike road. The artist’s  personal, intimate childhood experiences form the basis of the narrative and tone of the staged scenes. Fairytale-like “innocence” and “wonder” seep through her works. To this effect, the artist gives imaginary animals and plants, as well as common objects and places such as vending machines, fruit, flashlights, mirrors, beads, ships, letters, etc., intentional typicality. In a sense, this reflects the artist's intention to portray subjective thoughts and archetypal emotions such as joy, sadness, anxiety, loss, longing, and anger through symbolic gestures and portrayals that transcend cultural or linguistic differences as done in pantomime that requires eliminating the unnecessary as much as possible.

I cannot take on people who are not me, and it's difficult to continue taking on things that are not me. The work’s evolution is influenced by the environment, but it all starts with the artists themselves. The three artists are reconstructing the world with their unique narratives and methods of expression.

Fremde, die sich am besten kennen

https://bbk-muc-obb.de/event/rueckspiel-klasse-kretschmann-und-atelier-hinsberg/

Kooperationsprojekt zwischen der Hochschule der Bildenden Künste Saar und der Akademie der Bildenden Künste München

Die Ausstellung des Ateliers für konzeptuelle Malerei, Prof. Katharina Hinsberg, HBKsaar und der Klasse für Malerei und Grafik, Prof. Schirin Kretschmann / Lea Grebe, AdBK München verbindet und vermittelt die interdisziplinären Praktiken der jüngsten Künstler*innengeneration. Sie löst zunehmend die solitäre Praxis durch Kooperationen, kollektive und disziplinübergreifende Arbeitsformen.
In der Ausstellung „Fremde, die sich am besten kennen“ gewinnen Korrespondenzen eine Form und eröffnen im Gefüge verschiedener künstlerischer Zugänge einen neuen Raum der gegenseitigen Wahrnehmung und Spiegelung. Die Ausstellung entwickelt eine Vielfalt an experimentellen und kollaborativen Formaten: Konzeptuelle Papierarbeiten, temporäre Installationen, klassische Malereien, raumbezogene Wandarbeiten, Performances, Fotografien, videobasierte Untersuchungen oder Soundarbeiten, die während der Ausstellungslaufzeit zu verschiedenen Einzelereignissen führen.

https://bbk-muc-obb.de/event/rueckspiel-klasse-kretschmann-und-atelier-hinsberg/

Dinosaurs were birds too

Hannah Hyun Jeong, Ju Young Kim, Younsik Kim, Chaeeun Lee, and Jimmy Vuong.
Curated by the artists in the exhibition and Tinatin Ghughunishivli-Brück.
Photographs  by Younsik Kim

Exhibition Essay by Tinatin Ghughunishvili-Brück

Certain migratory bird species cover impressive distances of up to 10,000 kilometers each year to ensure their survival. Some of the smaller birds, such as nightingales and swallows, cross the Alps, the Mediterranean, and the Sahara, for instance, to winter in West Africa. These birds adapt remarkably quickly to their new climatic environments after undergoing an extremely demanding journey. Some even travel alone, making them one of the few species, alongside humans, to practice such "migration" outside of groups, leaving their original habitats. 

This survival strategy imposed by nature on birds is both arduous and impressive, evoking thoughts of the challenges often faced by people who move abroad for various reasons. However, unlike birds, humans often struggle to adapt to new environments. This may be due, in part, to prejudices and fears about foreigners that manifest themselves in bureaucratic processes and daily life. It's worth noting that Homo sapiens was, for the longest period of its existence, Homo migrans. It was only with the onset of the Neolithic era between 20,000 and 10,000 BC that humans began practicing agriculture and adopting sedentary lifestyles. Sedentism, development, and what we call progress brought forth strong geographical and cultural affiliations, causing us to forget our shared origin, among all the wonderful achievements of humanity.

Expanding this perspective not only to the origin of the human species but to all living beings in our known universe provides a profoundly deep outlook. This extended perspective can be seen as a significant tool for overcoming xenophobia, as it guides us toward promoting acceptance and recognition of the diverse nuances and fluid boundaries of identities. The reference to "identifying" with birds in the conceptual framework of this exhibition sheds a bright light on the idea that our human identity is not set in stone but rather a multifaceted fabric. Accepting animals as part of human identity opens the door to broader acceptance and appreciation of diversity. It encourages us to celebrate and promote queer and diversity-related identities. This leads to a society that not only respects the various facets of the human experience but also views them as enriching for all of us.

In this context, it is not surprising that the artists in this exhibition demonstrate a deep interest in themes such as identity change, adaptation, changes in living environments, and transient states. All five of them have left their familiar surroundings or have grown up in families with immigrant backgrounds. In a way, the metaphor of migratory birds reflects the ongoing adaptation to life in a transitional space, be it physical or emotional.

Hannah Hyun Jeong, born in 1997 in Seoul, South Korea, creates a magical world in her oil paintings where the depicted figures merge with their surroundings in a dreamlike manner, becoming one with them. This world is inhabited by beings that seem to emerge directly from her daydreams, childhood memories, and the unique visual vocabulary of her homeland. These beings can turn their innermost feelings outward, transforming the pulsating of their hearts into radiant light and the rhythm of their lungs into tangible temperature. The color scheme in her paintings follows a symbolic order that generates simultaneous intensity and translucent lightness.​

Kuba Paris Submission
Gallery Talk - Maxvorstadt Update​

DISPERSIONEN

Works from Kretschmann class, Academy of fine arts, Munich:

 Julie Bender Herdina, Burcu Bilgiç, Cheng-Hsin Chiang, Shirel Golde, Hannah Jeong, Johannes Kiel, Tabata von der Locht, Lina Killinger, Nadja Krommer, Lukas Niedermeier, Paula Niño, Geumok Oh, Ikue Ohta, Réka Tímea Petöcz, Sumire Sakuma, Zihan Teng, Jimmy Vuong, Silin Wang, Weizhi Wu, Hang Zhou. 

In chemistry, dispersion refers to the distribution of the finest particles in a mixture of substances. The exhibition DISPERSIONS arose from the correspondence of people and things, which can also be understood as a distribution of different perspectives and content substances in a frame. As in chemistry, the substances involved do not dissolve into each other, they disperse and thus produce a transformation of the mixture. The works of the participating artists react to and with each other, creating a new space of mutual perception and reflection. The individual authorships cannot always be clearly assigned, they mix, run into each other, dissolve their boundaries, and practice a literally delimited mutual learning process. The exhibition develops a variety of experimental and collaborative formats: painterly installations, dialogic performances, conceptual series of works, wall-based paintings, drawing battles, or site-specific interventions that lead to various individual events during the exhibition's runtime. 

The exhibition in the HBKsaar gallery marks the beginning of the cooperation between HBKsaar's studio for conceptual painting (Prof. Katharina Hinsberg) and the AdBK Munich's class for painting and graphic arts (Prof. Schirin Kretschmann and Lea Grebe). The exchange between the students of both universities will be continued in 2024 in a joint exhibition at the Galerie der Künstler/BBK Munich

Present Life focuses on the analysis of daily activities and how they influence the meaning and perception of life. Explore the concept that even the simplest and most banal activities can have a profound meaning and that everything we do has an impact on our well -being and existence.

The exhibition “Allerbeste Aussichten. Neue Generation Kunst” (Best Possible Prospects. A New Generation of Art) resumes an exhibition format started in 2016 in collaboration with three renowned German art academies. It specifically focuses on the youngest generation of visual artists: the participating artists are still in education or have recently completed it. They are thus in the midst of the exciting development process of their individual artistic visual language. What they have in common is a questioning of processes and current conditions of creating images, as well as their reception and perception by the viewer. At a moment in which digital images are omnipresent—as well as their creation, reproduction, and reception—the question of what kind of artworks are currently being created in which educational structures is more crucial than ever, as are the issues young artists are dealing with today. The exhibition brings together works from a wide variety of genres and media, many of which have been produced especially for the exhibition. They are characterized by a general openness to the conception both of genre and the image. On view are photographs, paintings, performative, installation, and mixed-media works, video and paper works, drawings, sculptures, as well as digitally generated images. The direct connection to the Paul Ege Art Collection and the PEAC Museum is established not only through a general questioning of the art image itself; the students are also guided and informed by professors whose works form part of the collection.

The participating artists are: students of Fine Arts at the Caspar David Friedrich Institute of the University of Greifswald: Charleen Dahms, Anne Martin, Johanna Herrmann, Ulrich Schneider, Rabea Dransfeld, Sten Niklas Washausen, Jakob Stolte, Paula Finsterbusch—supervised by Prof. Christian Frosch, Professor of Painting, Drawing, Space and Interdisciplinary Artistic Strategies, and Cindy Schmiedichen, Artistic researcher in the faculty; students of the Painting and Graphic Arts Class at the Academy of Fine Arts Munich: Khashayar Zandyavari, Paula Niño, Cheng Hsin Chiang, Lukas Niedermeier, Ikue Ohta, Johannes Kiel, Tabata von der Locht, Jimmy Vuong, Hannah Jeong, Caroline Kretschmer – supervised by Prof. Schirin Kretschmann; students of the Conceptual Painting class at the Hochschule der Bildenden Künste Saar in Saarbrücken: Laura Sperl, Suyoung Kim, Hwakyeong Kim, Jaeyun Moon, Ham Babaei, Meret Sophie Preiß, Johanna Disch, Leonie Mertes, supervised by Prof. Katharina Hinsberg; as well as the professors and lecturers mentioned above.

PEAC

In an engaging dialogue between four positions, the group exhibition I ALLIED WITH YOURS focuses on young perspectives on the medium of painting and the transformation of reality through figurative practice. The artists Sarah Neumann, Hannah Jeong, Boris Saccone, and Jimmy Vuong are united not only by their friendship but also by an insistence on representation. Their figures and landscapes are far from a mimetic realism; rather, they assert their relationship to us and the material reality that surrounds us by invoking the subconscious and its images. The relationship to the real is not so much in the representational character of the works, but in the interstice of image and viewer and the reflexive exchange of the works with each other. Intrinsic to the works as well as in the spatial dialogue, the divergent forms of figuration allow us to reflect on the range of possibilities of how the intangible and vague, such as memories, dreams, feelings, can be manifested on the canvas. An emphasis on the dreams and nightmares, the symbolic and ornamental is juxtaposed with an exploration of familiar places, such as the forest or the domestic space. The evocation of security and safety, a glimpse of human warmth, is abruptly disrupted by isolated figures and objects, which do not seem to find their place in the world. From aggressively-naïve animal settings, whose riddles lead astray, we look at fragmented bodies in dissolution. As different as the motivic and thematic reference points, spatial and figurative relations, or life-world experiences processed in the works may be, their interaction points to common questions of proximity and distance, existence and loss, defensibility and protection. In the confrontation of the diverse painterly explorations, multi-layered contexts and a poetic openness are made possible, reflecting the search for a distinct style and artistic positioning.

HANNAH JEONG’s oil paintings can be read as delicate invocations of memories and the subconscious: the feeling of water on the skin, human touch, childlike playfulness, or the fear of growing up. Her organically sinuous figures move in domesticated interior and exterior spaces in which multilayered narratives about bizarre and enigmatic occurrences, intimacy and loneliness, refuge and longing unfold. The principle recognizability of their places and figures functions as a link to the audience, which is lovingly confronted with its own lost past charged with meaning. I ALLIED WITH YOURS can be understood as an excerpt of the vibrant range of young, figurative practice and is driven by the idea that artistic productivity can only unfold in mutual exchange, in which we cling to each other with all the friction that arises here.

Text: Emily Nill

Kuba Paris

Rundgang.io

KARL & FABER 

Duo exhibition with JImmy Vuong