'The body, being here' tries to present vision to 'body' which is modern variations on the body and fragmentary thought of artists having reflection on the visual language through a wide variety of genres, including painting, sculpture, installation, photography, video, and so on. Thus, it is 'the vivid place of perception'. And the body is the mode of the most detailed and realistic existence, also environmental media connecting ourselves with the world. Therefore, fragmentary thought of the body which is connecting in the center of the body me with others as the most vivid soil of our thoughts and behavior will be one of the very important questions to modern people living in the smart era. Who I am, and what I live by, who is my owner who is someone and something of 'I'?

Tallur L.N.’s work stages the equipollence immanent in the natural and the artificial, and the unbalance between abundance and lack in social, cultural situations and economic and political reality. His 2006 piece permits the surface similarities to a human body shape by binding coconut shells together, symbolically standing for human and nature.
Since 2000, Lee Woo combines video, electronic devices and components for his experimental installations. Lee Woo has been much occupied with the implications of the symbolic image in different contexts: in the East as well as in the Western civilisations, the past and the future, between body and mind, leading to the third perspective of cyborg and subsequently to the integration of body and machine or extension of body: for this particular occasion, the showing of ‘Boundless Body’ in a conformal correspondence with Tallur.
Kim Geonye uses ‘grid’, kernel to his past œuvre, but this time with a different intention. In the case of this exhibition, he only used the example of woman. But the artist insists on the universality, that is for both socially designated sexes, of unseen social repressions, which makes everyone subject to relational restraint.
Shin Sunghwan’s main theme is ‘Dream and voyage, communication, life and memory’. makes a clever use of transparent water tank, water, OHP and LiveCam to translate their combined properties into meditation on light, colour and image. Our perceptual consciousness, run in by monitor recreations of images, is here attempted to be objectivised through properties of matter and image-making process.
In Choo JongWan’s work, the limit for self-portrayal is tightly stretched and the form of the portrayed redefines the Grotesque. His 3-D work is a 2-metre-tall group-body series, usually consisting of black and white elements and bringing together the series that so much animated his previous exhibitions.
Deeply ingrained in Hwang Ouchul’s writings, drawings and films is his ‘now, here’ proper. His film work (in collaboration with Wen Shing Ho) boasts his artistic zeal, while in continuity format, each of 132 works of his measuring 34.8x27.3cm. The movie portrays him alongside with his childhood mates and their experience of growing pain which, noticeable or not, deepens as their body go through physical and emotional pain of life.
“Il-cho Soomook” by Lim Hyunlak is a product of infinitely short instantaneous gesture in a shared field of sensibility where ‘you’ and ‘I’ encounter. ‘The single breath acting upon the gestural stroke qua body’s physicality’ being the artist’s aesthetic stance, his works and take the vitality of wild flora to a simple act of respiration in a sense of unity.
For Ryoko Suzuki, the concept of visage is a subtle social indicator, which is herself as an artist with a firm individual identity. The series at the exhibition, named , consists of 5 works. The artist creates a male body uncannily fusioned with her own face, the third body seen through photo-like images.
Seo Oksoon uses procedural means that are openly feminist and construct a particular narrative structure; thread and needlework. For the occasion of this exhibition, , this is exactly what she is trying to achieve, in threading, working needles and erasing their traces with soft manœuvre of brush.

*image(left)
Emergence, 2013
Mixed Media
© Choo JongWan

Courtesy of Daegu Museum