Tag Archives: Korean Art

SUSPENDED: Lee Hoin – Giuseppe Buffoli

Please join us at HSF by Montrasioarte for the opening of Suspended, the eleventh group exhibition of artists-in-residence since the program’s foundation in 2007. Suspended includes works by: Lee Hoin (Korea) and Giuseppe Buffoli (Italy).
Curated by Raffaele Bedarida, the show presents works achieved by the two artists during their stay in New York (December 2009 – January 2010).




Curated by Raffaele Bedarida

Opening reception:
January 21st  6.00-9.00 pm

By appointment:
January 21 – February 4, 2010

HSF by Montrasioarte
128W 121st street
Subway 2, 3 to 116th street


Lee Hoin exhibits a series of small-scale, oil works on paper. Night skies are observed through a black web of tree branches. But we are not in the woods; we are in Manhattan. And you don’t even need to go to Central Park: from the right angle, any flowerbed tree will be good enogh to create that visual effect. In New York at night, the sky and the clouds are beautifully lit from below, and the stars are substituted by the pulsing and colorful constellations of the airplanes that constantly cross its firmament. The artist’s reflection on nature and artifice, their contemplation and cliches of representation is also a subtle redefinition of the relationship painting-experience-memory. Hoin presence at HSF is part of an artist-exchange program between HSF by Montrasioarte (New York, USA) and Mongin Art Center (Seoul, Korea).

Giuseppe Buffoli creates precarious structures made out of found objects. Suspended in his room at HSF, the artist reconstructed a small version of Leonardo da Vinci’s utopian self-supporting bridge (late 1480s), a wooden arch that holds itself together without any fasteners or connectors. The bridge’s own weight keeps it together; the more you stack on it, the more stable it gets. In the exhibition, Buffoli presents the documentation of its demolition by simply pulling its key-stone. The documents are: the destroyed bridge, oil-paint traces on a large paper sheet where the wooden beams fell, the photographs of the the collapse’s different phases and a series of ink drawings that painstakingly reproduce those photographs. Disolcated throughout the rooms of HSF building, these objects and images are discovered by visitors as many traces of the original event. The nature and reliability of the visual document as index and the problem of documenting performative art practices are challenged by Buffoli.