Co-recipients: Yung Bin Kwak, Junghyun Kim

Yung Bin Kwak 

Yung Bin Kwak graduated from Seoul National University with a B.A. in Pedagogy, received M.A. in Mass Communications at Sogang University, and Ph.D. in Cinema and Comparative Literature at University of Iowa with the dissertation “The Origin of Korean Trauerspiel.” He has given lectures about film history, film theory, media aesthetics, and Walter Benjamin at domestic and foreign colleges. He has written about 3D film of the post-theater era (“Avatar Humanities”), the ontology of animation (“Abyssal Surface in Yeon Sang-ho’s Animated Works”), and reviewed the exhibition Expanded Cabinets of Wonder at Arko Art Center in 2013 (Humanities Arts Magazine F 12GH). His article “Introduction of the Origin of Korea Trauerspiel” (working title), which examines the topography of Korean discourse, won the Sogang Academic Book Series competition and is due to be published soon. 

“In the vortex of ‘the era of post-medium/museum,’ I hold infinite interest in practices that (aim to) rewrite the coordinates of the system of existing art/media history, while not being just astonished, madly swayed, or parasitic on the time gap between borders.”

Junghyun Kim

Junghyuh Kim majored in English, psychology, and PEP (politics/economics/philosophy) and received a master's degree in art history at Hongik University with research on Paul Klee. As exhibition curator of Art Sonje Center in 2014, she participated in planning the solo exhibitions of Yiso Bahc, Kim Soun Gui, and Sung Hwan Kim and 6-8, and presented an exhibition at Insa Art Space after winning the 2015 AYAF curator open call. With an interest in the performative aspect of contemporary art, Junghyun Kim writes about performance and choreography, and also has participated in a special performance of the Korea National Contemporary Dance Company as dramaturge and performer. She has organized an interview project of thirty artists and regularly contributes to the Contemporary Art Journal, published quarterly. 

“My purpose is to materialize a critical perspective without being bound to a format like exhibition, performance, or print, and to unfold art criticism as a debater of artists not an interpreter of artwork.”