FOGSTAND
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FOGSTAND Gallery & Studio is a nonprofit art space and creative education centre located in both Taiwan and USA.


︎︎︎ EN

Exhibition
      Current︎︎︎當期
      Archive︎︎︎歷年

Workshop︎︎︎工坊

Residency︎︎︎駐村

Artist︎︎︎藝術家

News︎︎︎新聞

Shop︎︎︎販售

︎︎︎Facebook
︎︎︎Instagram

About︎︎︎關於

Support︎︎︎贊助

Contact︎︎︎聯絡

FOGSTAND Gallery & Studio is a nonprofit art space and creative education center located in both Taiwan and USA. Established since 2014, FOGSTAND aims to promote and exhibit rigorous creative projects that maintain the ability to channel into a broader emphasis on creative education throughout eastern Taiwan. Attentive to its unique context, FOGSTAND’s primary focus is on bringing contemporary creative practices into a reciprocal exchange with local communities.



©2014-2020 FOGSTAND Gallery & Studio. All rights reserved. 

2019-2020 annual program sponsored by NCAF (Taiwan)



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Exhibition on view: 10/18/2014 - 12/28/2014
Opening : 10/18/2014, 1-5pm
Venue: FOGSTAND @ Hualien, Taiwan

Song-yun Kim (born 1978, South Korea) lives and works in Seoul, South Korea. Educated BFA School of the Art Institute of Chicago, 2005-2008 and MFA Hons) Glasgow School of Art, 2009-2011. Recent Activities: Futureproof : [Some] New Photography in Scotland 2011, Street Level Gallery, Glasgow, UK and Gracefield Arts Centre, Dumfries, UK; MFA International Show, Sommer & Kohl, Berlin, Germany; MFA Degree Show, The Glue Factory, Glasgow, UK.

Upcoming Activities: Not yet titled exhibition, Project V (formerly known as Ryu Hwarang), Seoul, South Korea; Not yet titled solo exhibition, Trunk Gallery, Seoul, South Korea
FOGSTAND is pleased to announce, knowns, a solo exhibition by South Korean artist, Song-yun Kim, his first in Taiwan. Song-yun Kims’s photographic images approach an intersection between two modulating instruments - the eye and the aperture - and the inherent, yet ordinary discomposing of each onto the other.

Song-yun Kim’s photographic images appear to merely occupy various spaces incidentally, yet an unreachable attentiveness soon undermines any disparity. What emerges is a stateliness and patient restraint, the result of an often laborious shooting process. A process which - no matter how arbitrary the subject of the image could seem - is articulated through hundreds of successive refinements made possible by the technical abilities of the camera. With the passing of time and the successive permeations of a single image, relayed via the near instantaneity of the digital display, Song-yun Kim’s photographic images maintain a priority with directing sight.

Song-yun Kim’s visual results are not unlike the famous date paintings made by the late Japanese artist, On Kawara, of which he methodically paints - by hand and often in stark black and white paint - the date to each day. While there are similarities, namely a shared affinity for protracting visual expectations unto an almost featureless degree, Song-yun Kim’s work lacks the reliance on a strictly conceptual predetermination. Where as On Kawara achieves featureless-ness by repetition, Song-yun Kim has no such repetition to rest upon. Each image is singular. Rarely, if ever, can the viewer spot photographs that could be taken as a series. Instead, the ripening value of the featureless within Song- yun Kim’s photographic images is more an effect of a hierarchical fairness in recording visual information. In other words, Song-yun Kim is indifferent, possibly resistant, to disclosing imagistic potential within photographic conventions such as narrative, documentary, portrait, or place. Between hesitations or outright refusals, the viewer is left alone at a promising visual convergence. A minor place where qualifiers reach their limitation and a favour toward being information takes over the desire to inform.

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