Kiwon Hong 1978, Seoul, South Korea.
Graduated from BFA Chelsea College of Art & Design, University of The Arts London (2009). 

Asymmetric conversation & Open studio at Bilbao Arte (Bilbao, Spain. 2016), Kiwon Hong's Solo Show at Brain Factory (Seoul, Korea. 2012) and From One Place to Another at Galerie Plan.D (Düsseldorf, Germany 2011).

Participated in a number of selected group shows across Asia and Europe.

Bilbao Arte (Bilbao, Spain, 2016), Artist Residency TEMI (Daejeon Culture and Arts Foundation, Korea, 2015), SEMA Nanji Residency (1year, Seoul Museum of Art, Korea, 2013), Augarten Contemporary (The Belvedere, Wien, Austria, 2012), Exchange Artist in residency (Kulturamt Landeshauptsadt Düsseldorf, Germany, 2011), and Goyang Art Studio, (National Museum of Contemporary Art, Korea, 2011).
Public Art R & D (ARKO, 2015 and published 2016) and Artist Grant (Gyeonggi Culture and Arts Foundation, 2016) and SEMA Exhibition Grant (Seoul Museum of Art, 2012).

This residency has been possible thanks to the generous support of the Department of International Exchange of Arts Council Korea (ARKO)

Kiwon Hong


The reason

08.11.2016 to 02.12.2016

Kiwon Hong is a visual artist that works reflecting upon the relations between the human body and time and space. The work that Hong will develop during the ‘ace residency search look forward to insinuate the temporary relationship between subordinates and superiors in art and modern aspects such as status and value deriving from a capital-centred social environment.


I have experimented with the relations of a physical element with movement, space, and memory, regarding a specific place as an open gallery since 2009. I assume hat Disneyland is an open gallery to grasp the relation between spatial concepts and kinetic objects. I also explore the relationship between the features of kinetic elements and theatrical performances in order to experiment with how to extend the sphere of movement, considering the body or its external space a given environment or an enormous open gallery.

The use of quotidian objects and colors alongside heavy mechanical materials to attain this is conductive to overturning values and terminating temporary actions. A new work is completed with leftovers of a previous work, found objects, and objects already used through the process of being repainted and rearranged carefully in “a calculated, spontaneous manner.” I expand my artistic idioms by adding and getting rid of objects. A variety of approaches and interpretations are available through this process, and my work can be enriched with unauthoritative, playful elements. 

My trauma of paralysis of the lower half of my body caused by an accident in 2002 has influenced the process of my work. This appears as an experiment with the balance between the mechanical and physical, the static and dynamic, and the functional and non-functional. 

The use of colors is very important in my work. I make forays into harnessing colors as a universal language or the conversion of the physical attributes of materials and for lessening seriousness in conventional sculpture.

A mechanical device bearing movement and auditory elements offers an experience of forced interactions in a given space. The state of artworks is profoundly influenced by viewers’ materialistic and non-materialistic participation, thereby creating works in different situations such static or dynamic circumstances and absence and presence.
In this way I conducts experiments with an attempt to have viewers escape from their passive state and the problems of the relations of viewer with artist and artwork – particularly the relationship between the perceiver and the perceived – in connection with position and temporary value in contemporary society. 

My views on temporary value and status deriving from the process of my study are associated with a given environment and society’s common concerns, and help expand the relation between place and movement to a broader category, departing from a specific place like an amusement park.

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