eva eun-sil han

  • all the midnights in the world . new work
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      • irrégulière . 2010/11
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          • hétéroclisme . 2010/11
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              • phase of the moon . 2010
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                      • measured emotions . 2009/10
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                            • geometric framework . 2008
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                                    • drawings . 2008/09
                                      • nothing is real -
                                        • a moment borrowed -
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                                        28/10-22/12 2011 
                                        [Synechdoc] group show curated by  Johannes Sperling at Bourouina gallery, Berlin, Germany
                                        Tim Berresheim
                                        Matthias Bitzer
                                        Madeleine Boschan
                                        Laura Bruce
                                        Frauke Dannert
                                        Peter Dobroschke
                                        Eva Eun-Sil Han
                                        Mathew Hale + Alexander Haßenpflug
                                        Lothar Hempe
                                        Jakob Koldingl
                                        Zenita Komad
                                        Nick Oberthaler
                                        Hans Schmidt in der Beek
                                        John Sparagana
                                        Jacob Whibley





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                                        [ review ]
                                        Artist Eva Eun-Sil Han's work of poetry and geometry goes for a visceral response
                                        By
                                        Lennie Bennett, Times Art Critic

                                        Eva Eun-Sil Han definitely has both sides of her brain engaged. "Measured Emotions," an exhibition of her work at C. Emerson Fine Arts, has poetry and geometry at work. The artist collages photographs, her own and others, often drawing and painting onto the paper. Many of them seem purely abstract and in most, the assemblage of images is in such bits and pieces they don't seem meant to be discerned specifically. But Han is going for a visceral response from us (that's the "Emotion" part of the show's title), whether it's a response to the cut-and-paste drama of her constructions or the provocative glimpses of recognizable body parts. She doesn't give us any hints since all are untitled.


                                        I got references ranging from the fracturing employed by pop artist James Rosenquist to Un chien andalou, the 1929 surrealist film by Luis Bunuel and Salvador Dali. But mainly, I got juxtapositions that combine a reactive image — a sexual tangle of legs or hair, a pair of terrified eyes repeated three times, for example — interrupted by Han's carefully cut prisms and circles. The thought of a blade sharp enough for such precision adds another reaction (and again recalls the sliced eyeball scene from Un chien andalou).

                                        There are meditative works here, too. A vintage photograph of a European cathedral is superimposed with angular bits of color shaped into a large tondo, like a stained glass window. A shedding pomegranate tree and the red shards that surround it suggest the fruit's varied symbolic meanings, especially its Christian association with suffering and sacrifice.

                                        But those are my perceptions. This is a show that functions as a Rorshach test for viewers, asking us to look intuitively and analytically for our own individual meanings.
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