Korean textbooks are full of didactic images meant to educate children. But, in reality, for some reason our childhoods were filled with strange and shocking images. And those images somehow appear regularly in our everyday lives and affect us for the rest of our lives. People with strange memories from their childhood and I, a photographer, wore doll masks of the main characters, Chulsoo and Younghee, who appear in these elementary textbooks and we tried to recreate emotional moments from our past. And these emotional moments were in turn recreated into the textbook that remains in the memories of young Koreans who attended elementary school from the start of the 1970s to the mid-1990s.
The story of Chulsoo and Younghee that appeared in our elementary textbooks is about the memories from our youth and these memories have great influence over our lives even now. It is difficult to identify why we continue to be influenced by those memories, what their true nature is, and what their underlying causes are. There are still so many times when we still do not know how to dispel these memories, what the solution is, and what the answer is. As a result, we torture ourselves over them, try to conceal them from others and are tormented by them. What is more, there isn’t an instruction manual that can be found from which we can refer to in order to overcome it, and therefore, we cannot even imagine that the reason and solutions to those incidents are close at hand. The sad reality is that from the memories that they hold within their hearts, many people suffer from humiliation, guilt, trauma, shock, and stress from which they cannot easily escape from. A possible solution for this lies within an education (not just education taught at schools but also overall social education and instruction) that is based on deep understanding and consideration for people. Also, going beyond the structural violence and typical way of narrow-minded thinking, there is need for wide range of alternative philosophy and attention. All the images in this text book (Chulsoo & Younghee) are the collection of ills that we as Koreans, and as humans, have suffered, are suffering and will suffer in the future. These images are also a personal analysis of the Korean society from the past to the present that was done in order to overcome this collection of ills. Lastly, these images are a counter proposal that passionately calls out to counterattack society.
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ⓒ오석근 Suk Kuhn Oh
01 The Text Book (Chulsoo & Younghee) p19 26x32cm Digital c-print 2006 -
ⓒ오석근 Suk Kuhn Oh
02 The Text Book (Chulsoo & Younghee) p49, 26x32cm Digital c-print 2006 -
ⓒ오석근 Suk Kuhn Oh
03 The Text Book (Chulsoo & Younghee) p151, 60x73 cm Digital c-print 2007 -
ⓒ오석근 Suk Kuhn Oh
05 The Text Book (Chulsoo & Younghee) p191(Tear Gas),100x124cm Digital c-print 2007 -
ⓒ오석근 Suk Kuhn Oh
11 The Text Book (Chulsoo & Younghee) Epilogue Page 60x73 cm Digital c-print 2006 -
ⓒ오석근 Suk Kuhn Oh
14 The Text Book (Chulsoo & Younghee) Back Cover 26x32cm Digital c-print 2006 -
ⓒ오석근 Suk Kuhn Oh
15 The Text Book (Chulsoo & Younghee) p31 26x32cm Digital c-print -
ⓒ오석근 Suk Kuhn Oh
17 The Text Book (Chulsoo & Younghee) p269 100x124cm Digital c-print 2008 -
ⓒ오석근 Suk Kuhn Oh
18 The Text Book (Chulsoo & Younghee) p172 60x73cm Digital c-print 2007 -
ⓒ오석근 Suk Kuhn Oh
20 The Text Book (Chulsoo & Younghee) p277 100x124cm Digital c-print 2008 -
ⓒ오석근 Suk Kuhn Oh
21 The Text Book (Chulsoo & Younghee) p291 60x73cm Digital c-print 2006
오석근은 <교과서_철수와 영희>를 통해 위선과 오만이 교묘하게 은폐된 사회를 은밀하게 조롱하며 우리의 잘못된 교육과 교과서의 허구를 재구성한다. 1979년생인 작가는 해방과 한국전쟁을 거치며 열악한 환경 탓에 어떤 처우에도 무조건 순응해야 했던 시절의 아이가 아니다.
작년 오석근의 <교과서_철수와 영희>를 서학동사진관에 전시하고자 했을 때는 작품이 말하고자하는 바가 아이들과 사회 환경, 교육의 갈등과 모순의 문제라고 생각했다. 하지만 그 즈음 대한민국에 정치지도자의 교육 전횡, 국정교과서 개정 문제가 한동안 대두되었고 다시 여러 큰 이슈에 묻혀 잠잠해진 상황이 되었다. 그리고 현재 국정 교과서 문제는 어떻게 진행되고 있는지 모르는 상황으로 접어들어 이 전시의 의미는 이 위기를 환기 시킨다.
한 명의 국가 지도자나 일부 정치가들이 자신의 가계(家系)나 정당의 이익을 위해서 한 나라의 교과서를 자기들 입맛대로 뜯어 고치는 일이 자행되고 있다. 이것은 공정한 진리를 알아야하는 국민의 권리를 박탈하는 것으로 헌법에도 어긋나는 것이다. 위정자들은 지금도 밀실에서 교과서를 수정하는 음모를 꾸미고 있다. 그들의 주장대로 교과서 개정이 정당한 일이라면 국민의 합의를 끌어내고 집필진을 공개해야 할 것이다. 교과서가 한 개인이나 당파의 이익에 편익해서는 안 된다.
오석근의 <교과서_철수와 영희>는 위정자들의 눈에 불량학생의 파행쯤으로 간주 될 것이다. 위정자들은 가면을 싫어한다. 그 이유는 아주 단순하다. 얼굴을 가리면 잡아내서 처벌하기 어렵기 때문이다. 그래서 현 정부에서는 모든 시위에서 마스크를 쓰는 것을 불법으로 간주하는 법을 만들고 있다. 여기에 나아가 국가원수는 마스크를 쓰고 시위하는 행위를 일명 IS에 비견하며 범죄로 규정하였다. 오석근은 <철수와 영희>라는 캐릭터가 가면이었음을 말한다. 아이는 성장하면서 성장통을 앓는다. 그리고 내장도 뇌도 없는 인간처럼 순진무구해야 한다는 억압 때문에 가면 속으로 들어간다.
오석근은 자신의 ‘철수와 영희’를 통해 우리가 자라오면서 가진 죄책감과 행동을 표면화 시키고 문제를 제기하여 한 개인의 고민을 사회적인 문제로 확대하고 인식하여 고민하게 한다. 그래서 사진을 보는 사람은 불편하다. 어딘가 숨어 있던 나의 부끄러움, 죄의식, 비겁함, 수치심 등이 수면 위로 떠오른다. 그러나 그것은 한 아이의 일탈로 그칠 수없는 어른과 아이의 소통의 부재, 즉 무관심이나 부모의 대리 욕구 대상으로 떠밀린, 겉으로만 반듯한 인간의 전형을 요구하는 이 사회에 대한 고발의 메시지인 것이다.
그 외 오석근의 작품으로는 “욕망을 통제하고 죄책감을 생산해 내는 한국훈육시스템 그리고 근대부터 현재 까지 이어져 오고 있는 청소년 표상을 가족사를 중심으로 풀어낸 <해(海)에게서 소년(少年)에게>, 한국 전쟁과 군부독재를 거치며 발생한 수많은 국가 폭력과 민간인 학살의 기억을 통해 권력의 역사를 해체하는 작업 <기억투쟁>, 근대에 만들어졌으나 각각의 시대에 따라 변형, 증축되며 그 생명을 지탱해온 한국의 건축물을 담아낸 <재와 먼지(灰塵)>, 개항기 열강에 의해 기록된 조선의 이미지를 바탕으로 제작한 엉터리 한국의 풍속 자료 <한국의 풍습>” 등이 있다.
서학동사진관 김지연
작년 오석근의 <교과서_철수와 영희>를 서학동사진관에 전시하고자 했을 때는 작품이 말하고자하는 바가 아이들과 사회 환경, 교육의 갈등과 모순의 문제라고 생각했다. 하지만 그 즈음 대한민국에 정치지도자의 교육 전횡, 국정교과서 개정 문제가 한동안 대두되었고 다시 여러 큰 이슈에 묻혀 잠잠해진 상황이 되었다. 그리고 현재 국정 교과서 문제는 어떻게 진행되고 있는지 모르는 상황으로 접어들어 이 전시의 의미는 이 위기를 환기 시킨다.
한 명의 국가 지도자나 일부 정치가들이 자신의 가계(家系)나 정당의 이익을 위해서 한 나라의 교과서를 자기들 입맛대로 뜯어 고치는 일이 자행되고 있다. 이것은 공정한 진리를 알아야하는 국민의 권리를 박탈하는 것으로 헌법에도 어긋나는 것이다. 위정자들은 지금도 밀실에서 교과서를 수정하는 음모를 꾸미고 있다. 그들의 주장대로 교과서 개정이 정당한 일이라면 국민의 합의를 끌어내고 집필진을 공개해야 할 것이다. 교과서가 한 개인이나 당파의 이익에 편익해서는 안 된다.
오석근의 <교과서_철수와 영희>는 위정자들의 눈에 불량학생의 파행쯤으로 간주 될 것이다. 위정자들은 가면을 싫어한다. 그 이유는 아주 단순하다. 얼굴을 가리면 잡아내서 처벌하기 어렵기 때문이다. 그래서 현 정부에서는 모든 시위에서 마스크를 쓰는 것을 불법으로 간주하는 법을 만들고 있다. 여기에 나아가 국가원수는 마스크를 쓰고 시위하는 행위를 일명 IS에 비견하며 범죄로 규정하였다. 오석근은 <철수와 영희>라는 캐릭터가 가면이었음을 말한다. 아이는 성장하면서 성장통을 앓는다. 그리고 내장도 뇌도 없는 인간처럼 순진무구해야 한다는 억압 때문에 가면 속으로 들어간다.
오석근은 자신의 ‘철수와 영희’를 통해 우리가 자라오면서 가진 죄책감과 행동을 표면화 시키고 문제를 제기하여 한 개인의 고민을 사회적인 문제로 확대하고 인식하여 고민하게 한다. 그래서 사진을 보는 사람은 불편하다. 어딘가 숨어 있던 나의 부끄러움, 죄의식, 비겁함, 수치심 등이 수면 위로 떠오른다. 그러나 그것은 한 아이의 일탈로 그칠 수없는 어른과 아이의 소통의 부재, 즉 무관심이나 부모의 대리 욕구 대상으로 떠밀린, 겉으로만 반듯한 인간의 전형을 요구하는 이 사회에 대한 고발의 메시지인 것이다.
그 외 오석근의 작품으로는 “욕망을 통제하고 죄책감을 생산해 내는 한국훈육시스템 그리고 근대부터 현재 까지 이어져 오고 있는 청소년 표상을 가족사를 중심으로 풀어낸 <해(海)에게서 소년(少年)에게>, 한국 전쟁과 군부독재를 거치며 발생한 수많은 국가 폭력과 민간인 학살의 기억을 통해 권력의 역사를 해체하는 작업 <기억투쟁>, 근대에 만들어졌으나 각각의 시대에 따라 변형, 증축되며 그 생명을 지탱해온 한국의 건축물을 담아낸 <재와 먼지(灰塵)>, 개항기 열강에 의해 기록된 조선의 이미지를 바탕으로 제작한 엉터리 한국의 풍속 자료 <한국의 풍습>” 등이 있다.
서학동사진관 김지연
The Text Book (Chulsoo & Younghee)
Korean textbooks are full of didactic images meant to educate children. But, in reality, for some reason our childhoods were filled with strange and shocking images. And those images somehow appear regularly in our everyday lives and affect us for the rest of our lives. People with strange memories from their childhood and I, a photographer, wore doll masks of the main characters, Chulsoo and Younghee, who appear in these elementary textbooks and we tried to recreate emotional moments from our past. And these emotional moments were in turn recreated into the textbook that remains in the memories of young Koreans who attended elementary school from the start of the 1970s to the mid-1990s.
The story of Chulsoo and Younghee that appeared in our elementary textbooks is about the memories from our youth and these memories have great influence over our lives even now. It is difficult to identify why we continue to be influenced by those memories, what their true nature is, and what their underlying causes are. There are still so many times when we still do not know how to dispel these memories, what the solution is, and what the answer is. As a result, we torture ourselves over them, try to conceal them from others and are tormented by them. What is more, there isn’t an instruction manual that can be found from which we can refer to in order to overcome it, and therefore, we cannot even imagine that the reason and solutions to those incidents are close at hand. The sad reality is that from the memories that they hold within their hearts, many people suffer from humiliation, guilt, trauma, shock, and stress from which they cannot easily escape from. A possible solution for this lies within an education (not just education taught at schools but also overall social education and instruction) that is based on deep understanding and consideration for people. Also, going beyond the structural violence and typical way of narrow-minded thinking, there is need for wide range of alternative philosophy and attention. All the images in this text book (Chulsoo & Younghee) are the collection of ills that we as Koreans, and as humans, have suffered, are suffering and will suffer in the future. These images are also a personal analysis of the Korean society from the past to the present that was done in order to overcome this collection of ills. Lastly, these images are a counter proposal that passionately calls out to counterattack society.
Korean textbooks are full of didactic images meant to educate children. But, in reality, for some reason our childhoods were filled with strange and shocking images. And those images somehow appear regularly in our everyday lives and affect us for the rest of our lives. People with strange memories from their childhood and I, a photographer, wore doll masks of the main characters, Chulsoo and Younghee, who appear in these elementary textbooks and we tried to recreate emotional moments from our past. And these emotional moments were in turn recreated into the textbook that remains in the memories of young Koreans who attended elementary school from the start of the 1970s to the mid-1990s.
The story of Chulsoo and Younghee that appeared in our elementary textbooks is about the memories from our youth and these memories have great influence over our lives even now. It is difficult to identify why we continue to be influenced by those memories, what their true nature is, and what their underlying causes are. There are still so many times when we still do not know how to dispel these memories, what the solution is, and what the answer is. As a result, we torture ourselves over them, try to conceal them from others and are tormented by them. What is more, there isn’t an instruction manual that can be found from which we can refer to in order to overcome it, and therefore, we cannot even imagine that the reason and solutions to those incidents are close at hand. The sad reality is that from the memories that they hold within their hearts, many people suffer from humiliation, guilt, trauma, shock, and stress from which they cannot easily escape from. A possible solution for this lies within an education (not just education taught at schools but also overall social education and instruction) that is based on deep understanding and consideration for people. Also, going beyond the structural violence and typical way of narrow-minded thinking, there is need for wide range of alternative philosophy and attention. All the images in this text book (Chulsoo & Younghee) are the collection of ills that we as Koreans, and as humans, have suffered, are suffering and will suffer in the future. These images are also a personal analysis of the Korean society from the past to the present that was done in order to overcome this collection of ills. Lastly, these images are a counter proposal that passionately calls out to counterattack society.
오석근 Suk Kuhn Oh
Born 1979 in Incheon. lives & works in Incheon.
EDUCATION
2005 Nottingham Trent University BA(Hons) Photography
EXHIBITION
SOLO EXHIBITIONS (Selected)
2015 Contested Memory, Space Haebang, Seoul
2012 From the Sea to Youth / Ash and Dust, Yeonji-dong 179 & 180, Jongno-gu, Seoul (Two Houses)
2011 Seohae Project _ Ninanana, Incheon Art Platform, Incheon
2011 The Text Book (Chulsoo & Younghee), Base Gallery, Tokyo
2010 The Text Book (Chulsoo & Younghee), Centro Cultural Recoleta, Buenos Aires
2010 The Text Book (Chulsoo & Younghee), Blue Sky Gallery, Portland
2008 The Text Book (Chulsoo & Younghee), Art Space Hue, Seoul
GROUP EXHIBITIONS (Selected)
2016
Body Matters, Seoul Olympic Museum of Art, Seoul
The Second Law, The National Museum of Contemporary Art Bucharest, Romania
2015
I Encounter Gunsan, Yeoinsuk, Gunsan
Conversation of Memories, Photovisa Festival, Krasnodar
Dream Home, Pingyao International Photography Festival, Pingyao
Read Then You Will See – Between Image & Text, Incheon Art Platform, Incheon
Anchoring – Between Wander and Settlement, Seoul Lunar Photo 2015, Seoul
Temporary Tenants (11 Empty Houses Project), Yong-Il Market, Incheon
2014
Reflexive Outside, KT&G Sangsang Madang, Seoul
Basically Forever, Tokyo Metropolitan Museum of Photography, Tokyo
Metamorphocity, Incheon Asian Game, Incheon
Urbanism, Yeoinsuk, Gunsan
Nineteen Shelters, The Texas Project, Seoul
Photography and History, Gwangju Museum of Art, Gwangju
2013
Removing Walking, (ex) Morning Glory, Incheon
Pure Love Land, Incheon Art Platfrom, Incheon
Photography and Photography, KT&G Sangsang Madang, Seoul
Window of Asia, Bupyeong Art Center, Incheon
Youth Collection, Donggang Photography Festival, Youngwall Photography Museum, Youngwall
Hurroo Hurroo, Goeun Photography Museum, Busan
Humor:us, Space K, Deagu
City, Turn on the light to Art, Bupyeong Art Center, Incheon
2012
Flesh & Bone, Portland Art Museum, Portland
City States, Liverpool Biennial, Liverpool
Meta Empire : Young Artists Project 2012, Exco, Deagu
Twisted, Sungkok Museum, Seoul
Landscapes of Moment, Seongnam Arts Center, Seongnam
Emerging, Portland Art Museum, Portland
Platform Artist, Incheon Art Platform, Incheon
2011
Time Without Borders, Art Space Hue, Paju
BBongJJak JJamPPong Document, Jungang-dong 1 9-1, Incheon
You’re Inchoen (遊於仁川), Incheon Art Platform, Incheon
The Face, Bupyeong Art House, Incheon
Sea of Peace, Incheon Art Platform, Incheon
Incheon Lanidng Operation, Incheon Art Platform, Incheon
2010
Otonarisan: The Stranger Next Door, Gallery Artlier & Kyushu University Museum, Fukuoka
ATU(Alternative, Translate, Universe), Cinema Sangsang Madang, Seoul
Chaotic Harmony, Santa Barbara Museum of Art, Santa Barbara
Bibliotheque, KT & G Sangsang Madang, Seoul
Ideal Beauty and Images, Ilmin Museum, Seoul
Double Interview, Art Space Hue & I-MYU Projects, Seoul & London
Mind Games, Australian Centre for Photography, Sydney
Waseda Photojournalism Festival, 125 Memorial Gallery of Waseda University & Visual Arts Gallery, Tokyo
2009
Chaotic Harmony, The Museum of Fine Arts Houston, Houston
Theater, Samsung Theater, Busan
City-Ray, Space Beam, Incheon
Showcase Reboot Vol.6, Platton Kunsthalle, Seoul
The Photograph as Contemporary Art, Doosan Art Center, Seoul
Image of Youth, Ilmin Museum, Seoul
Identity, Costume, Cliché: Korean Photography Today, PCNW, Seattle
Urban & Culture, Jeonju Photography Festival, Jeonbuk Art Center, Jeonju
Young Portfolio 2008, Kiyosato Museum of Photographic Art, Kiyosato
Centro De la Imagen, Mexico City
2008
Korean Young Artists 2008, National Museum of Contemporary Art, Gwacheon
Discoveries Exhibition of Fotofest, Fotofest Biennial, Houston
The Battle of Taste, KT & G Sangsang Madang, Seoul
2007
Seeing and Imagining: Donggang Photography Festival, Youngwall Photography Museum, Youngwall
Kinora Experimental Film Opera, Post Theater, Seoul
RESIDENCIES
Incheon Art Platform 2012
Incheon Art Platform 2011
COLLECTIONS
2012 Incheon Foundation of Arts and Culture, Incheon
2010 Portland Museum of Art, Portland
2010 KT&G Sangsang Madang, Seoul
2009 Santa Barbara Museum of Art, Santa Barbara
2008 Kiyosato Museum of Photographic Art, Kiyosato
2008 The Museum of Fine Arts, Houston
2008 Ilmin Museum, Seoul
Born 1979 in Incheon. lives & works in Incheon.
EDUCATION
2005 Nottingham Trent University BA(Hons) Photography
EXHIBITION
SOLO EXHIBITIONS (Selected)
2015 Contested Memory, Space Haebang, Seoul
2012 From the Sea to Youth / Ash and Dust, Yeonji-dong 179 & 180, Jongno-gu, Seoul (Two Houses)
2011 Seohae Project _ Ninanana, Incheon Art Platform, Incheon
2011 The Text Book (Chulsoo & Younghee), Base Gallery, Tokyo
2010 The Text Book (Chulsoo & Younghee), Centro Cultural Recoleta, Buenos Aires
2010 The Text Book (Chulsoo & Younghee), Blue Sky Gallery, Portland
2008 The Text Book (Chulsoo & Younghee), Art Space Hue, Seoul
GROUP EXHIBITIONS (Selected)
2016
Body Matters, Seoul Olympic Museum of Art, Seoul
The Second Law, The National Museum of Contemporary Art Bucharest, Romania
2015
I Encounter Gunsan, Yeoinsuk, Gunsan
Conversation of Memories, Photovisa Festival, Krasnodar
Dream Home, Pingyao International Photography Festival, Pingyao
Read Then You Will See – Between Image & Text, Incheon Art Platform, Incheon
Anchoring – Between Wander and Settlement, Seoul Lunar Photo 2015, Seoul
Temporary Tenants (11 Empty Houses Project), Yong-Il Market, Incheon
2014
Reflexive Outside, KT&G Sangsang Madang, Seoul
Basically Forever, Tokyo Metropolitan Museum of Photography, Tokyo
Metamorphocity, Incheon Asian Game, Incheon
Urbanism, Yeoinsuk, Gunsan
Nineteen Shelters, The Texas Project, Seoul
Photography and History, Gwangju Museum of Art, Gwangju
2013
Removing Walking, (ex) Morning Glory, Incheon
Pure Love Land, Incheon Art Platfrom, Incheon
Photography and Photography, KT&G Sangsang Madang, Seoul
Window of Asia, Bupyeong Art Center, Incheon
Youth Collection, Donggang Photography Festival, Youngwall Photography Museum, Youngwall
Hurroo Hurroo, Goeun Photography Museum, Busan
Humor:us, Space K, Deagu
City, Turn on the light to Art, Bupyeong Art Center, Incheon
2012
Flesh & Bone, Portland Art Museum, Portland
City States, Liverpool Biennial, Liverpool
Meta Empire : Young Artists Project 2012, Exco, Deagu
Twisted, Sungkok Museum, Seoul
Landscapes of Moment, Seongnam Arts Center, Seongnam
Emerging, Portland Art Museum, Portland
Platform Artist, Incheon Art Platform, Incheon
2011
Time Without Borders, Art Space Hue, Paju
BBongJJak JJamPPong Document, Jungang-dong 1 9-1, Incheon
You’re Inchoen (遊於仁川), Incheon Art Platform, Incheon
The Face, Bupyeong Art House, Incheon
Sea of Peace, Incheon Art Platform, Incheon
Incheon Lanidng Operation, Incheon Art Platform, Incheon
2010
Otonarisan: The Stranger Next Door, Gallery Artlier & Kyushu University Museum, Fukuoka
ATU(Alternative, Translate, Universe), Cinema Sangsang Madang, Seoul
Chaotic Harmony, Santa Barbara Museum of Art, Santa Barbara
Bibliotheque, KT & G Sangsang Madang, Seoul
Ideal Beauty and Images, Ilmin Museum, Seoul
Double Interview, Art Space Hue & I-MYU Projects, Seoul & London
Mind Games, Australian Centre for Photography, Sydney
Waseda Photojournalism Festival, 125 Memorial Gallery of Waseda University & Visual Arts Gallery, Tokyo
2009
Chaotic Harmony, The Museum of Fine Arts Houston, Houston
Theater, Samsung Theater, Busan
City-Ray, Space Beam, Incheon
Showcase Reboot Vol.6, Platton Kunsthalle, Seoul
The Photograph as Contemporary Art, Doosan Art Center, Seoul
Image of Youth, Ilmin Museum, Seoul
Identity, Costume, Cliché: Korean Photography Today, PCNW, Seattle
Urban & Culture, Jeonju Photography Festival, Jeonbuk Art Center, Jeonju
Young Portfolio 2008, Kiyosato Museum of Photographic Art, Kiyosato
Centro De la Imagen, Mexico City
2008
Korean Young Artists 2008, National Museum of Contemporary Art, Gwacheon
Discoveries Exhibition of Fotofest, Fotofest Biennial, Houston
The Battle of Taste, KT & G Sangsang Madang, Seoul
2007
Seeing and Imagining: Donggang Photography Festival, Youngwall Photography Museum, Youngwall
Kinora Experimental Film Opera, Post Theater, Seoul
RESIDENCIES
Incheon Art Platform 2012
Incheon Art Platform 2011
COLLECTIONS
2012 Incheon Foundation of Arts and Culture, Incheon
2010 Portland Museum of Art, Portland
2010 KT&G Sangsang Madang, Seoul
2009 Santa Barbara Museum of Art, Santa Barbara
2008 Kiyosato Museum of Photographic Art, Kiyosato
2008 The Museum of Fine Arts, Houston
2008 Ilmin Museum, Seoul