Korean artwork is well-recognised and Koreans promote their work in an organised manner. This was evident at the ongoing art exhibition at the Korean Culture Centre in the Capital. Titled Transition Zone, the contemporary art exhibition is organised by five young Korean artists, showcasing manifestation of change and phenomenon and metaphor. At the same time, it offers a variety of options and boundaries, a space of buffering and a process that has the same daily feel as the density of an overcrowded city.

The artwork of Changhoon Lee, a conceptual artist, uses beads; he has made a triangular structure made up of beads of hand bands. With this work, the artist has tried to express the hierarchy of society and desires through his art. Each bead represents the desires of a human being. At the base level of the triangle he tried to show that a person has many desires but, as he moves up, the desires reduce. “You understand the meaning of life once your desire starts lessening,” informed Changhoon Lee.

Another artist Wonho Lee presented Floating real estate: home of homeless. His installation depicted cardboard houses made by homeless people, who live a way of life after being denied legal possession of a house in the Capitalist society. For homeless people, the temporary shelters made of cardboard boxes are connected to the essential values of the house, such as privacy, safety and insulation at the least. For this work, the artist visited major areas in Seoul, where homeless people tend to congregate, such as the Seoul Station, Namdaemun underground passage and Yeongdeungpo.

Minchul Song showcased Half mirror ~ Words of water, using a mirror and a checkerboard and another equivalent circle to calculate and rearrange the area using a round target. He tries to visualise things that we are interested in, which exist but cannot be experienced, such as the compatibility of handling various media, the way of forming the whole and the hypotheses based on propositions.

Artist Eunsook has tried to organise elements of form through meaningful life experiences and expresses realistic view-points in various ways. The displays induce the re-recognition of the magical thinking inherent in the space and suggest a turning point of thinking.

Yoonjean Lee’s work is of similar nature. It’s a neutral approach to the object, despite typological methodology and external similarity to take objects of similar shape. Yoonjean Lee delivers a sense of distance in everyday life with a sense of constant distance between the space of the house and things with the form of German space and still life in the form of objectivity.