Issy Wood's first institutional solo exhibition in Korea, I Like To Watch, presents 47 new paintings, as well as installations, video works, and publications. 

This exhibition explores the dialogues between Per Kirkeby's brick sculptures, architectural drawings, and paintings. Seemingly minimalistic, the sculptures are explorations of form and structure, and of how walking by them modifies our perception of space and light around them. They are also ambiguous in that they are reminiscent of ruins, but could also be unfinished constructions or buildings rising from the ground. The paintings, in turn, with their almost expressionistic making, explore how landscapes can be depicted by only showing traces of its elements, whether these are geological, aqueous, plant life, or their movement.

By connecting architecture, geology, deep time, and the contemplation of nature, Per Kirkeby’s work can foster reflections on how we relate to natural spaces, and the fact that our actions have long-lasting effects on environments that have existed since time immemorial.

Hurvin Anderson first painted a Birmingham-based barbershop in 2006. Over the last 15 years, Anderson has repeatedly reworked the same barbershop in a multitude of ways to explore key painting styles, shifting from figuration to abstraction, and experimenting with the classic genres of still life, landscape and portraiture. The Salon Paintings exhibition will focus on the Barbershop series as a lens through which to understand Anderson’s wider practice and key concerns of memory, identity and nationhood.

The Aspen Art Museum presents everybody rise, an exhibition of works by Florian Krewer, curated by Matthew Higgs. The exhibition will offer the most comprehensive overview of Krewer’s paintings to date. Focusing on works made over the past five years, the exhibition proposes a chronological reading of his work, one that amplifies key moments and shifts in his practice often made in relation to significant biographical events.