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2024
Works
Recent works
Studio
2024
Works
Opus no. 8
Studio
2024
Works
Opus no. 9
Studio
2024
Works
Opus Series
Studio
2023
Exhibitions
LL Interspace: HOTPOT
Galerie KUB
2023
Works
Composition no. 3
Studio
2023
Works
Composition no. 2
Studio
2023
Works
Composition no. 1
Studio
2023
Works
The New Altar no. 4
Studio
2023
Works
The New Altar no. 3
Studio
2023
Exhibitions
Ketterer Kunst Masterclass Preis 2023
Ketterer Kunst
2023
Works
The Absurd Dance no. 3
Studio
2023
Works
The Absurd Dance no. 2
Studio
2023
Works
The Absurd Dance no. 1
Studio
2023
Exhibitions
Table of Contents
Bistro 21
2023
Works
Instant Crush
Studio
2023
Works
Drawing Set for Study no. 1
Studio
2023
News
Open Studio: L’air Arts Paris
Cité Falguière
2023
News
Residency: L’air Arts Paris
Cité Falguière
2023
Works
Life no. 1 & no. 2
Studio
2023
Works
Sigil no. 1
Studio
2024
Texts
Dancing in the Pandemic Blues: The significance of Musical Optimism in Times of Crisis.
Publication
2022
Works
Tacet and the Portrait of a Headless
Studio
2022
Exhibitions
Just Rolllllll
documenta fifteen
2022
Works
The Circle of Love
documenta 15
2021
Exhibitions
Between Strangers
Nuweland Gallery
2021
Exhibitions
Investec Cape Town Art Fair 2021
CTICC
2021
Exhibitions
11:11
Eclectica Contemporary
2020
Exhibitions
Peepshow
Online
2022
Exhibitions
Neighbours / Des Voisin.e.s
Cité Falguière
2020
Works
Bearing Between the Wheel and the Cycle
Studio
2020
Exhibitions
Art Rotterdam
Rotterdam
2019
Press
Two artists use video and sculpture to explore perceptions of history and memory
Design Indaba
2019
Exhibitions
Satellites
Suburbia Contemporary
2019
Press
Kyu Sang Lee
SA Art Times
2019
Exhibitions
Investec Cape Town Art Fair 2019: SOLO Section
CTICC
2019
Press
Spotlight on Investec Cape Town Art Fair 2019
Artthrob
2019
Press
Restful Moments: Cape Town Art Fair’s SOLO exhibition
The Art Momentum
2019
Press
Artist to Shine at the Art Aair
News24
2019
Press
Investec Cape Town Art Fair 2019 champions emerging artists and digital practices
Bubblegum Club
2019
Press
10 Reasons To Come To Investec Cape Town Art Fair In 2019
Africa.com
2019
Works
The Sound of Light: Sequences I-III
Studio
2019
Exhibitions
Still Here Tomorrow to High Five You Yesterday
Zeitz MOCAA
2018
Press
The Structured Surrealism of Kyu Sang Lee
The Art Momentum
2018
Exhibitions
Also Known As Africa
Le Carreau du Temple
2018
Works
A Motif for Thrity Two Irregular Orbits
Studio
2018
Works
Photographs in Twelve Parts
Studio
2018
Exhibitions
Throwing Shapes
SMITH Studio
2018
Exhibitions
nano 1.2
Barnard Gallery
2018
Works
ein kleines Nachtfoto No.2
Studio
2018
Works
ein kleines Nachtfoto No.1
Studio
2018
Exhibitions
Stop Stop Click
Eclectica Contemporary
2018
Exhibitions
Investec Cape Town Art Fair 2018
CTICC
2017
Exhibitions
Salad
SMITH Studio
2017
Exhibitions
SS17
Gallery MOMO
2017
Press
SS17 at Gallery MOMO
Artthrob
2017
News
Kyu Sang Lee wins a Celeste Prize
University of Cape Town
2017
Exhibitions
Celeste Prize 2017, 9th edition by Fatoş Üstek
OXO Tower Wharf
2017
Works
Cry When Flowers Fall in the Morning
Studio
2017
Exhibitions
Turbine Art Fair
Turbine Hall
2017
Works
Matisse and the People of the Night
Studio
2017
Works
Dancing Along Alone
Studio
2017
Exhibitions
Be Kind, Please Rewind
Gallery MOMO
2017
Exhibitions
Marked
Eclectica Print Gallery
2017
Works
Still-life with Three Suspended Bodies
Studio
2017
Exhibitions
Paradise Regained
Eclectica Contemporary
2016
Works
The Festival of Insignificance
Studio
2016
Exhibitions
Meditative Moments
Müllers Gallery
2016
Exhibitions
By Way of Hand
Cape Town School of Photography
2016
Exhibitions
Focus
Jan Royce Gallery
2014
Works
From Now to Then
Studio
Contact
Phone(De) : +49 176 43229331
Email : kyusang.q.lee@gmail.com
Instagram : kyusanglee_
Phone(Kr) : +82 10 3895 0550
SS17
Exhibitions
2017
Gallery MOMO


SS17
7 December – 13 January 2017
Opening Wednesday, 6 December at 18:00

Gallery MOMO Cape Town is proud to present SS17, a group exhibition showcasing the work of several emerging young artists from South Africa and the broader continent, who are challenging conventional art practices through new and exciting techniques. Spanning diverse media ranging from sculpture, painting, printmaking, to embroidery and video, each artist is forging their own idiosyncratic and distinctive path.

Threading performative elements through sculpture, photography and video, Sethembile Msezane utilises the visual language of history and mythmaking to address the paucity of black female bodies in public constructs of commemoration and monumentalisation. Bridging the gap between arts and sciences, Martin Wilson makes uses of non-traditional carbon-based materials such as organic remains, ash, charcoal, graphite and oil in his sculptural works in order to explore the chaotic, fluctuating and unpredictable spaces between so-called rational knowledge production. Tiago Rodrigues’s sculptures refer to predominantly Catholic iconography in order to critique the misappropriation of religious belief into oppressive patriarchal structures of control and penitence.

For Kenrick McFarlane, the rich history and versatility of oil paint serves as a vehicle through which to explore complex reflections on the impossible co-existence of violence and actualised humanity. Effortlessly shifting between painting, drawing, and striking, socially engaged installation, multi-media artist Modupeola Fadugba examines cultural identity, social justice, game theory, and the art world within the socio-political landscape of Nigeria and the greater global economy. In Jo Voysey’s examinations of the complex relationship between humans and animals, medicinal remedies such as Mercurochrome, charcoal tablets, Friar’s Balsam, iodine tincture, potassium permanganate, Med-Lemon, Gastropect, and copper sulphate are repurposed as extremely unconventional painting materials.

Bonolo Kavula makes use of found materials and banal objects to push the medium of printmaking into schizophrenic abstract territory, contrasting this with frequently humorous video works centered on recurring gestures and inner monologues. Mbali Dlamini uses her experiments in silkscreening techniques to explore the relationship between colour and African spirituality though printmaking. By combining watercolour and monotype processes, Amber Moir’s work facilitates a dialogue between the artist’s dual interests in painting and printmaking. Iranian-born painter Sepideh Mehraban addresses the differences between the state’s representation of events and her own lived experience in Post-Revolutionary Iran.

Working through sculpture and lithography, Stephané E. Conradie hones in on the socio-economic insights that quotidian objects of South African material culture offer into what people attach value to, and how they create meaning in the private spheres of their homes. Priscilla Kennedy’s bold embroidered female figures on keffiyeh scarfs convey issues of sexuality and women’s bodies through a conversation between her medium (a traditional Middle Eastern headdress fashioned from a square scarf, typically worn by Arab people) and the striking content of her work. Gabrielle Kruger deconstructs the traditional genre of landscape painting by manipulating paint to reflect the plasticised natural environment in the age of the Anthropocene. Kyu Sang Lee approaches his photographic process as ‘painting with light’, constructing evocative surreal imagery which draws a metaphysical parallel between the time constraints of mortality and photography.

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