Jungmin Cho

Friday, January 16 at 7 pm — Flooding the delicate membrane, an evening of readings by Zoe Brezsny (@zbrezsny ), Jungmin Cho (@nowherejmc ), Lucy Ives (@l_cy_v_s ), and Rachel James (@a_snails_tomb ), introduced by the artist herself (@mimosaechard ). Organized on the occasion of Mimosa Echard’s exhibition Facial at Amant, the readings move across scales of intimacy and alienation, from reflections on feminine plasticity to the syntax of mystic dissonance. Taking place within the exhibition space, the readings form a dialogue with the chemical and symbolic transformations that mark the artist’s work, summoning language to chart the entropic circulation of information and matter that pulse within it. Drawing from past and new work of poetry and prose, the readers consider motifs of ambient paranoia, the promise of self-care and the seduction of surfaces, teasing out the invisible structures that underwrite our attachments to objects and to one another. This program has received additional support from Étant donnés, the visual arts program of Villa Albertine (@villa.albertine ), the French Institute for Culture and Education in the United States, and Albertine Foundation. 🔗 Learn more about the program and RSVP using the link in our bio.

2025 was a year that I thought a lot about my teenage period. What I believed to be a finished chapter of wandering hadn’t actually ended; it had merely left a long and dense blank between paragraphs. In the meantime, a full century of the world now seems to turn over in cycles of twenty years. I feel like I’ll experience the Y2K and Dubai Chocolate pheonemna about five more times while I am alive. And as youth and aging accelerate at the same time, they will draw closer and closer to the same point. There, my youngest dreams and my oldest dreams will keep bickering, slowly growing fond of each other which will delay their decay. Above all, I need to extend my special gratitude to everyone and every opportunity that shared their knowledge, ideas, and perspectives with me throughout this year. For the first time in my life, I completed a study that I chose by myself. The thesis still feels shame, but it gave me keywords that will continue to guide me. Artists who encouraged me critical questioning, helped me to articulate further inquiries through building exhibition together on empathy and trust. I received endless support from many people, including faculties, my cohorts, and friends who came to see me from Korea and New York. Worked with artists I deeply admire and with inspiring production teams, and these encounters led to chains of support... First residency filled with love from wonderful artists, first grateful grant... And so, no other choices but to keep going. 십대시절을 많이 생각한 한 해였다. 끝났다고 생각했던 방황의 챕터는 그냥 문단과 문단 사이, 단단하고 긴 공백을 뒀을 뿐이었다. 그 사이에 세상의 한 세기는 이제 20년의 주기로 바뀐 듯하다. 앞으로 나는 Y2K와 두바이쫀득쿠키의 유행을 한 다섯 번 정도 더 경험할 것 같고 젊음과 노화는 점점 더 가속화되어 같은 점으로 가까워지고 거기서 나의 가장 어린 꿈과 가장 늙은 꿈은 계속해 투닥거리면서 정들어 부패하지 않을수도 있겠다싶다. 무엇보다, 올 한 해, 많은 가르침과 시선을 나눠준 모든 이들과 기회들에 특별한 감사를 전하고 싶다. 살면서 처음으로 내가 먼저 하고싶어한 공부를 마무리했고 논문은 부끄럽지만 앞으로 쥐고 나아갈 힘을 줄 키워드를 얻었다. 각자의 자리에서 나에게 질문을 하게끔만드는 작가들과 공감과 믿음의 전시를 꾸렸고 그 과정에서 패컬티, 친구들에게 다른 형태의 여러 도움을 받았다. 처음으로 레지던시를 하며 작가들과 정을 쌓았고 감사하게 그랜트도 받아봤다. 존경하는 작가님, 멋진 프로덕션팀 및 배우님들과 함께하며 좋은 인연들도 많이 만났고 그 과정에서 연쇄적으로 오는 도움의 도움을 받기도 했다. 12월에는 이를 모두 반추하며 짧은 글을 쓰기도 했다. 이 외에도 너무 많다. 감사한 일은 항상 많다. 많아서 새삼 그냥 나열해봤다. 그래서 이러나저러나 계속할 수밖에 없다.

Joyful 3 months at the NARS Foundation is coming to a close with the end of the year. Cannot believe it but here we go. Enthusiastic and thoughtful artists-in-residence share their shape of crossings to cross to you so join us! NARS Foundation is pleased to present 𝘾𝙧𝙤𝙨𝙨 𝘾𝙧𝙤𝙨𝙨𝙞𝙣𝙜𝙨 𝙩𝙤 𝘾𝙧𝙤𝙨𝙨, an exhibition featuring the Season IV, 2025 International Residency Artists: Anahita Akhavan, Jieun Cheon, Hannes Egger, Niv Gafni, Ruoxi (Jarvis) Hua, Chenta T. Laury, Shivani Mithbaokar, Ayelet Amrani Navon, Hyunjin Park, Xinan Helen Ran, Josué Morales Urbina, Giorgia Volpe, Cass Yao, and Tony Zhao, curated by NARS Curatorial Fellow Jungmin Cho @nowherejmc  ✜ The exhibition will be on view from November 21 through December 16th. ✨Opening Reception: FRIDAY, NOV 21, 6–8 PM 📍NARS Main Gallery, 4th Floor Season IV, 2025 Artists-in-Residence: Anahita Akhavan @_anahitaakhavan_ Jieun Cheon @0_uncanished_workld Hannes Egger @hannes.egger_studio Niv Gafni @niv.gafni Ruoxi (Jarvis) Hua @bullockbefriendingbard Chenta T. Laury @chentalauryart Shivani Mithbaokar @shivanimines Ayelet Amrani Navon @ayeletamraninavon Hyunjin Park @hjwsw Xinan Helen Ran @hdogthefurtrader Josué Morales Urbina Giorgia Volpe @gigilavolpe Cass Yao @cass.yao Tony Zhao @tony_zdf Click the link in our bio to learn more about the exhibition and artists! 🔗 Image: Chenta T. Laury, ‘Form Over Color’, 2025, Hand-felted wool.

For me, being in the United States, that day remained in me like a heavy void—something I had to fill, yet never truly able to be filled. Thankfully, with the opportunity to write about Yezoi Hwang’s works, I could bring a tiny fragment of that distant time I had sought, filling the void shallow. Once again, I extend my gratitude to the artist, and to everyone both inside and outside of the photographs. 당시 미국에 있던 저에게 그 날은 채워야만 하는, 그러나 절대 채워지지 않을 무거운 공백같은 것이었습니다. 황예지 작가님의 작업에 대한 글을 쓸 수 있는 기회 덕분에 그 자리로 찾아야만했던 먼 곳의 시간을 조금이나마 곁으로 가져올 수 있었습니다. 다시 한 번 작가님께, 그리고 사진의 안과 밖의 모든 분들께 감사의 인사를 전합니다. Posted @withregram • @aperturefnd Last December, South Korea found itself under martial law for the first time since the Gwangju Uprising. Yezoi Hwang took to the streets with her camera. “Flashback Diary” (2024–25) is Hwang’s (@yezoi ) documentary photography series of the protests from the moment former President Yoon Suk Yeoul declared martial law to his eventual impeachment. Hwang witnessed: While men clashed with their bodies and raised their voices in combative protest, middle-aged women stood at the front lines to protect younger women. The uniforms of the police blocking the National Assembly and confronting the protesters failed to absorb light, reflecting it instead, turning them into ghosts. In contrast, hopeful handwritten notes, ribbons, and tiny, solidaristic snowmen became fixtures of the cityscape. As Hwang states: “Photography becomes a tool that allows one individual to confront the multitude.” “To Hwang, the photographs in ‘Flashback Diary’ are not a record of fear and violence. What she aimed to record with her camera was the strength of invisibles—those who built fortresses of warmth and hospitality against violence, and brought about a slow but democratic victory,” writes Jungmin Cho. “The images act as a memoir of the artist as an autonomous woman engaging in dialogue with the social unrest surrounding her.” Now online from Aperture’s “The Seoul Issue,” see our link in bio to read more on Yezoi Hwang’s work by Jungmin Cho. All photographs: Yezoi Hwang, Flashback Diary, 2024–25

<48th WHITE NOISE : Artificial Elegance 인공우아> 48번째 화이트노이즈 전시 <인공우아>는 오늘날의 기술로 인해 변화하는 경제 구조, 그 속의 여성 및 여성 정체성을 지닌 노동자들이 받는 영향과 심화되는 문제를 관찰합니다. 젠 리우, 유해나, lololol (샤오 린과 셰릴 청), 김실비의 작품과 함께 불규칙한 근무 시간, 임금, 복리후생 등이 유연화된 노동 형태를 가리키는 “여성화된 노동(feminised labour)”을 탐구합니다. 과거 여성의 “부차적” 고용 조건으로 여겨졌던 이와 같은 특징들은 이제 표준화된 노동 조건이 되어, 네트워크 기반 디지털 기술 하에 노동자를 감시하고 주문형 서비스 산업을 확산시키며 여성화된 노동은 점점 더 다방면으로 포진되어가고 있습니다. 전시는 여성 및 여성 정체성을 가진 노동자들이 성별화된 노동 시장 속에서 착취적이고 불안정한 방식으로 노동을 강요받으며 기술의 표면 뒤로 은폐되는지를 대면합니다. 작품 속의 유머, 아이러니, 그리고 회복력을 통해, 전시는 이러한 문제들을 탐구하면서도 여성화된 노동하는 신체가 주체성을 되찾을 수 있는 방안을 모색하고자 합니다. 해당 전시는 주니 첸 (부디렉터, Para Site, 홍콩)과 조정민 (디렉터, WHITE NOISE, 서울) 의 협업 기획전입니다. Artificial Elegance is a group exhibition examining how technology reshapes work and labour within today’s shifting economic structures, with particular focus on its impact on women and women-identifying workers. Featuring Jen Liu, Sylbee Kim, lololol, and Haena Yoo, the exhibition explores “feminised labour”—work marked by irregular hours, pay, and no benefits. Once tied to women’s “secondary” employment, these precarious conditions have become standard, intensified by digital technologies that monitor workers and sustain on-demand consumer industries. Women and women-identifying workers remain disproportionately burdened by these gendered labour markets, often obscured behind sleek surfaces of technology. Through humour, irony, and resilience, the exhibition probes these dynamics while proposing ways to recouping agency over the feminised, labouring body. Artificial Elegance is curated by Junni Chen (Deputy Director, Para Site, HK) and Jungmin Cho (Director, WHITE NOISE, KR). 기간 Date: 2025. 08. 31 - 2025. 10. 12, 2-7pm (Thu-Sun) 오프닝 Opening Reception 8.31 6-8pm 장소 Location: 화이트노이즈, 서초구 방배로 42길 31-3 지하1층 WHITE NOISE, B1, Bangbae-ro 42gil 31-3, Seocho-gu, Seoul 작가 Artists: 젠 리우 Jen Liu @jenliu3 , 유해나 Haena Yoo @haenayooo , lololol @lololol_online (샤오 린 Xia Lin & 셰릴 청 Sheryl Cheung), 김실비 Sylbee Kim @sylbeekim 큐레이터 Curator : 주니 첸 Junni Chen @daytimeartclub 조정민 Jungmin Cho @nowherejmc 디자인 Design : 박미아 Mia Bak @indivisual.work

예술이 피로할 때, 테메노스 조정민 @nowherejmc 화이트노이즈 디렉터이자 독립기획자로 서울과 뉴욕을 오가며 큐레이팅이라 불리는 관련된 일들을 한다. 세상 곳곳에 숨겨진 이스터에그를 발굴하길 좋아하며 호흡이 긴 예술의 생산과 소비를 고민하고 있다.  #CAVAJournal 은 문화 예술적 관점을 경유한 자유로운 의견의 장입니다. 동시대 작업자들의 의미 있는 이야기를 만나보세요.

AHL Foundation has announced the selection of Jungmin Cho @nowherejmc as the recipient of this year’s AHL-Chun Family Foundation Curatorial Open Call grant. Founded in 2007 by businessman Chun Myung-guk, the Chun Family Foundation has awarded scholarships to over ten Korean students annually. Chairman Chun Myung-guk is actively engaged in philanthropic work throughout the Korean community, as well as in scholarship projects to support students. Since 2017, the AHL Foundation has selected curatorial fellows with the support of the Chun Family Foundation, providing grants and nurturing Korean exhibition planners. In 2024, the AHL Foundation and the Chun Family Foundation launched the Curatorial Open Call grant through a direct sponsorship agreement. Curators selected for the Curatorial Open Call grant will have the opportunity to curate exhibitions at the AHL Foundation Gallery (2605 Frederick Douglass Blvd., #C1, New York, NY 10030) and promote diverse artists within the New York art scene. Jungmin Cho, the recipient of the 2025 AHL-Chun Family Foundation Curatorial Open Call, is an independent curator and writer based in Seoul and New York, as well as the founder and director of WHITE NOISE @whitenoiseseoul —an art space and platform in Seoul dedicated to fostering artistic experimentation and building global art communities while exploring the structures of knowledge and value production since 2018. She tries to pose accessible yet critical questions to the world through art. Her current interest explores Korean modernity and its ongoing transformation of emotional and material residues, focusing on how these elements are symbolized and commodified in art and pop culture from a microscopic lens. 🔗 Click the link in bio to read the full press release.

Joy and lessons have always been here throughout this journey, with amazing artists and endless support from faculties and friends. So this thesis show is coming next week~ If you have a plan to visit, let me know! 예, 뭐... 대학원 졸업전시라는 걸 합니다. 혹시라도 뉴욕 방문 예정이 있으실 시, 고려해봐주시면 매우 황송할 듯 합니다. <The Edge of Belongings> Artists: Eugene Jung @newgenejung , boma pak @b__o__m__a , Jiajia Zhang @jiajiahefei , Bruno Zhu @brunozhu Curated by Jungmin Cho @nowherejmc April 5 - May 25, as part of the CCS Bard @ccsbard 2025 Graduate Student Exhibitions and Projects. Opening reception April 5, 1pm-4pm. ⁠ ⁠ Ubiquitous consumer goods with designated lifespans, from digital devices to fast fashion and souvenirs to construction materials, carry a dual weight: physical and emotional. We form real bonds with them, yet these items are intended to become obsolete, outmoded, or unwanted, encouraging repeat consumption and disposal. This exhibition—featuring Eugene Jung, boma pak, Jiajia Zhang, and Bruno Zhu—observes the unexpected intimacies we feel with common and disposable objects and how these connections reflect broader socioeconomic structures. 패스트 패션부터 기념품, 디지털 기기, 건축 자재에 이르기까지 수명이 정해진 일상적 소비재는 물리적이고 감정적인 이중의 무게를 지니고 있습니다. 우리는 이것들과 깊은 유대감을 형성하지만, 이러한 물품들은 어느 순간 쓸모없게 되거나 구식이 되거나, 혹은 더 이상 원치 않게 되면서 반복적인 소비와 폐기를 조장합니다. 정유진, 박보마, 지아지아 장, 브루노 주가 함께하는 이 전시는 우리 주변의 흔한 버릴 수 있는 물건들과 맺는 예상치 못한 친밀감과 이러한 연결이 어떻게 더 넓은 사회경제적 구조를 반영하는지를 관찰합니다. Design by Jin Lee @jin_tonique

When I heat food in the microwave for more than 5 minutes and hear the turntable wobbling, I imagine the brink of an explosion and, in a hurry, lean back instinctively while stretching my arm out to press the stop button. As I check the valves of a radiator that never quite works, I sniff the air, wondering if gas might be leaking. While driving my old, worn-out car, I straighten my back, nervously watching for any small, deep potholes lurking along the edge of the road that might tear the tires and leave me with a repair bill. At the end of such a day, even in my soft, cozy bed, I fall into the edge of a sleep. Yet, as my heavy body weighs down and cuts off circulation, I wait for the numb, momentarily detached fingers to recover, sensing the reason behind my light sleep: the notion that something massive might happen if I am not awaken. Through my fatigued, reclined esophagus, the tiny but thick bone from a white-fleshed fish I thought I could chew and swallow rises back up. I try to retch up optimistic abstractions and neutrality, which never cannot be a protective packaging for evasion nor a safeguard for rights. My old, indigested sharp sleep was piling up around my jaw, esophagus, and shoulders stiffly. I realized this while still feeling number 2024 unappealing. + Random photo picks during the second half of the year. I deliver fully digested, deep gratitude to everyone about being with me. 🎆📡💎 전자레인지를 5분 이상 길게 돌리다 회전판이 흔들리는 소리가 들리면 폭파 일부 직전을 상상하며 괜히 서둘러 몸은 뒤로 제끼고 팔을 뻗어 취소 버튼을 누른다. 작동이 잘 안되는 라디에이터의 밸브를 여기저기 확인하다가 가스가 새지는 않을까 코를 킁킁대본다. 나의 낡고 낡은 차의 바퀴가 길 가장자리에 도사리고 있는 작고 깊은 웅덩이에 찢어져 수리비가 들까 허리를 곧추 세우고 가장 차에 가까운 곳까지 시선을 두며 운전을 한다. 그런 하루의 끝, 폭신한 침대에서도 선잠에 든다. 와중에 무거운 내 몸뚱아리에 짓눌려 저리다 못해 완전히 잠시 분리된 손가락의 회복을 기다리며, 깨어있지 않으면 큰 일이 날 수도 있다는 선잠의 이유를 감각한다. 누워있던 식도로는 흰 살 생선 속 씹어삼킬 수 있을 줄 알았던 뼈가 올라오며 회피의 포장이 될 수 없고 권리의 보호장치가 아닌 낙관적 추상과 중립을 게워낸다. 나의 오래된 선잠은 소화되지 못한 채 턱과 식도와 어깨의 주변에 뻐근히 쌓여가고 있었다. 여전히 입에 붙지 않는 2024년이란 숫자 속에서 나는 이를 알았다. + 하반기부터의 랜덤사진모음과 함께 2024 한 해도 저와 여러모로 함께해주신 모든 분들께만큼은 꼭꼭 씹어 풀소화된 산뜻한 감사를 전합니다 🫀🌀🧩

Such a massive honor to participate this year upcoming Untitled Miami @untitledartfairs as a guest curator with amazing Kathy Huang @_kathyhuang_ ! It has been making 2024 special since the beginning of this year. So wrapping up this year with Untitled will be definitely unforgettable lovely time with warm sea breeze in December. Sincerely huge thanks to Clara @clara_andradepereira giving me this opportunity (Your energy is everything!) and all the Untitled team who put all of their efforts to make this happen. Plus, enormous thanks to all the people who are participating with me. Please hit me up if you are in Miami and looking forward to seeing the fair and everyone 🦭 올해 언타이틀드 마이애미 아트페어에 게스트 큐레이터로 참여합니다. 혹여나 페어 기간에 마이애미에 오신다면 연락을 주십시요… 이렇게 바다를 보며 올해 마무리 준비를 🌊 Posted @withregram • @untitledartfairs 🤝 Meet @nowherejmc one of #Untitled2024’s curators. As part of the curatorial committee, Jungmin will be overseeing the exhibitor selection process, emphasizing values of curatorial integrity and the amplification of under-represented voices in line with this year’s focus of dialogue between East and West. Jungmin is an independent curator and director of the art space @whitenoiseseoul , dedicated to breaking down boundaries between mainstream and underground, commercial and non-profit, focusing on accessibility. Works of White Noise and Jungmin have been featured in @theartnewspaper.official , @hyundai.artlab , @nytimes and more. Currently Jungmin is completing her graduate studies at the Center for Curatorial Studies at @ccsbard . Stay tuned for more details on #Untitled2024. 📷 : Jungmin Cho

I am very grateful to contribute a writing for Jaeheon Lee’s solo show at Management gallery. It was pleasure for me to think his painting with the Korean art history and the culture in South Korea nowadays. I truly respect his care about the art history and continuous pursuit of paintings. Check out the full text at Management gallery website. 이재헌 작가님의 미국에서의 첫 개인전에 글을 썼습니다. 작가님의 서구적 페인팅 뒤에 내재된 한국 회화사에 대한 고민과 오늘날의 한국성에 대한 고찰을 묶어 글을 쓰는 것은 제게 흥미로운 일이었습니다. 긴 시간 꾸준히 이어오신 작가님의 프렉티스를 공유해주심에 감사드립니다. Posted @withregram • @management.nyc Dear [FName], We are very pleased to present Jaeheon Lee’s solo exhibition, Ghosts in the Garden. This will be the Korean painter’s first solo exhibition in New York in nearly a decade. Sincerely, Management Jaeheon Lee (b. 1976 in Ulgin, South Korea) draws on a multitude of influences, synthesizing the techniques of Western painting into a unique amalgamated style that brings Korean cultural references and his personal thoughts on the contemporary human condition into dynamic dialogue with the Western canon. Lee aims to bridge the gap between the historical Korean painting tradition and contemporary Korean culture, closing the historical disconnect in figurative painting caused by the Westernization and modernization of the country after Japanese occupation. With a particular spirituality and poetics that permeate his burshwork, Lee pursues the existential shape of the human figure by repetitively painting and erasing. The effervescent subjects populating Lee’s paintings, stripped of individual identity, tend to coalesce into a single figure representing for him the state of human civilization in the 21st century. They are beings akin to ghosts, suspended in a state between life and death, between being and memory. @white.castle.motel #jaeheonlee #managementnyc

LA의 Murmurs 갤러리에서 진행되는 유해나의 개인전에 서문으로 참여합니다. 일상 속에 내재된 기괴함을 추출하는 그녀… LA에 계시다면 들러보시길! Honor to contribute exhibition text for Haena Yoo’s solo show at Murmurs🫚 Check out if you are in LA! @haenayooo @murmurs.la <Self Love Club> Opening this Saturday evening 9/14 from 6-9pm 🫧 SELF LOVE –– “LOVE YOURSELF.” It’s an undeniably great phrase. Regardless of time, place, or culture, numerous people – from religious figures and philosophers to pop stars—those so called “The Greats”—have all preached the virtues of self-love. Like Laozi’s words “Because one accepts oneself, the whole world accepts one,” continuous emphasis on the importance of self-love has established it as the ideal “lifestyle” nowadays, with well-being, a healthy routine of caring for both body and mind, as its foundation. Get ready with me to go to yoga: Light up a stick of Nag Champa incense, a head-to-toe  Lululemon fit, and learn asanas from an app that costs $14.99 a month on your smartphone, then washing hair with an aromatherapy shampoo, and applying an anti-aging cream infused with ginseng extract. A pricey smoothie made with 12 ingredients, including protein and collagen might be able to make your day slightly more special. Isn’t it familiar? Pretty sure, we are all into it. In this exhibition Haena Yoo, who has been observing how distorted histories in everyday micro consumption lubricate capitalism through her father’s soy sauce factory and her mother’s personal cosmetic products, turns her attention to her sister’s interest in yoga and pilates, focusing on the self-care industry and culture. View full exhibition text on our website murmurs.la Words by Jungmin Cho . Haena Yoo is a multidisciplinary artist who works between Seoul and Los Angeles. Yoo makes sculptures and installations constructed with found materials, video, sound, and smell, exploring themes of labor, identity, and global capitalism. Through a tinkering process, she uses materials borrowed from different minority cultures, making operative systems that symbolize social interactions and power structures resulting from neo-globalization. This is the artists second solo exhibition at Murmurs.