A new group exhibition titled ‘Yay, To Have a Mouth!’ is on at the Rose Easton gallery in East London, created in collaboration with Ginny on Frederick. This show examines our complex relationship with the mouth, exploring themes from psychoanalysis to storytelling.

Mouths play a crucial role in connecting our insides to the outside world, serving various functions from eating to expressing emotions. Freud’s theories highlight how an obsession with oral behaviour can persist from childhood into adulthood, inspiring artists to create visceral works reflecting this relationship.

Key pieces include Maggi Hambling’s ‘Prelude’ featuring melting teeth, and Hannah Murray’s ‘Miss Golden’ which portrays a woman with a cigarette, echoing dangerous oral fixations. The exhibition includes works by Jenkin Van Zyl and Rebecca Ackroyd, blending themes of body horror with ecstatic expressions.

Freddie Powell, a collaboration partner, indicates the show features artists who aren’t typically showcased, resulting in a diverse mix exploring bodily and storytelling traditions. The exhibition arose from discussions about the mouth’s various roles in communication and cultural storytelling, influenced by psychoanalytic discourse.

Each artist’s work approaches oral history differently, with Jenkin Van Zyl’s grotesque cake heads providing a humorous twist. Humour is a consistent theme, as Powell mentions the campness in their programming. This playful exhibition delves into our ongoing oral preoccupations, showing that such interests continue into adulthood.

‘Yay, To Have a Mouth!’ runs until 29 March 2025 at Rose Easton gallery. Curator Emily Steer, a cultural journalist, underscores the show’s ability to provoke emotions and reactions, paralleling the complexities of the mouth itself.

The exhibition ‘Yay, To Have a Mouth!’ at Rose Easton gallery highlights the multifaceted relationship we have with our mouths, exploring themes of psychology, storytelling, and bodily representations. Featuring a variety of artists, the display provocatively intertwines humour and grotesque expressions, showcasing how oral fixations persist into adulthood. Overall, it reveals the significant impact this often-overlooked body part has on our lives.

Original Source: www.wallpaper.com

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Sang Woo Kim’s solo exhibition, “The Seer, The Seen,” marks his debut in London, showcasing at Herald St’s locations. The artist tackles themes of race, identity, and individuality through self-portraits and pigment transfer works, exploring the complexities of visibility. Kim’s dual upbringing in South Korea and the UK informs his art, where the gaze becomes an act of defiance against racism and consumerism. By reclaiming his image, Kim transforms it from a point of exploitation into a narrative of resistance, revealing a nuanced self-conception. The exhibition challenges the audience to reflect on their perceptions while navigating the blurred lines of authenticity in the social media age. Viewers are invited to consider how individual identities intersect with broader societal contexts. The exhibition is open until February 1, 2025, at Herald St and Museum St in London.

“The Seer, The Seen” embodies Sang Woo Kim’s journey through the intersections of race and identity influenced by his experiences as a South Korean artist living in the UK. The exhibition is characterised by a profound engagement with the act of seeing and being seen, positioning the artist’s self-portraits in dialogue with societal expectations and racial stereotypes. Kim’s prior career in modelling lends an additional layer of complexity, as he navigates the ownership and representation of his image amidst a culture that often commodifies identity.

Through compelling self-portraits and innovative pigment transfer works, Sang Woo Kim’s exhibition, “The Seer, The Seen,” invites viewers to reflect on the complexities of identity and representation. It serves as a powerful commentary on the tensions between individuality and societal perception, encouraging a deeper understanding of the artist’s personal narrative in a global context. The works challenge viewers to consider their roles in the representation of race and identity.

Original Source: hypebeast.com

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Sang Woo Kim’s debut solo exhibition, The Seer, The Seen, at Herald St galleries in London, reflects his journey reclaiming his image as both an artist and a model. With a career in modelling spanning a decade, Kim grapples with the complexities of his identity as a Korean man in the Western fashion realm, where he has often felt othered and fetishised. His works invite viewers to confront their own experiences of observation and racialisation, employing self-portraits and pigment transfers focusing on the gaze. The exhibition opens dialogues about the observer and the observed, challenging audiences to examine their perceptions and biases. Kim expresses his fascination with how different audiences relate to his art, especially those who share experiences of exclusion and internal conflict. This important exhibition runs until early 2025, encouraging deep introspection and understanding in the realm of identity and representation.

Sang Woo Kim, a British-Korean artist, uses his art to navigate and reclaim his identity, critiquing his past experiences in the modelling industry and the Western gaze. His past exhibitions have explored issues of representation and marginalisation, as he seeks to bridge the gap between self-image and societal perceptions. *The Seer, The Seen* marks a pivotal moment in his career, as he transitions from modelling to gaining recognition as a serious artist, promoting dialogues about race, identity, and visibility.

Sang Woo Kim’s *The Seer, The Seen* challenges visitors to reflect on their own experiences of identity and observation. His exploration of self-portraiture and the visual language of the gaze positions him uniquely in a dialogue around race and representation. As he continues to reclaim his narrative, audiences are encouraged to ponder the complexities of being both the observer and the observed. This exhibition invites meaningful interactions and personal introspection regarding identity and societal roles.

Original Source: www.anothermag.com

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