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Do Ho Suh + Po Po

July 25 – October 12, 2015

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Do Ho Suh

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January 28, 2017

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November 30, 2016

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March 12, 2015

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November 6, 2013

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Nov/Dec 2013

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November 2013

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November 2013

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May 8, 2013

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November 1, 2012

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November 2012

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June 16, 2012

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June 1, 2012

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May 31, 2012

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April 30, 2012

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April 24, 2012

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April 4, 2012

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March 31, 2012

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March 27, 2012

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January 27, 2012

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November 16, 2011

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October 31, 2011

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October 31, 2011

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October 31, 2011

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October 19, 2011

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October 13, 2011

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October 11, 2011

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October 9, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 28, 2011

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September 26, 2011

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September 26, 2011

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September 20, 2011

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September 15, 2011

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September 8, 2011

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August 31, 2011

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August 16, 2011

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May 25, 2011

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October 31, 2010

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October 31, 2010

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May 13, 2010

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March 30, 2010

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November 19, 2009

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November 17, 2009

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June 28, 2009

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June 24, 2009

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June 21, 2009

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May 18, 2009

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December 31, 2008

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October 31, 2008

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June 30, 2008

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June 30, 2008

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May 31, 2008

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May 28, 2008

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March 1, 2008

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November 29, 2007

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November 1, 2007

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September 1, 2004

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April 25, 2004

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January 27, 2004

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November 1, 2003

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October 1, 2003

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September 1, 2003

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September 1, 2003

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July 3, 2003

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July 2, 2003

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June 26, 2003

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June 13, 2003

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January 1, 2002

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October 1, 2001

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January 1, 2001

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November 1, 2000

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September 29, 2000

Artforum.com


New York Critic’s Pics

Do-Ho Suh
LEHMANN MAUPIN
540 West 26th Street
June 14-July 20
By Martha Schwendener

Is identity portable? If you've left the country of your birth, are you the same person you've always been, or a hyphenated hybrid of new identities? For immigrants, these questions are far from academic, and Do-Ho Suh, who emigrated from Korea in his late twenties, takes them to their logical conclusions. His notion of "transportable space" plays itself out in installations of translucent nylon, which he uses to re-create objects and rooms—in this case, his entire New York apartment. Walking through the installation, you get a sense of both being and nothingness: Every nook and cranny—down to the stove- and doorknobs—is carefully rendered in nylon, and yet everything is see-through, weightless as air, an apparition. You could pack this entire apartment into a suitcase. The antithesis of Rachel Whiteread's plaster space-negatives, which have become as heavy (literally and figuratively) as mausoleums, Suh's transportable spaces are both physically and psychologically light—paeans, perhaps, to the millions of people around the globe who are, by choice or necessity, on the move.

http://www.artforum.com/picks/place=New%20York?sid=4f8aedda267e1aecb9876dff9ddfe659#picks5034