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Museum Exhibition

Mori Art Museum
Do Ho Suh + Po Po

July 25 – October 12, 2015

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Do Ho Suh

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Winter 2015

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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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February 2015

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October 16, 2014

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October 5, 2014

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September 25, 2014

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September 14, 2014

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February 19, 2014

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December 2013

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November 6, 2013

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Nov/Dec 2013

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Modern Painters (Asia Edition)

November 2013

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November 2013

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May 8, 2013

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Sculpture Magazine Personal Histories: Do Ho Suh

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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Artdaily.org

May 18, 2009

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Surface Design Journal Winter 2009, Volume 33, No. 2

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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November 1, 2007

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February 1, 2007

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December 1, 2005

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September 1, 2004

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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 23, 2003

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June 13, 2003

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March 1, 2003

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July 1, 2002

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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

Architectural Record


Snapshot
By Sara Hart

Korean-born Do-Ho Suh is an artist of unusual range. His site-specific installations focus on many subjects - cultural identity, ethnic values, collective consciousness - in a variety of media, including resin, fabric, thread, and rubber. Because he lives in two cities and two cultures, the United States and South Korea, he seems to struggle with the psychic vertigo that the culture shock brings him. A part-time New York resident, he exhibits his installations around this country but fabricates most of the pieces in his other home, Seoul. As someone of two worlds, Suh has found a way to transport a facsimile of the place he's left to the place he currently occupies.

In 1999, the artist began making full-size replicas of his dwellings in Seoul and New York. He recreated every detail and fixture - toilets, light switches, cabinetry, bookshelves, and even appliances. In architectural parlance, these structures might be called 3D as-builts, but usually such pieces merely represent the existing reality of a place. Suh, by contrast, has invented a parallel universe out of translucent fabric.

West 22nd St., Apt. A (2001) is the full-scale replica of Suh's apartment in Manhattan's Chelsea neighborhood. First, he measured and recorded the entire place. Then he devised sewing patterns, from which seamstresses in Seoul fabricated every element in the apartment out of gray nylon.

The experience is not unlike some dream sequence in which reality - in this case, the reality of structure, material, and texture - has been drained, leaving only a gauzy, ghostly memory. Some visitors, especially architects, will find Apt. A's interiors limp, sad, and vulnerable. Others will simply immerse themselves in the hallucination. Fortunately, the floor retains its solidity and strength, grounding the experience and reminding visitors that the dream is, in fact, an art installation. The work remains an intellectual commen-tary on the psychological comfort of familiarity.

Suh's other similar investigations are perhaps more sensual and less haunting. He also stitched a likeness of his childhood home in Seoul in green silk organza and made Staircase (2003), a red nylon interpretation of 348 West 22nd Street's stair, cur-rently on view at the Arthur M. Sackler Gallery in Washington, D.C. (through September 26). Staircase dangles from the ceiling, hovering inches above the floor. It is more sculptural than spatial, which by com-parison makes Apt. A all the more visceral.