Join us on Thursday, April 3 for a curator-led tour of MCA Denver's spring exhibition, Suki Seokyeong Kang: Mountain⎯Hour⎯Face, on view February 21– May 4, 2025. The exhibition is co-curated by Ellen Bruss Senior Curator, Miranda Lash, and Associate Curator, Leilani Lynch, and features a wide array of works Suki Seokyeong Kang has developed over the past several years. Showcasing Kang’s deft use of materials—from hwamunseoks (traditionally woven grass mats), dyed wool, and mulberry paper, to industrial materials like steel and brass—to create wondrous and spiritual objects and installations, the exhibition brings the artist’s vision of the landscape into three dimensions. About the Curator Miranda Lash is the Ellen Bruss Chief Curator at the Museum of Contemporary Art Denver and the co-Artistic Director for the sixth iteration of the international art triennial Prospect New Orleans. Lash has organized a wide range of exhibitions including Eamon Ore-Giron: Competing with Lightning/ Rivalizando con el relámpago; Jason Moran: Bathing the Room with Blues; the retrospective Mel Chin: Rematch; Rashaad Newsome: King of Arms; and Swoon: Thalassa. In 2017, Lash and Trevor Schoonmaker co-organized the widely acclaimed exhibition Southern Accent: Seeking the American South in Contemporary Art. From 2008 to 2014 Lash was the founding curator of modern and contemporary art at the New Orleans Museum of Art. Lash currently serves as Vice President on the board of the Joan Mitchell Foundation. She holds art history degrees from Harvard University (B.A.), and the Williams College Graduate Program in the History of Art (M.A.) About the Exhibiting Artist Suki Seokyeong Kang’s (b. 1977, Seoul; lives and works in Seoul) research-driven practice spans across media, incorporating sculpture, painting, video, installation, and performance, as she investigates the notion of space and its relationship to an individual’s social position within society. Kang appropriates the formal language of the grid used in traditional Korean musical notation as a spatial and social structuring device. The grid is translated and reproduced as standing formations in her works that balance against, hinge on, and even protrude from the wall. In her works, the sculptures in the space appear and are further activated in her videos or performances. Hwamunseok—mats used in traditional Korean court dances—produced from woven sedge by Korean craftswomen. Each of these signals the minimum space an individual is provided in society. As these notations multiply, Kang configures them into a rich visual score suggesting the possibility of a collective consciousness rooted in individual action. Kang received an MA in Painting at the Royal College of Art, London (2012) and an MFA and a BFA in Oriental Painting at Ewha Womans University, Seoul (2002, 2000). Solo exhibitions have been held at Leeum Museum of Art, Seoul (2023); Musée d'Art Contemporain du Luxembourg (2019); Seoul Museum of Art (2019); Institute of Contemporary Art, Philadelphia (2018); Audiovisual Pavilion, Seoul (2015); and Gallery Factory, Seoul (2013). Selected group exhibitions have been held at 58th Venice Biennale (2019); 10th Liverpool Biennial (2018); 12th Shanghai Biennale (2018); 12th and 10th Gwangju Biennale (2018, 2016); Bloomberg New Contemporaries, London (2012); MAK Center for Art and Architecture, Los Angeles (2018); Museum of Modern and Contemporary Art, Seoul (2017); Villa Vassilieff, Paris (2016); and Seoul Museum of Art (2014). Kang is a recipient of Baloise Art Prize (2018) and Songeun Art Award (2013).

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