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1 2 3. Military songs such as “The Real Man,” a product of a particular masculine culture, find popular resonance among men and women of all ages. This fact, regardless of whether they actually have experience and nostalgic memories of being in the military, …
http://www.inhwanoh.com/cv/en/
2003 “Global Priority”, Herter Art Gallery, University of Massachusetts, Amherst, U.S.A. 2003 “I Can’t Be You”, Andrew Kreps Gallery, New York, U.S.A. 2003 “Yangguang Canlan: Korean Contemporary Art”, BizArt Art Center, Eastlink and ShangArt Suzhou Creek Warehouse, Shanghai, China
https://ocula.com/artists/inhwan-oh/
If this artist is represented by an Ocula gallery network partner then the relevant gallery will be shown below. Inhwan Oh Featured Artworks. Inhwan Oh My Blind Spot-Mapping, 2014–2015 Video, 33 …
https://gyopo.us/main/2021/01/12/inhwan-oh-at-claremont-graduate-university-at-the-reef/
Jan 12, 2021 · Seoul-based artist Inhwan Oh will speak about his conceptual artworks and participatory practices in relation to the margins of visibility and queer spaces where different communities can come into being and flourish. Drawing upon his own experiences as a gay man living in South Korea, Oh’s process-driven work translates and deconstructs the ...
https://18thstreet.org/artists/inhwan-oh-2019/
Inhwan Oh was born in Seoul, where he currently lives and works. His experimental and conceptual artwork and participatory projects draw on the contexts of particular spaces and times, based on his interest in social and cultural issues.
https://4columns.org/kwon-sowon/inhwan-oh
Inhwan Oh’s Looking Out for Blind Spots (사각지대 찾기)—a densely layered, ongoing multimedia project—was first exhibited at Seoul's Willing and Dealing/Factory in 2014, and subsequently at the National Museum of Modern and Contemporary Art (MMCA) in 2015, earning Oh the prestigious Korea Artist Prize that year.
https://cocaproject.art/artists/inhwan-oh/?lang=it
Inhwan Oh Reciprocal Viewing System. 2014-2017 This project is a site-specific work, providing the audience with spatial experience by interconnecting the two physically separate exhibition spaces through the surveillance cameras installed in the exhibition space.
https://artreview.com/ara-winter-2019-review-inhwan-oh/
The political implications of this pilfered time – borrowed but never returned, and snagged for myriad reasons – are Inhwan Oh’s focus in this exhibition. Jointly presented by Los Angeles galleries Commonwealth and Council and Baik Art, the exhibition is a two-for-one affair.
http://www.inhwanoh.com/news/view/77/1
[Artist Talk] My Own Blind Spots_Dec/19/2019_School of the Art Institue of Chicago 2019 12 16
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