ASIA WEEK NEW YORK EXHIBITION
Suki Seokyeong Kang: Our Spring
March 12 – April 25, 2026
Opening Reception: Thursday, March 12, 6-8pm
Poetry and Musical Performance Opening Event: Thursday, March 12 at 6:30pm (kindly RSVP)
Dear Suki: Poetry Gathering Closing Event: Saturday, April 25 at 12pm (kindly RSVP)
We are honored to present a solo exhibition of the late Korean artist Suki Seokyeong Kang (1977–2025), Our Spring, on view from March 12 through April 25, 2026. Coinciding with the one-year anniversary of the artist’s untimely passing, this exhibition stands as both a memorial and a celebration of her singular artistic vision. The presentation brings together significant sculptural and two-dimensional works from the last decade of the artist’s life and will mark the New York debut of pieces from some of Kang’s most influential series. The exhibition follows Kang’s critically acclaimed surveys at the Leeum Museum of Art (2023) and the Museum of Contemporary Art Denver (2025), highlighting the enduring and global resonance of her practice.
For Kang, art was a method of measuring how the individual inhabits the world—a practice deeply rooted in the Korean concept of Jari, denoting a “place,” “seat,” or “territory.” Initially trained in traditional Korean painting, Kang transcended the static representation of landscape, reimagining it instead as a lived experience defined by the body and its equilibrium. Working with industrial materials like steel and aluminum alongside the organic warmth of silk, thread, and hanji (Korean mulberry paper), she developed a unique visual vocabulary defined by the limits of her own physicality. The scale of her sculptures was often determined by what she could lift, carry, or embrace. Consequently, her objects exist not as monumental, imposing structures, but as tender extensions of human motion, balance, and mutual support.
Central to the exhibition is Mountain–hours, an immersive installation comprising a number of aluminum mobiles accompanied by the sound of poems inspired by these sculptures and recited in Korean by the artist. This work transforms the gallery into a surreal, kinetic terrain. Hovering at varying heights or gently grazing the floor, the mobiles rotate in conversation with the room’s invisible air currents. Constructed from bent and hammered aluminum, the sculptures feature textured, dented surfaces that catch the light, evoking the ridges of a mountain range or the brushstrokes of an ink-and-wash painting translated into three-dimensional space. The installation operates as a synesthetic environment where the boundaries between the visual and the aural dissolve, inviting the viewer to traverse a jinkyung, or “True-View” landscape that is not merely seen, but felt through the passage of time. The title itself holds a double resonance: “hours” marks the passage of time and the repetitive, cyclical nature that pervades Kang’s practice—each work a measure of accumulated labor and contemplation—while its homophonic echo of “ours” suggests a collective space of shared experience and mutual belonging.
The exhibition also features major works from the artist’s Jeong–step and Mora–nuha series, which further articulate her investigation into the structural rhythms of earthly existence. The wall-mounted Jeong–step works are grounded in the logic of the grid, referencing the Jeongganbo—a fifteenth-century Korean musical notation system where each square represents a unit of time and pitch. With the Jeong–step works of delicate silk thread framed in wood, Kang unites the delicacy of traditional Korean painting materials with hard-edged architectural structure. Layers of color in varied hues applied to the silk create subtle chromatic fields within the grid’s compartments. For Kang, the grid was not a rigid constraint, but a flexible instrument for scoring narrative, organizing movement, and framing the void.
In dialogue with these structural works, the Mora–nuha series embodies the accumulation of time as a physical substance. Drawing its name from the linguistic term for a unit smaller than a syllable, each Mora represents a discrete measure of temporal experience. Created in her studio in the Seoul neighborhood of Nuha, the works are composed of layered gouache and dust on acrylic panel—material residue captured from the artist’s daily painting practice. These works function as repositories of time, encompassing the unseen weight of temporal passage, much like the artist’s signature “mat” works, which represent a stage for the individual.
Collectively, these works showcase the artist’s profound consideration of human existence through her artistic practice, which honors the precarious yet beautiful balance required to stand alone, while also acknowledging the necessity of leaning on one another. This exhibition serves as a tribute to Suki Seokyeong Kang’s legacy—a reminder of her commitment to creating spaces where the past and present, and the individual and the collective can coalesce into a harmonious equilibrium.
On April 24, join us for Dear Suki: Poetry Gathering, a special event marking the closing of the exhibition. Organized by Brooklyn-based poet and translator Soje, the event will feature poetry readings by Hua Xi, Paloma Yannakakis, Stine An, and Yoo Heekyung. To RSVP, click here.
To learn more, click here.
RECENTLY CLOSED EXHIBITION
Davide Balliano: Abacus
February 5 – March 7, 2026
Opening Reception: Thursday, February 5, from 6–8pm
We are pleased to announce Abacus, an exhibition featuring new paintings and works on paper by New York-based artist Davide Balliano (b. 1983, Turin, Italy). On view from February 5 through March 7, 2026, the exhibition marks Balliano’s fifth solo presentation with the gallery and a significant moment in the evolution of his practice, with the debut of works in color and new series of gouaches on paper.
Long defined by his monochrome palette, Balliano has for the first time introduced shades of red and ochre into his signature geometric paintings, reflecting his ongoing exploration of the tension between order and organic flux. The arches and curves that anchor his compositions, as well as the newly introduced earthy hues, explore the idea of entropic decay and the passage of time while also drawing parallels with the architectural landscape of the artist’s native Turin. The exhibition shares its title with a poem by Sandy Florian, whose meditation on how mathematical instruments can be used to present and represent (or produce and reproduce) the natural phenomena of our world served as a conceptual point of departure for this show.
To learn more, click here.
About the Gallery
Tina Kim Gallery is widely recognized for its unique programming that emphasizes international contemporary artists, historical overviews, and independent curatorial projects. The gallery has built a platform for emerging and established artists by working closely with over twenty artists and Estates, including Pacita Abad, Ghada Amer, Tania Pérez Córdova, and Mire Lee, amongst others. Our expanding program of Asian-American and Asian diasporic artists, including Maia Ruth Lee, Minoru Niizuma, and Wook-Kyung Choi, evince the gallery’s commitment to pushing the conversation beyond national frameworks.
Founded in 2001, the gallery opened the doors to its ground-floor Chelsea exhibition space in 2014. The gallery was instrumental in introducing Korean Dansaekhwa artists such as Park Seo-Bo, Ha Chong-Hyun, and Kim Tschang-Yeul to an international audience, establishing public and institutional awareness of this critically influential group of Asian Post-War artists. The gallery partners regularly with prominent curators, scholars, and writers to produce exhibitions and publications of rigor and critical resonance.