Blue Gallery proudlv hosted a solo exhibition of new and recent works by South Korean artist Hyun Cho (born in 1982, Seoul, South Korea). Titled “Electric Supermoon,” the show was curated by Quadro Zero and presented at Blue Gallery from June 9 to July 7, 2024. Hyun Cho’s first solo exhibition in Venice marked a significant return for the artist, who debuted in Italy in 2018 with a show at Spazio Display in Parma and participated in a residency at the prestigious Palazzo Monti in Brescia the same year.
“Electric Supermoon” featured a selection of new and recent works, including installations, sculptures, LED panels, and textual compositions. The exhibition explored themes of urban iconography, ambiguous symbols, and the language of pop culture. The works reflected on the ephemeral and ambiguous nature of contemporary experience, offering a perspective that oscillates between perceived reality and tangible impossibility. Cho’s ironic and rebellious approach drew inspiration from punk. seen as a cultural archetve capable of resistine commodification while raising sociopolitical questions.
The artist stated: “Through words, I aim to create a new artistic language, blending punk lyricism with pop sensibility. My short and incisive texts are designed to be catchy, sometimes provocative, to spark
reflections on messaging and the environment we navigate daily.”
Among the standout works were three pieces created in Seoul: “RIP #Blue,” “RIP #Orange,” and “Hitchhiker,” characterized by cool, metallic tones, LED displays, and pulsating lights. These elements evoked an ironic and playful atmosphere, inviting the audience to explore themes like memory, identity, and self-agency. The setup at Blue Gallery in Venice fostered a dialogue between Cho’s works and the unique aesthetics of the Venetian environment. This context enhanced the artist’s conceptual approach, drawing connections to Marcel Duchamp, Fluxus, Pop Art, and the Young British Artists, while maintaining a deeply personal and contemporary vision. The exhibition, curated by Quadro Zero in collaboration with Hyun Cho, was accompanied by a critical essay written by laria Sponda, an independent curator.
