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In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

In my dream, I stood in a dark, empty room, blinded by the dazzling light of the projector. First rehearsal. Second rehearsal. Then, suddenly, the audience appeared before me, as I stood before them. I saw silhouettes, ghostly figures without faces. I tried to look directly into their eyes without making eye contact.

For 25 minutes, I realized Theresa Hak Kyung Cha’s wish: I became “the dream of the audience,” and the audience became my dream. Together, we shared this collective experience, and the piece was complete.

I am deeply grateful to Theresa and Tie for being the catalysts for Dictée/Exilée, to everyone who came to experience it, and to those who generously shared your feedback afterward. Your responses have shown me that a genuine connection was made.

When preparing the piece, I was very aware of the potential language and cultural barriers for the non-Spanish-speaking audience in NYC. I wondered if I’d be able to break through those differences and connect. I hoped I could.

Special thanks to @dianalopez.cultura for her unwavering support of Venezuelan artists in our complex context and for connecting me with Tie Jojima and Yudi Rafael, the visionary curators of ‘The Appearance’; to @artamericassociety and Aimé Iglesias for the kind invitation; and to Carla Lucini for guiding me through every step of the preparations with such care and grace. Working with you and the incredible team at AS was an absolute pleasure.

All images Courtesy of Americas Society. Images with logo are stills from video. Rest of images Ph. Ana Aizer.

Watch the full video through the link in my bio.

#dictéeexilée #suwonlee #artatamericassociety #theresahakkyungcha #thedreamoftheaudience #theappearance #asiandiaspora #tiejojima #yudirafael #carlalucini

Chosen Memories
Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond

April 30-Sep 9 2023
MoMA

#suwonleeart #suwonlee #chosenmemories #coleccionpatriciaphelpsdecisneros #patriciaphelpsdecisneroscollection #ineskatzenstein #juliadetchon #latinamericanart #latinamericanartists #momanyc

Chosen Memories
Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond

April 30-Sep 9 2023
MoMA

#suwonleeart #suwonlee #chosenmemories #coleccionpatriciaphelpsdecisneros #patriciaphelpsdecisneroscollection #ineskatzenstein #juliadetchon #latinamericanart #latinamericanartists #momanyc

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

Now 𝗹𝗶𝘃𝗲 on MoMA’s website: my biography, written by Horacio Ramos @hramosgram , Mellon-Marron Research Consortium Fellow at The Cisneros Institute.

It fills me with joy to see myself reflected in a text, so thank you, Horacio, for the clear and insightful interpretation of my work, and to @cppcisneros for the continuous support through the Cisneros Research Institute.
I am truly grateful 💛

Check out the other published bios of Venezuelan artists #RobertoObregon and #ClaudioPerna too.

Link in bio

#suwonlee #suwonleeart #horacioramos #cisnerosresearchinstitute #coleccioncisneros

How to Measure Time
Nuevo libro de Suwon Lee

Calipso Press @calipsopress y Goma Editora @gomaeditora presentan ‘How to Measure Time’, un libro de artista sobre el tiempo como experiencia sensible, no lineal y expandida, atravesada por la memoria, los ciclos vitales y el desplazamiento.

A través de relojes intervenidos y textos, la obra traza un recorrido donde conviven nacimiento, transformación, muerte y migración. Un tiempo fragmentado donde los momentos se superponen y se contaminan.

68 páginas en risografía, cosidas a mano. Objeto táctil donde la materialidad genera temporalidad. Diseño de portada: Iván Martínez @ivan_martinezl

📍 Presentación y firma en Madrid
4 y 5 de junio

📚 Jueves 4, 19:30 h
Presentación con Camilo Otero (Calipso Press) y Suwon Lee
Librería LAWRENCE @lawrence_madrid_
Calle de San Mateo, 12

✍️ Viernes 5, 17h
Firma en la Feria del Libro de Madrid
Indómitas, mesa 436 | Sección de edición independiente y libros experimentales

El libro ha sido presentado en ICP Photobook Fair (Nueva York) y Printed Matter LAABF (Los Ángeles).

—

‘How to Measure Time’ continúa la investigación de Suwon Lee sobre la percepción del tiempo, la memoria y la experiencia, consolidando una práctica híbrida basada en la investigación fotográfica y la narrativa visual.

Fotos ©️ Beto Gutiérrez @veresamar

How to Measure Time
Nuevo libro de Suwon Lee

Calipso Press @calipsopress y Goma Editora @gomaeditora presentan ‘How to Measure Time’, un libro de artista sobre el tiempo como experiencia sensible, no lineal y expandida, atravesada por la memoria, los ciclos vitales y el desplazamiento.

A través de relojes intervenidos y textos, la obra traza un recorrido donde conviven nacimiento, transformación, muerte y migración. Un tiempo fragmentado donde los momentos se superponen y se contaminan.

68 páginas en risografía, cosidas a mano. Objeto táctil donde la materialidad genera temporalidad. Diseño de portada: Iván Martínez @ivan_martinezl

📍 Presentación y firma en Madrid
4 y 5 de junio

📚 Jueves 4, 19:30 h
Presentación con Camilo Otero (Calipso Press) y Suwon Lee
Librería LAWRENCE @lawrence_madrid_
Calle de San Mateo, 12

✍️ Viernes 5, 17h
Firma en la Feria del Libro de Madrid
Indómitas, mesa 436 | Sección de edición independiente y libros experimentales

El libro ha sido presentado en ICP Photobook Fair (Nueva York) y Printed Matter LAABF (Los Ángeles).

—

‘How to Measure Time’ continúa la investigación de Suwon Lee sobre la percepción del tiempo, la memoria y la experiencia, consolidando una práctica híbrida basada en la investigación fotográfica y la narrativa visual.

Fotos ©️ Beto Gutiérrez @veresamar

How to Measure Time
Nuevo libro de Suwon Lee

Calipso Press @calipsopress y Goma Editora @gomaeditora presentan ‘How to Measure Time’, un libro de artista sobre el tiempo como experiencia sensible, no lineal y expandida, atravesada por la memoria, los ciclos vitales y el desplazamiento.

A través de relojes intervenidos y textos, la obra traza un recorrido donde conviven nacimiento, transformación, muerte y migración. Un tiempo fragmentado donde los momentos se superponen y se contaminan.

68 páginas en risografía, cosidas a mano. Objeto táctil donde la materialidad genera temporalidad. Diseño de portada: Iván Martínez @ivan_martinezl

📍 Presentación y firma en Madrid
4 y 5 de junio

📚 Jueves 4, 19:30 h
Presentación con Camilo Otero (Calipso Press) y Suwon Lee
Librería LAWRENCE @lawrence_madrid_
Calle de San Mateo, 12

✍️ Viernes 5, 17h
Firma en la Feria del Libro de Madrid
Indómitas, mesa 436 | Sección de edición independiente y libros experimentales

El libro ha sido presentado en ICP Photobook Fair (Nueva York) y Printed Matter LAABF (Los Ángeles).

—

‘How to Measure Time’ continúa la investigación de Suwon Lee sobre la percepción del tiempo, la memoria y la experiencia, consolidando una práctica híbrida basada en la investigación fotográfica y la narrativa visual.

Fotos ©️ Beto Gutiérrez @veresamar

How to Measure Time
Nuevo libro de Suwon Lee

Calipso Press @calipsopress y Goma Editora @gomaeditora presentan ‘How to Measure Time’, un libro de artista sobre el tiempo como experiencia sensible, no lineal y expandida, atravesada por la memoria, los ciclos vitales y el desplazamiento.

A través de relojes intervenidos y textos, la obra traza un recorrido donde conviven nacimiento, transformación, muerte y migración. Un tiempo fragmentado donde los momentos se superponen y se contaminan.

68 páginas en risografía, cosidas a mano. Objeto táctil donde la materialidad genera temporalidad. Diseño de portada: Iván Martínez @ivan_martinezl

📍 Presentación y firma en Madrid
4 y 5 de junio

📚 Jueves 4, 19:30 h
Presentación con Camilo Otero (Calipso Press) y Suwon Lee
Librería LAWRENCE @lawrence_madrid_
Calle de San Mateo, 12

✍️ Viernes 5, 17h
Firma en la Feria del Libro de Madrid
Indómitas, mesa 436 | Sección de edición independiente y libros experimentales

El libro ha sido presentado en ICP Photobook Fair (Nueva York) y Printed Matter LAABF (Los Ángeles).

—

‘How to Measure Time’ continúa la investigación de Suwon Lee sobre la percepción del tiempo, la memoria y la experiencia, consolidando una práctica híbrida basada en la investigación fotográfica y la narrativa visual.

Fotos ©️ Beto Gutiérrez @veresamar

How to Measure Time
Nuevo libro de Suwon Lee

Calipso Press @calipsopress y Goma Editora @gomaeditora presentan ‘How to Measure Time’, un libro de artista sobre el tiempo como experiencia sensible, no lineal y expandida, atravesada por la memoria, los ciclos vitales y el desplazamiento.

A través de relojes intervenidos y textos, la obra traza un recorrido donde conviven nacimiento, transformación, muerte y migración. Un tiempo fragmentado donde los momentos se superponen y se contaminan.

68 páginas en risografía, cosidas a mano. Objeto táctil donde la materialidad genera temporalidad. Diseño de portada: Iván Martínez @ivan_martinezl

📍 Presentación y firma en Madrid
4 y 5 de junio

📚 Jueves 4, 19:30 h
Presentación con Camilo Otero (Calipso Press) y Suwon Lee
Librería LAWRENCE @lawrence_madrid_
Calle de San Mateo, 12

✍️ Viernes 5, 17h
Firma en la Feria del Libro de Madrid
Indómitas, mesa 436 | Sección de edición independiente y libros experimentales

El libro ha sido presentado en ICP Photobook Fair (Nueva York) y Printed Matter LAABF (Los Ángeles).

—

‘How to Measure Time’ continúa la investigación de Suwon Lee sobre la percepción del tiempo, la memoria y la experiencia, consolidando una práctica híbrida basada en la investigación fotográfica y la narrativa visual.

Fotos ©️ Beto Gutiérrez @veresamar

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

🎉 Felices de presentar “How to Measure Time”, co-editado con Calipso Press (@calipsopress), la fantástica editorial que tiende puentes entre Cali y Nueva York a través de la risografía.

Suwon Lee (@xuwonx), artista visual autora de “Mr & Mrs” (Goma + Editorial RM), reúne una selección curada de su serie de 2021, “How to Measure Time”.

En este nuevo libro, una sucesión de relojes impresos en risografía da compás a una exploración de la experiencia subjetiva y emocional del tiempo a través de la migración, el desplazamiento y la memoria.

En Los Ángeles, “How to Measure Time” está disponible en la Printed Matter’s LA Art Book Fair, hasta el 10 de mayo en el stand G5 de Goma Editora. Y en Nueva York, podés conseguirlo en el stand de Calipso en el Photobook Fest del @icp.

-
🥳 Thrilled to present “How to Measure Time”, co-published with the fantastic Calipso Press, bridging Cali and New York through riso.

Suwon Lee, visual artist and author of “Mr & Mrs” (Goma + Editorial RM), curates a selection from her 2021 series, “How to Measure Time”.

In this new book, a succession of clocks printed in risograph set the pace for an exploration of the subjective and emotional experience of time through migration, displacement, and memory.

In Los Angeles, “How to Measure Time” is available at Printed Matter’s LA Art Book Fair, through May 10 at Booth G5 of Goma Editora. In New York, you can find it at Calipso’s booth at the @icp Photobook Fest.
•
•
•
#gomaeditora #suwonlee #newbook #risograph #calipsopress

Título: “How to Measure Time”
Autora: Suwon Lee
Tapa dura, cosido. 18 x 18 cm
Coedición: Calipso Press y Goma Editora
Diseño de tapa: Iván Martínez (@ivan_martinezl)
Impreso en risografía en los talleres de Calipso Press.
2026

Coming soon: How to Measure Time 📖

So excited to reveal this new publication with @calipsopress & @gomaeditora

Featuring a curated selection of my 2021 series

Cover design by @ivan_martinezl

Deep gratitude to @dianacuellarledezma for the introduction

More updates to come 🕊️✨

#artistbook #photobook #risograph

Coming soon: How to Measure Time 📖

So excited to reveal this new publication with @calipsopress & @gomaeditora

Featuring a curated selection of my 2021 series

Cover design by @ivan_martinezl

Deep gratitude to @dianacuellarledezma for the introduction

More updates to come 🕊️✨

#artistbook #photobook #risograph

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Cerramos el Mes de la Mujer con “Mr & Mrs”, un fotolibro que reconstruye, a partir de archivos familiares, las vidas de los abuelos de su autora, Suwon Lee.

Hoy, Mrs 👁️

Jeong Hwan Park, “la abuela del sombrero”, es recordada tanto por su estilo como por su carácter. Cultivaba sus amistades, salía, viajaba cuando podía, pintaba sus labios de fucsia. Había en esos gestos elegancia y firmeza, pero sobre todo un impulso vital incansable.

Al mismo tiempo, su manera de estar con los otros no respondía del todo a las expectativas más convencionales de la época: la Corea de mediados del siglo XX. Su forma de vincularse, más reservada, menos inclinada a ciertos gestos esperables, deja ver también otra manera posible de habitar esos mandatos.

Ahí descubrimos a Mrs, no como una mitad, sino como una potente historia en sí misma.

Título: “Mr & Mrs”
Autora: Suwon Lee @xuwonx
Editoriales: @editorial_rm + @gomaeditora
Diseño: Jaime Narváez @jaimenarvaezrivero
Textos: Horacio Fernández
•
•
•
#gomaeditora #fotolibro #editorial #buenosaires

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Dictée/Exilée (2024)
Serie de seis collages digitales impresos en papel

Esta serie confronta la invisibilización de los presos políticos en Venezuela, superponiendo imágenes de cárceles como La Tumba, Ramo Verde, El Helicoide o Tocorón con paisajes naturales del país. Los textos de “Exilée” de Theresa Hak Kyung Cha atraviesan las piezas, explorando borramiento, memoria e invisibilidad. “Exilée” no busca resolver el exilio, sino habitarlo y hacerlo visible.

Estas obras sostienen la memoria frente al silencio, situándose entre aparición y desaparición, territorio y encierro, lenguaje y silencio.

”La Montaña Sagrada” clausura hoy 27 de marzo en @sorondo_projects
Visita guiada con la artista a las 17h
_

Dictée/Exilée (2024)
Series of six digital collages printed on paper

This series confronts the invisibilization of political prisoners in Venezuela, overlaying images of prisons such as La Tumba, Ramo Verde, El Helicoide, and Tocorón with natural landscapes of the country. The texts from ”Exilée” by Theresa Hak Kyung Cha run through the pieces, exploring erasure, memory, and invisibility. ”Exilée” does not aim to resolve exile, but to inhabit it and make it visible.

These works uphold memory in the face of silence, existing between appearance and disappearance, territory and confinement, language and silence.

”La Montaña Sagrada” closing today March 27 at @sorondo_projects
Guided visit with the artist at 17h

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Suwon Lee at Sorondo, Barcelona
“La montaña sagrada (The Sacred Mountain)”
January – March, 2026
Photos: courtesy of the artist and Sorondo, Barcelona
@sorondo_projects @xuwonx @juliana_sorondo

Pico Bolívar II
2026
Oil pigment stick and medium on pigmented
inkjet print mounted on Dibond
110 x 154 cm

In reaching the summit of a mountain
we do not only arrive at its highest point
but also at its center

where the vertical and horizontal axes meet
a point of balance

What matters most
is not the summit
but what we carry from it

the possibility of bringing that center within us
as we descend

__

La Montaña Sagrada
Last week at @sorondo_projects

New on my blog:
The English translation of Alejandra Villasmil’s essay on my Sacred Mountains series, originally published in @artishockrevista

Read the full text → link in bio

Thank you @alevillasmil for this beautiful text 🌻

On view at @sorondo_projects until March 27

New on my blog:
The English translation of Alejandra Villasmil’s essay on my Sacred Mountains series, originally published in @artishockrevista

Read the full text → link in bio

Thank you @alevillasmil for this beautiful text 🌻

On view at @sorondo_projects until March 27

New on my blog:
The English translation of Alejandra Villasmil’s essay on my Sacred Mountains series, originally published in @artishockrevista

Read the full text → link in bio

Thank you @alevillasmil for this beautiful text 🌻

On view at @sorondo_projects until March 27

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.

En su primera exposición en Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Corea, 1977) presenta una nueva serie de trabajos que marca un punto de inflexión en su investigación sobre la imagen fotográfica. Si en obras anteriores la artista había explorado la fotografía como superficie de inscripción de la luz y como herramienta para pensar la memoria y la identidad, aquí introduce un desplazamiento decisivo: la intervención directa con barra de pigmento al óleo. Este gesto material desplaza a la fotografía de su función documental hacia una condición más densa y sensorial, donde la superficie se vuelve campo de energía y tensión perceptiva.

In her first exhibition at Sorondo Projects (Barcelona), Suwon Lee (Venezuela/Korea, 1977) presents a new series of works that marks a turning point in her research on the photographic image. Whereas in previous works the artist had explored photography as a surface for inscribing light and as a tool for thinking about memory and identity, here she introduces a decisive shift: direct intervention with oil pigment sticks. This material gesture shifts photography from its documentary function to a denser, more sensory condition, where the surface becomes a field of energy and perceptual tension.

➡ Sobre/About Sorondo

Sorondo es un espacio que entiende la exposición como un acto de hospitalidad: un lugar donde las identidades en tránsito, los cruces culturales y la experimentación material encuentran un contexto de escucha, cuidado y proyección. Su fundadora, Juliana Sorondo (Venezuela), ha convertido su propia experiencia migrante en una ética de trabajo basada en el acompañamiento sensible de artistas latinoamericanos y en la construcción de comunidad.

Sorondo is a space that understands exhibition as an act of hospitality: a place where identities in transit, cultural crossings, and material experimentation find a context of listening, care, and projection. Its founder, Juliana Sorondo (Venezuela), has turned her own migrant experience into a work ethic based on sensitively accompanying Latin American artists and building community.