Phil Zheng Cai


Contact


Systemetic Critique - Open Kitchen

  • Other Curatorial Projects


Tone Check: The Skins of Korean Contemporary Painting
At-Will Adaptation: The Exhibition, A Residency-then-Exhibition
At-Will Adaptation: The Residency, A Residency-then-Exhibition
(In)directions: Queerness in Chinese Contemporary Photography
Alienation ?



  • Writings


A Mirrored Interview
The Estate of Joshua Caleb Weibley at CHART Gallery asks if we still want to play
Hyeejin Bae: Eye Candy
Nomad Photography
queerness, chinese, contemporary, photography, (in)directions
Cynthia Gutiérrez at Museo de Arte Carrillo Gil
Wu Chi-Tsung solo exhibition at Katina Museum of Art
Xiong Wei: Becoming the Masses Amongst Elites
What has to be NFT’d?
Jean-Luc Moulène Solo Exhibition at Miguel Aubrey Gallery
Yoan Capote Solo Exhibition at Jack Shainman Gallery
Take a Step: Phil Zheng Cai on the Opening of M+ Museum
Tan Siyuan - No Stopping the Wanting to Stop






This exhibition was presented and held at Eli Klein Gallery from November 16, 2024 – February 22, 2025.





Link to exhibition

Artist/Curator Interview: 
CUNY TV


Artists: 
Claire Chey, Judy Chung, Ahyun Jeon, Jenny Jisun Kim, Jean Oh, Kai Oh, Yissho Oh, Youngmin Park, Jazoo Yang


Since the Dansaekhwa movement, Korean paintings have had a strong historical connection with the concept of "skins."  This notion has further developed in recent years, as what was initially perceived as a resemblance has now progressed into a more complex relationship.  More artists are starting to resolve various conflicts—technical, psychological, social, and emotional—through flat, skin-esque surfaces.  A canvas could now become a playground where complicated emotions and mixed feelings coexist and cohabit, much like the ever-changing definition of "Chaemyeon."

Additionally, the development of the painting-skin connection carries a sociological connotation: The term Han (한), with a rich definition, has been intertwined with society for decades, and it was one of the defining emotions and pain points for generations of artists.  Intriguingly, the term Heung (흥) has been observed to be more prominent in recent years while the intensity of Han quiets down.  The two words, though pronounced similarly, bear completely opposite meanings.  The coexistence of the two opposing terms resembles the way Korean contemporary painters resolve contradictory ideas on a surface. 
This exhibition selects and highlights flat works by contemporary Korean artists in a broadly defined "painting" language, checking the tones across several spectrums: the continuous resemblance of paintings and skins; the consolidation of conceptual contradictions; and the synchronization of complex psychological conditions on one surface.  











































Images courtesy of the artists and Eli Klein Gallery.