Bradwolff & Partners [in collaboration with Art Affairs] is pleased to announce its participation at Unseen 2022 with works by Eva-Fiore Kovacovsky, Katrin Korfmann and Jaehun Park. Visit us at booth 27!

katrin korfmann, sanctuary, hanami, amsterdamse bos, 2022

145 x 100 cm

eva-fiore kovacovsky, fotogramm / thistle, leaf negative print of sow thistle sonchus oleraceus, unique c-print, 2014

jaehun park, holy lamp, 2022
3d simulation video on stretched led bar
1920 x158 px / 59 x 6.5 cm seamless loop 05:53 min

Reflections & Perspectives

Bradwolff & Partners is delighted to present the works of Katrin Korfmann and Eva-Fiore Kovacovsky this year at Unseen, in collaboration with Art Affairs. We are also presenting a solo installation by Jaehun Park in the exhibition Unbound in the Transformatorhuis, next to the iconic Gasholder at the Westergas. Our encompassing title Reflections & Perspectives allows the work of these three artists to be seen in a dialogical setting. Visit us at booth 27!

Katrin Korfmann is well known for her characteristic bird’s eye view. The works she creates stem from observing encounters in the public space of our daily lives. During Unseen, we will be presenting two of her new works. Firstly ‘Hanami’, the cherry blossom park in Amsterdamse Bos, which delves into the relationship between humans and plants. The scene is created by the different colours of the park and, in combination with height and depth differences, make for an intimate vista. The second work, ‘Back Side’ is from the ‘Homo Ludens’ series, in which she focuses on the ‘playing human’ within their given context. Individuals dynamically come together, without actually being together. Bright colours and sharp shadows subtly seduce the viewer into the position of macro and micro voyeur. We are also very pleased with her nomination for the Meijburg Art Commission 2022. The five nominees will show their work during Unseen in the Westergas Meijburg Lounge in the Westerliefde. The winner will be announced during the opening on 15 September.

Eva-Fiore Kovacovsky allows nature to resonate in her artistic practice as something that gains territory on the one hand and is framed by humans on the other. Her photograms are experiments with materials she finds in nature. A photogram is a print of an object that has been placed directly on light-sensitive material and then exposed. On view during Unseen is a grid of leaf negative prints she created working with leaves gnawed at by various insects. She investigates nature’s own voice that reverberates poetically through the images. Her new book will be published by Roma and a dummy will be on view during Unseen.

All three artists wonder whether we should tame the world around us, but especially ourselves. Their perspectives, however, are completely different. While Kovacovsky focuses on nature as working material, Korfmann concentrates on stimulating playfulness. In a world where everything is thought up, controlled and systematic, she wishes people more creativity.

Jaehun Park, in turn, addresses complex issues that have taken hold of the Earth. The fields of tension he explores question mankind’s attitude that needs to shift from ambiguous to activist. Humans have been exploiting the globe for their own gain for so long, he argues, that they must now take responsibility.

Their works shift your gaze and put the – often uncomfortable – relationship between people and their environment in a different perspective. Culture and nature are regularly regarded as two diametrically opposed entities, especially in a traditionally tidy country like the Netherlands. To this day, humans are still trying to influence nature, to tame, restrict and bend it to their will. But does nature allow this?

Unbound Jaehun Park ‘Highway Epigram’ 2022

Jaehun Park is showing simulated video works in Unbound. His works are created using 3D scanning technology to translate physical substances into virtual substances, such as polygon structures and point cloud systems (a set of data points in space). He uses hyper-realistic 3D rendering to stage mass-produced objects – as vessels of capitalist ideology – in a desolate digital space or to situate them in ‘ritualistic’ installations depicting impossible natural phenomena. His virtual works address current problematic events on Earth by zooming in on cleverly chosen metaphors and objects.

With his latest work ‘Highway Epigram’, Jaehun Park employed 3D scanning data such as point cloud and photogrammetry technology to depict the reality of our world. ‘Highway Epigram’ offers a piercing look at the current world we live in, including the war in Ukraine, hyperinflation, the cryptocurrency bubble economy, the oil crisis, the Trump wall (and the Mexican border), the threat of World War III, and so on. The fundamental question that emerges from this work is, “Are economic growth and our progress the same?” For this video, he explores the sensation of speed with the aid of road signs and infrastructures on motorways, explosions of buildings, oil pumps and drilling machines, Nordstream gas pipelines, etc. Driving in a car on the motorway, we don’t feel the actual speed of our body in motion. However, should the car crash, our body is unable to handle the sheer force of acceleration and will end up destroyed. Within a few years, Tesla’s autonomous driving vehicle will be a dominant feature on the motorway. Park uses the metaphor of the motorway, as an allegory of the fragmented objects and simulation of point cloud particles from the detonated building, to reveal the world laid bare. Abstract brushstrokes rendered in 3D space derive from the trajectory of fragments of a collision.

With his simulation algorithms, manipulated and staged virtual landscapes and installations, he reveals the tip of the real world – oversaturated by hideous and glorious moments of capitalism. Desire, vanity, guilt, irrationality and debt become resources in the ‘ritual’ space of capitalism. The concept of hell manifests itself not after death, but here in this diabolical reality.