[Opening] 'HOLOÏSME : From the Invisible to the Visible' Yi Inchul Solo Exhibition with special guests Kim Jaemin & Kim Taeha

​HOLOÏSME: From the Invisible to the Visible
Yi Inchul Solo Exhibition
with guest artists Kim Jaemin & Kim Taeha

July 17 – 30, 2025
ArtVerse, 5 bis rue Beauce, 75003 Paris

​ArtVerse is pleased to present HOLOÏSME: From the Invisible to the Visible, the first solo exhibition in France by Yi Inchul, a key figure in Korea’s Minjung art movement.
Rooted in decades of practice since the 1980s, Yi’s work has long explored themes of labor, social reality, and collective memory through woodblock prints and wooden reliefs. This exhibition marks a pivotal moment in his career: the first in which his digital works take center stage.

​Yi has experimented with graphic-based media since the 1990s, engaging with the screen as a non-material surface upon which to extend his tactile and compositional instincts. His digital works do not represent a break from his traditional practice, but rather a continuation of the same visual inquiry through a different medium. This exhibition brings that continuity into focus, revealing how Yi navigates the boundaries between analog and digital, between the hand and the machine.

​His digital images retain the compositional restraint, lyrical sensibility, and conceptual density found in his woodblocks. The move into the digital is neither decorative nor opportunistic—it emerges instead as an aesthetic necessity. Yi’s work does not simply reflect on the medium but operates through it, producing forms that resonate with his longstanding interest in presence, erasure, and the residual traces of the everyday.

​Alongside Yi's works, the exhibition features pieces by two young artists, Kim Jaemin and Kim Taeha, who have maintained a long-standing relationship with Yi. Their perspectives are noticeably younger, more fragmented, and attuned to the rhythms of the contemporary. Yet their works intersect with Yi’s universe, weaving into a larger narrative structure within the exhibition. This inclusion is not merely symbolic; it suggests a space of generational dialogue and highlights how certain aesthetic concerns persist, transform, or fracture across time.

​Yi’s images have always contained a quiet urgency. In an era where images of war, destruction, and oppression circulate rapidly and relentlessly, his compositions ask us to pause and reflect. They do not offer clear answers but pose essential questions:
What do we see? How do we remember? From what distance do we observe?
There is a slow ethics embedded in these images, a reminder that visual representation carries its own responsibility—not only to what it shows, but to how it is shown.

​HOLOÏSME: From the Invisible to the Visible thus offers not only a retrospective lens but a contemporary proposition. It invites reflection on the integration of digital media, the legacy of Minjung art, and the ethical stakes of image-making in a world marked by division and displacement.
Through Yi’s steady traversal from the tangible to the immaterial, from the invisible to the visible, the exhibition affirms that art remains a space in which perception, memory, and meaning are still actively negotiated.