Heeyoung Noh

Submerged Attachment

67 Great Titchfield Street, London W1W 7PT
8 May - 13 May 2025
www.thetagli.com

"Presented by THE TAGLI, Submerged Attachment is a visceral meditation on the body as a site of memory, ritual, and resilience. It marks the emergence of a powerful new voice in contemporary painting."

- Mark Westall, FAD magazine

In Submerged Attachment, Noh delves into the tensions between belonging and alienation, grappling with the complexities of collective identity as a South Korean woman living abroad in the United Kingdom. The artist finds solace in the ritual of ttaemiri, a traditional Korean bathing practice, through which she reclaims a deep-rooted connection to her heritage. The exhibition is a celebration of sacred bathing culture and an intimate homage to the resilience and power of South Korean women across generations.

New Gen: The Emerging Voices (group exhibition)

Korean Cultural Center, United Kingdom
27 Nov 2025 - 27 Feb 2026

The Korean Cultural Centre UK (KCCUK) is delighted to present the exhibition NEW GEN: The Emerging Voices, the latest edition of its annual open call programme supporting Korean artists based in the UK. This year's exhibition introduces eight artists whose practices span painting, sculpture, moving image, and installation, exploring how identity, materiality, and technology shape contemporary experience.

Selected by a distinguished panel comprising Daphne Chu (Curator, Ikon Gallery, Birmingham), Alvin Li (Curator, International Art, supported by Asymmetry Art Foundation, Tate Modern), and Yung Ma (Senior Curator, Hayward Gallery, London), the exhibition highlights the diversity and depth of emerging Korean artistic practice today. The committee's international expertise ensures a dynamic dialogue between the UK and Korean contemporary art scenes.

Collectively, the artists navigate the intersections of myth, memory, ecology, and digital culture, reflecting on how personal experience and collective history intertwine. Heeyoung Noh explores the emotional inheritance of anxiety, guilt, and love passed through generations, often framed through the mother-daughter relationship. Her paintings examine how suppressed emotions and internalised histories inhabit the body, visualising the lingering presence of trauma and tenderness within domestic life, while Woojin Joo draws from folklore and shamanistic motifs to reveal how mythic imagination continues to shape the everyday. Yumin Lee reflects on survival and emotion within cycles of capitalism and digital mediation, and Soohyun Choi examines fragile systems of authorship, ownership, and artistic value that underpin the art market.

Sangbum Ahn investigates ecological and technological entanglements, revealing how progress and collapse coexist within the same system. Jo Jae reconsiders perception and sensibility under technological acceleration, translating digital conditions into material and spatial forms that propose new ways of seeing and feeling. Jihoon Cho and Woojin Jeon explore materiality as a site of adaptation and care, transforming instability and tension into gestures of endurance and renewal.

Together, their works form an ecosystem of ideas-experimental, reflective, and deeply attuned to the shifting realities of our time. NEW GEN: The Emerging Voices not only showcases the vitality of Korean artists working across the UK but also invites audiences to encounter new approaches to making and meaning in the contemporary moment.

실과 오렌지 | LAG Collective

표면은 언제나 타자의 시선을 전제한다. 낙인은 인식의 방식, 폭력의 흔적이다. 이름을 부여받은 대상은 더 이상 익명이 아니다. 결. 자국. 공명. 실은 그 아래를 감싸며 지난다. 연대는 항상 완결되지 않은 형식으로 출현한다.

LAG Collective는 명명과 정체성의 문제를 시각적 언어로 탐구하며, 고정된 범주와 사회적 인식의 틀을 다시 얽어낸다. 이번 전시는 낙인, 표면, 반복을 통해 인식이 어떻게 형상화되고, 흔적을 남기는지를 조명한다. 오렌지는 동일한 범주 속으로 수렴되는 개별체의 은유로 등장하며, 유사한 외피 아래 존재하는 차이는 하나의 이름으로 통합되는 순간 은폐된다. 그러나 껍질은 표면으로만 환원되지 않고 외부와 내부가 만나는 감각의 경계이자, 바깥 영역의 자극과 내적 경험이 교차하는 흔적의 기록이다. 피층 위의 상처는 손상 그 자체보다는 만남과 충돌, 존재의 역사로 읽힌다.

오렌지와 설치된 실 구조물은 상호 작용하는 형태로 자리한다. 낙인찍힌 오렌지는 폭력적 명명의 흔적을 드러내며 부유(浮游)하고, 천장에 매달린 직물은 취약한 오렌지를 지지하는 동시에 그 상처와 존재를 역설적으로 강조/노출한다. 위태로운 대상을 지탱하는 연대의 물리적 형상이자 각기 다른 방향과 경험이 교차할 때 발생하는 구조적 긴장의 은유가 된다.

두 번째 공간에서 되풀이되는 오렌지 형상은 동일한 원형을 바탕으로 하면서도, 매번 미세한 차이를 품는다. 반복은 이러한 변이를 구조화함으로써, 동일성 속에 내재된 차이를 시각적 층위로 분리해 낸다. 투명한 표면의 층은 물의 표면장력과 같이 외부의 작용에도 형태를 유지하는 힘을 상징한다. 이미지와 언어가 충돌하며 만들어내는 중첩은 복합적인 레이어를 통해 형태와 흔적, 생성과 억압이 겹쳐지는 구조를 형성하며, 그 위를 지나는 시선과 빛은 미묘한 강조와 은폐를 동시에 포착한다. 이 속에서 연대는 명확히 드러나는 형상이 아닌 각기 다른 층이 맞닿을 때 비로소 감지되는 흐름으로 나타난다.

<거미가 된 여인, 쐐기풀을 짓는 여인, 요정 혹은 아홉수 여인>은 설화(tales)에서 파생된 서사를 변형한다. 신화에서 형벌로, 그리고 기술로 이어지는 전환을 통해 여성의 창조 행위가 억압의 기원을 전유해 예술적 생성으로 변모·계승되는 과정을 드러낸다. 특히, 영상 속 디지털 생성의 불완전한 흔적은 하나의 스크린 표면 위에서 교차하며 AI 생성 과정의 매커니즘을 드러낸다. 그럼에도 불구하고 서사는 멈추지 않고 흘러가며, 오류(glitch)는 오히려 그 내적 리듬을 형성하는 요소로 작용한다.

이처럼 ⟪실과 오렌지⟫는 표면과 흔적을 매개로, 명명을 통해 개별성을 삭제하고 타자화하는 힘과, 동시에 그 틈 사이를 엮는 연대의 가능성을 보여준다. 신화와 기억, 상처와 기술이 서로 교차하는 공간 속에서, 굴레를 넘어선 생성의 힘과 이어지는 결속이 유기적인 망(網)을 이룬다. 전시는 표면을 사유의 공간으로 확장하며, 반복과 긴장의 미학 속에서 동시대적 상생의 조건을 새로이 구성하는 시도로 나아간다.

—글 김지수

Thread and Orange | LAG Collective

The surface always presupposes the gaze of the other. A mark is both a mode of recognition and a trace of violence. Once something is named, it is no longer anonymous. Grain. Scar. Resonance. Thread wraps around and passes beneath these traces. Solidarity always emerges in an unfinished form.

LAG Collective explores questions of naming and identity through visual language, reweaving fixed categories and the frameworks through which society perceives individuals. Through the motifs of marks, surfaces, and repetition, this exhibition examines how recognition takes shape and leaves traces behind.

The orange appears as a metaphor for individuals who are grouped together under a single category. Differences that exist beneath similar skins become obscured the moment they are unified under one name. Yet the peel is not merely a surface. It is a sensory boundary where exterior and interior meet, a site where external forces and internal experiences intersect and leave their traces. Scars on the skin are read not simply as damage, but as records of encounters, collisions, and histories of existence.

The oranges and suspended thread structures are arranged as interacting forms. The branded oranges float in space, exposing the traces of violent acts of naming, while the textiles hanging from the ceiling simultaneously support and accentuate their vulnerability. The thread becomes a physical manifestation of solidarity: a structure that sustains fragile bodies while also revealing their wounds. It functions as a metaphor for the structural tensions that arise when different directions, experiences, and identities intersect.

In the second space, recurring orange forms repeat the same basic archetype while carrying subtle differences each time. Repetition structures these variations, separating and revealing the differences embedded within apparent sameness. Layers of transparent surfaces symbolize a force akin to the surface tension of water-a capacity to maintain form despite external pressures. The overlap of image and language creates multiple layers in which form and trace, creation and suppression, are folded together. As light and the viewer's gaze move across these surfaces, moments of emphasis and concealment emerge simultaneously. Within this process, solidarity does not appear as a clearly defined image, but rather as a current that becomes perceptible only when different layers come into contact.

The Woman Who Became a Spider, the Woman Who Weaves Nettle, the Fairy, or the Woman of Nine Misfortunes transforms narratives derived from folklore and myth. Through a transition from punishment to skill, and from myth to artistic practice, the work reveals how women's acts of creation appropriate the origins of oppression and transform them into forms of artistic generation and inheritance. The imperfect traces produced through digital image generation intersect across a single screen surface, exposing the mechanisms of AI production itself. Yet the narrative continues to flow. Glitches do not interrupt the work; instead, they become elements that shape its internal rhythm.

Through surfaces and traces, Thread and Orange reflects on the power of naming to erase individuality and produce otherness, while simultaneously revealing the possibility of solidarity that can be woven through the spaces between those divisions. Within a space where myth and memory, wounds and technology intersect, forces of creation that exceed imposed constraints form an organic network of connection. Expanding the surface into a space of critical reflection, the exhibition proposes new conditions for coexistence through an aesthetics of repetition, tension, and interdependence.

— Essay by Kim Jisu

John Moores Painting Prize 2025

Walker Art Gallery, Liverpool
6 Sep 2025 - 1 Mar 2026

Supporting artists from all over the UK - whether they're undiscovered, emerging or established in their careers - the Prize provides a platform for artists to inspire, disrupt and challenge the British painting scene today. Showcasing the very latest in painting across the UK, the competition culminates in a major exhibition every two years in Liverpool.

First held in 1957, the competition was named after its founding sponsor Sir John Moores. The prize is open to all artists working with paint, who are aged 18 years or over and live or are professionally based in the UK.

Past prizewinners have included Peter Doig, Rose Wylie, David Hockney, Mary Martin and Sir Peter Blake, who became the first patron of the John Moores Painting Prize in 2011, after winning the Junior section of John Moores 3 with his painting 'Self Portrait with Badges' in 1961.

The winner of the Prize is also awarded a solo exhibition at the Walker Art Gallery the following year. The 2023 Prizewinner was Graham Crowley with his painting 'Light Industry'. His subsequent exhibition - Graham Crowley: I paint shadows - is on display at the Walker until 13 July 2025.

For general access information and details on how we keep you safe in venue head to our visit page.

Jury
Louise Giovanelli
Gemma Rolls-Bentley
Michael Simpson
Dr. Zoe Whitley
Zhang Enli

LAG Collective
Soojeong Kim, Jisu Kim, Heeyoung Noh
@lag_collective
Lonelyasiangirls@gmail.com

New Glasgow Society (West),
1307 Argyle Street, Glasgow,
United Kingdom G3 8TL

To You, the attendee,

This exhibition cannot be visited by all of us, bound by the constraints of time and distance; yet, in your presence, remnants remain for you to discover. These fragments invite you to confront the unfamiliar, offering a space for reflection on isolation, cultural divides, and the distinctions between individuals.

This exhibition evokes a sense of the strange. The faces depicted in the works may not present as recognisable figures, but instead appearing as nameless others. The language flowing from the audio lingers just beyond comprehension, contributing to a sense of otherness. The stigmatised orange and the imagery of ants carve new fissures into memory.

Through these materials and themes, Heeyoung Noh and Soojeong Kim confront the invisible barriers that we all experience. A strong sense of isolation can arise when encountering unfamiliar cultures, or subtle, insignificant contradictions can emerge even within spaces you consider home. Rather than attempting to bridge the lag between cultures and individuals, these works illuminate the tension and residual traces created by these invisible divides. The burned skin of the orange, the trail of the ant, and the unknown language invite you to reflect on the marks they leave behind.

What questions or emotions might take shape as you navigate this space? Though I am unable to join you, I can only imagine how strangeness threads through your experience, connecting distant yet intersecting worlds. In your encounter with the works, and in the traces they leave behind, a silent dialogue unfolds, bridging the visible and the unseen. May this letter leave a small trace in your thoughts and memory.

Sincerely,

Jisu KIM
LAG Collective

Somatechnics

THE TAGLI is delighted to present Somatechnics, a group exhibition featuring artwork from artists Lucrezia Abatzoglu, Eveleigh-Evans, Grant Foster, Holly Hendry, Xingxin Hu, Mitko Karakolev, Tamsin Morse, Heeyoung Noh, Anna Perach, Phillip Reeves, Afonso Rocha, Robert Russell, Tai Shan Schierenberg, Pei Yi Tsai, C. Lucy R. Whitehead and Tom Woolner.

This exhibition will delve into the multifaceted concept of 'the body' as a site of technological, ethical, and political discourse. It will present fresh perspectives on how bodies interact with, resist, and are shaped by power structures and technological advancements. From the spatial dynamics of identity and race to the politics of reproduction, gender, and sexuality, Somatechnics is an exploration of the body in all its forms.

An accompanying text to the exhibition will be written by Bella Bonner-Evans. Two editions from Gaswork's Limited Editions, released in conjunction with Anna Perach's recent exhibition at Gasworks, Holes will also be included in the exhibition. The exhibition is in line with THE TAGLI's ongoing commitment to supporting emerging and mid-career artists, aiming to foster and promote their artistic careers.

Exhibition Details

Gallery & Address
THE TAGLI
67 Great Titchfield Street, London W1W 7PT

Exhibition Dates
19 November - 24 November 2024

Gallery Hours
Wed - Sat 10am - 7pm
Sun 11am - 4pm
Tues by appointment

The lives of individuals are always told from a first-person perspective. It is always the coordination between multiple plural first-person perspectives that connects these individual lives to society. Lag Collective was created by Kim Soojeong, Noh Hee-young, and Kim Jisu, who are living today, noting the gap between their lives and the 'contemporary society' they feel.

Lonely
Based on the individual, disconnected, but at the same time very universal sense of 'loneliness' felt by each of us, we explore their position as 'peripheral' figures who have voluntarily or involuntarily deviated from the norms of the society in which they have lived or currently reside.

Asian
We are interested in post-centrist and post-colonial art based on the experiences as a 'foreigner' in terms of administrative classification, as well as my experience as an excluded 'stranger' in existing societies.

Girls
Three women who live with their own agency share their thoughts on life as women and stand in solidarity.

"Can we build social solidarity beyond loneliness through art?"