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The conventional definition of 'Superhero' is limited to the role of protecting people and superheroes have generally been taking the role of good characters that fight against evil. Since 'Superman', which is referred as the iconic symbol of heroes, was first introduced to the public in 1938, a wide range of hero characters started to be mass-produced in mass media such as comic books, TV shows and movies. In the late 20th century, anti-heroes that were against the logic of the first-world heroes were born. Besides, as female heroes and non-western heroes started to appear, the definition of and horizons for heroes are expanding.

June 2020. We are moving into the post-pandemic era. Unfortunately, we had to watch that the world did not work according to established rules and logics, and risk manageability which is considered as the best virtue in the era of the 4th industrial revolution has been put to the test. In such era, would it be possible for a new hero to appear? If possible, what kind of hero would he or she be? More fundamentally, do heroes exist?

Arts Council Korea opens an exhibition at Insa Art Space, entitled «Super Hero» from June 19 (Fri.) to August 22 (Sat.), 2020. Participating artists include Kim Hansaem, Woo Hannah and Hwang Minkyu who were born between the late 1980s and the early 1990s and are working in Korea. This exhibition is intended not only to review the artworks from emerging artists but to examine whether the language of visual art is effective in handling risks in the current era of new crisis.

On the 1st floor of Insa Art Space, Woo Hannah's new work 〈Pajama Party〉 is displayed. Characters that she has created so far usually give a rough but elegant first impression. However, in this «Super Hero» exhibition, a stage where the leading character has disappeared is created and occupies the space as an extension of her solo exhibition in the previous year. A disordered space. The 1st floor that looks as if reality at stake and fantasy are mixed is overwhelmed by the background where no character exists. Only the traces of someone staying there are scattered around the space but they don't tell us who the subject of the act is. Like a detective, you would imagine the event that took place in this space. Slanted pastel painting frame, irregularly sewn fabric board, ragged hanging curtain, paint stains on the pink-colored carpet, strange unicorn character, abstract painting carved on the wall and disorderly arranged objects seem to be regenerated while they are dancing to the music. In this exhibition, the artist who has been calling herself as a 'Disney Kid' calls women who are little bit more insane than before as heroes. Through this, she creates a stage where uncontrollable and unpredictable women can do whatever they want regardless of male-biased perspectives.

Woo Hannah, Part of 〈Pajama Party〉, mixed media, dimension variable , 2020

At the entrance to the 2nd floor, Hwang Minkyu's new work 〈Star Gazing〉 is played. The image which looks like a sun floating in a dark space is actually made by combining several planet images provided from NASA. He obtained a shaky image that he had never expected after he accidentally found an error in the program. It's a metaphor of the current crisis situation like a signal that informs you of the beginning of a crisis. He has been producing mockumentary films which are fictitious scenarios based on the current situation or incidents that he has experienced. In this exhibition, he releases his new mockumentary film entitled 〈Into the wild〉. Scene 1, in shows a peaceful daily life, while Scene 2 shows a crisis situation and Scene 3 depicts a situation in which the leading character tries to find out a hope through a new journey. By criticizing the current situation in stake, he intends to question if heroes are really necessary. Two photographic works that he released in his previous solo exhibition are also displayed in this exhibition to clearly compare the pre-crisis era with the post-crisis era.

Hwang Minkyu, 〈Into the wild〉, Single Channel Video, 00:12:00, 2020

Lastly, Kim Hansaem releases his work entitled 〈A Painting for Exorcizing〉. Based on the fairy-tale-based narrative remaining in the pop culture, he has been creating works that look as if they have a religious function. In this «Super Hero» exhibition, he uses the manual of '4 major angel summoning magic' written by a magic denomination in England in the 19th century together with shamanism. He creates a unique vestry of his own and repeats the structure of confrontation between the dragon and the angels that he used in his previous solo exhibition so as to wish more the return of stronger guardians. Stones that he has obtained in the mountain, river or sea that is close to where he was born, spirit made of a unicorn, ritual dagger and magic circles are what he has collected or made by himself, which is one of the acts in folk religion to bring good lucks. By laying out them in a place such as maze or cave, he creates a transcendental space. It could be a temple or a secret place for summons.

Kim Hansaem, 〈A Painting for Exorcizing〉, mixed media, 95x82x2cm, 2020

In the era of crisis, these artists question the conventional meaning of 'Superhero' and refuse to be immersed in the existing heroic narrative. Crisis has always been with us, will persist and may be a life-time challenge that we have to keep dealing with. Through this «Super Hero» exhibition, how about putting stereo-type 'heroes' aside even for a moment and imagining your own hero to have a little hope for yourself?

Kim Hansaem majored in painting expresses his ideas caught from games, myths, shamanism and popular culture on a flat surface or through installation works. Images in his works that appear to be familiar at a glance are in fact have already been separated from the original meaning and functions and are granted new context by him. Decorative frames that particularly stand out in his works expand the realm of his works beyond the flat canvas or the gaming screen. His solo exhibitions included 《Dragon's FFire》(2020) held at ‘Tastehouse’ and 《FORBIDDEN ALCHEMY》(2018) held at ‘Art Space Hyeong’ and group exhibitions that he participated in include 《Can Games Detour?》 (2020), 《Opium Dive》(2019), and 《2019 PACK》(2019).

Woo Hannah majored in sculpture art and she has been creating installation works based on her imagination about the leading character in the narrative and the dark side thereof. The leading character in the narrative ranges from a mythical character to a passerby and an object abandoned on the roadside. Generally, she produces small-sized objects using flexible fabrics and sometimes, she adds curtains, carpets or wall paintings to complete a space as a full story. Starting with her first solo exhibition 《City Units》 held at her studio in 2016, she has held two more solo exhibitions which are 《Swinging》 (2018) and 《Moulage Mélancolique》(2019). She has also participated in a number of group exhibitions such as 《The Parallel Universes of Prufrock》(2020), 《Come to think of it, it’s a good thing corpses smell》(2019) and 《Nothing Twice》(2019).

Hwang Minkyu majored sculpture and he’s dealing with a wide range social issues using photographs and videos. He usually creates mockumentary films that are referred to the format and end-of-century sentiment of Japanese animation films in 1990s. He uses various methods such as videos that he has recorded, interviews and found footage to frequently go and come between the reality and virtuality, and daily life and fictitious life so as to make you face up to issues that our society has. He has held a total of 3 solo exhibitions which include 《Sing a Miracle》 (2020) recently held at 'The Reference' and 《Is This Love? これは愛ですか。》(2018). He participated in several group exhibitions such as 《Miniminimini's Gold:Rock》(2020), 《Distance between Two Parallel Straight Lines》 (2019) and 《Image, Silhouette, and Motion》 (2019).