Lehmann Maupin Seoul is pleased to present In the continuum by pioneering Korean artist Kim Yun Shin. Following her debut exhibitions in New York and London last year, this marks Kim’s first solo exhibition with Lehmann Maupin Seoul since her return to the country after four decades of living and working across Argentina, Mexico, and other parts of the world. The exhibition follows Kim’s landmark 2026 retrospective at the Hoam Museum of Art and garden project at Centre Pompidou Hanwha Seoul. Her growing international profile is further reflected in acquisitions by the Guggenheim Museum and Harvard Art Museums, her inclusion in RM x SFMoMA: between you and me, and the latest documentary Kim Yun Shin punches in (2026), which screened at the Busan International Film Festival.

Bringing together historical and new works across the gallery’s two floors, In the continuum explores the enduring relationship between material, physical gesture, and nature in Kim’s practice. Paintings, wood sculptures, and ‘painting-sculptures’ reveal a visual language that has remained consistent while continually evolving. Kim’s return to Korea has opened a new chapter in this longstanding practice, shaped by renewed encounters with the country’s landscapes and natural environment.

The first floor presents recent painting-sculptures alongside latest paintings. Developed during the COVID-19 pandemic, Kim’s painting-sculptures extend her sculptural practice through the application of color to angular surfaces, bridging painting and sculpture. Tree full of songs 1984-11U1 (2025), cast in aluminum from an existing wood sculpture and finished with acrylic paint, features distinct colors and patterns on each side, inviting viewers to experience the work from multiple perspectives. Also on view for the first time, Grace in the glow 2026-35 (2026) combines geometric structures with organic motifs such as seeds, flowers, and rippling waves, evoking the connective energy that sustains life.

Kim’s paintings similarly explore the rhythms and generative forces of nature through an intuitive, process-driven approach. Layering, scraping, and stamping paint onto the canvas, she creates dynamic surfaces that reflect her sustained interest in color, material, and physical gesture. Her concept Add two add one, divide two divide one, developed through her sculptural practice since the 1970s, informs compositions in which distinct elements converge and separate, suggesting connections between geometry and nature, earth and sky, and the human and cosmic realms.

The second floor features paintings from the 2000s, created while Kim was living in Argentina. Works from the Jubilance, Primal vitality, Song of my soul series feature seed-like forms that evoke the expansive landscapes of South America and the elemental energy of the natural world. Presented alongside her more recent works, these paintings underscore the continuity of Kim’s artistic vision across different periods and places. Rather than tracing a linear progression, the exhibition brings past and present into dialogue, revealing how her sustained engagement with material, nature, and embodied making continues to generate new possibilities.

In the continuum considers Kim’s practice not as a linear progression from past to present, but as an ongoing dialogue between different moments in time. Her return to her motherland has opened a new chapter in an artistic practice shaped by movement across cultures, places, and materials, while reaffirming the centrality of direct, physical engagement in her creative process. By bringing works from different periods into a shared space, the exhibition illuminates both the enduring continuity of Kim’s artistic language and the new possibilities that continue to emerge within it.