Gallery Hyundai is pleased to present Not I, not I, but the wind that blows through me, a two-person exhibition featuring recent and new works by Kang Seung Lee and Candice Lin. On view from August 27 to October 5, 2025 at Gallery Hyundai (8 Samcheong-ro), the exhibition marks Kang Seung Lee’s second presentation with the gallery following Briefly gorgeous in 2021, as well as Candice Lin’s highly anticipated first gallery exhibition in Korea. Grounded in each artist’s conceptually rigorous, research-driven practice, the exhibition highlights their shared inquiries into materiality and the thematic expansion. Together, the artists premiere approximately 30 new works that reflect their ongoing engagement with queerness, embodied history, and memory. Lee presents his latest video work, Skin (2024), alongside new graphite drawings, gold-thread embroidery on sambe (Korean hemp fabric), and assemblages, while Lin unveils a carefully curated selection of new works encompassing video animation, painting, drawing, and ceramic sculpture.

Building upon distinct cultural backgrounds and formal languages, Kang Seung Lee and Candice Lin shed light on marginalized or erased histories, consistently giving voice to overlooked narratives of individuals and communities. Kang Seung Lee continues his long-standing project of documenting and commemorating the lives and legacies of queer artists, writers, choreographers, and gay and transgender activists from earlier generations, many of whom met an early death. Receiving international recognition through exhibitions at leading global institutions and biennales, Lee’s recent work demonstrates a sustained contemplation into materiality and its conceptual reach. In his recent body of work, Lee explores the aging queer body as a living archive, presenting human skin as a site inscribed with layered memories both intimate and political. Candice Lin, in turn, engages with both traditional and organic, living materials and processes, ranging from painting, drawing, sculpture, installation, and video to mold, fungi, bacteria, fermentation, and stains. Her work addresses the politics of representation and explores issues race, gender, and sexuality, drawing from histories of colonialism and diaspora. By queering the boundaries between human and animal, and by examining interspecies relationships, Lin challenges the taxonomic structures that underpin colonial violence and control of bodies, surfacing the systems of classification, control, desire, and power.

The title of the exhibition, Not I, not I, but the wind that blows through me, is drawn from a line in D.H. Lawrence’s the poem Song of a man who has come through. As the conceptual cornerstone of the exhibition, the phrase metaphorically reflects how suppressed histories begin to breathe again and how memories circulate through the win that blows through us. It resonates deeply with the artists’ enduring practice, which seek to render visible what has long been invisible in silence, and to reimagine what has been forgotten through the language of our time.