NONSTANDARD STUDIO      
2024



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WE ARE KIND AND WORKING HARD.
NONSTANDARD is an international exhibition making studio. nonstandard was founded in 2015 by project director Dr. Catherine S. Lee who leads the studio providing a comprehensive museum exhibition services. We create immersive environments for diverse art institutions and regularly collaborate with creative specialists.

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Email contact only_
nonstandard.kr@gmail.com
Instagram @nonstandard_studio



Dr. CATHERINE SEYOUNG LEE
이세영_서울대학교 디자인학박사


is an exhibition maker and a post-doctoral researcher based in Seoul, Korea. She holds a BA(Bachelor of Architecture) from Hongik University, and a MIA(Master of Interior Architecture) from Rhode Island School of Design in US. After completing doctoral program in design at Seoul National University(Doctor of Design), she moved to New York and worked with Sarah Meister(Curator, Department of Photography) in MoMA(Museum of Modern Art in NY). She has come a long way since participating the 6th Gwangju Biennale International Curator Course along with Maria Lind, the artistic director of 11th Gwangju Biennale.  Lee was a curator at Daelim Museum and currently works with Seoul Museum of Art and Leeum, Samsumg Museum of Art as a director of nonstandard studio.




PROFESSIONAL CAREER / CLIENTS

Fondation Cartier pour l’Art Contemporain in Paris
MoMA Museum of Modern Art in NY
Leeum, Samsung Museum of Art
Daelim Museum
Seoul Museum of Art
Busan Museum of Art
Seoul Museum of Craft Art
Gyeonggi Children's Museum
Jeonnam Museum of Art
Korea Arts Creative Academy
Arko Art Museum, Art Council Korea
Korea Arts Management Services
Seoul Arts Center
KT&G Sang Sang Madang
meetingroom
Project Space Sarubia
The Cheong-ju Art Studio
COS Project Space
SPACE Magazine
Korea Land and Housing Corporation
Monthly Public Art Magazine
Haru.soon
Seoul Botanic Park




TEACHING CAREER
INHA University, Incheon
Seoul National Univeristy of Technology, Seoul
Chung-ang University, Seoul
Dongduk Women's University, Seoul
Mokwon University, Daegeon
Rhode Island School of Design, Providence, RI




LICENSED CURATOR
Ministry of Culture, Sports and Tourism
LICENSED PHOTOGRAPHER
Human Resources Development Service of Korea
LICENSED COLORIST
Human Resources Development Service of Korea

Member of  International Council of Museums ICOM
Member of  Architectural Institute of Korea
Member of  Korean Society of Design Science
Member of  Institute of Interior Design
Member of  Korea Society of Basic Design & Art


Breath in, Breath out 
때로는 둥글게 때로는 반듯하게
EXD 2024 / 03-13
Client_Wooran Foundation
Venue_Wooran  Foundation , 11 Yeonmujang 7-gil, Seongdong-gu, Seoul
Date_2024. 03. 13 - 06. 02
Curator_Seungui Baek, Sohyun Lee

JANGDAN in Korean traditional music
‘Jangdan’, an important concept and role in traditional Korean music, is mainly played with percussion instruments such as janggu and buk, and generally refers to a certain rhythmic pattern, but at the same time, it includes a strong and weak cycle and a unique tempo, making it somewhat difficult to understand at once. However, the interesting point of Jangdan is that it can be improvised according to the flow of the music and the performer within the range that does not disturb the tempo of the basic form, and thus, the performer and the audience experience a state of unity by matching their breathing within the variation of Jangdan.

Harmony of Korean traditional culture and modern and contemporary art
In order to display traditional Korean instruments, buk and janggu, along with modern and contemporary works in various media, including paintings, sculptures, and media art, we focused on visualizing the planning elements that emphasize rhythm, a core theme that runs through the exhibition, and embodying a consistent image of the exhibition space. However, instead of using elements such as wood or fabric that represent traditional elements, we changed the space by adjusting meticulous details along the extension of the white cube space. In order to eliminate the hard and strong elements of the white metal grid installed on the existing ceiling, we installed paper hangings reminiscent of the grid pattern of traditional music scores on the ceiling. Similarly, we created pedestals and patterns reminiscent of grids for the spaces where the collections are placed on the walls and floors to provide continued consistency in the space. The indigo pink carpeted floor minimizes the sound echo of media works while giving a warm image to the entire space, and at the same time, it allows visitors who step on it to feel the characteristics of traditional instruments finished with leather and cloth, rather than a modern concrete building, when entering the exhibition hall.

Recycling and Minimizing Exhibition Waste
While considering a way to connect the two spaces of the exhibition hall into one exhibition, we proposed installing paper hangings that could naturally connect the empty ceiling space instead of interfering with the space where the works are placed. The paper hangings made of translucent traditional paper create a soft atmosphere for the entire space while visually connecting the ends of physically separated spaces. They induce natural movement of visitors and expand their field of vision. By using paper instead of fabric, which is usually used for exhibition hangings, we increased the possibility of their recyclability and minimized the volume and weight of exhibition waste. The fact that most ESG issues required for recent exhibition design are limited to green washing means that a more active and practical design approach is needed. It is time for a professional evaluation of how the recycling process is carried out on site.

한국 전통 문화와 근현대 미술의 조화 
한국 전통 악기인 북과 장구를 회화, 조각, 미디어 아트까지 다양한 매체의 근현대 작품들과 함께 전시하기 위해 전시를 관통하는 핵심 주제인 장단, 즉 리듬을 강조할 수 있는 기획요소가 시각적으로 구현되는, 전시 공간의 일관성있는 이미지를 구체화하는데 중점을 두었다. 하지만 기존에 전통의 요소를 대변하는 목재나 패브릭등의 요소들 대신, 화이트큐브 공간의 연장 선상에서 세심한 디테일을 조정하면서 공간을 변화시켰다. 기존 천장에 설치되어 있던 백색의 메탈 그리드가 주는 딱딱하고 강한 요소를 배제시키고자 전통 악보의 그리드 패턴을 연상시킬 수 있는 종이로 만든 걸개를 천장에 설치하였다. 마찬가지로 벽과 바닥에 놓여지는 소장품들의 공간에도 그리드가 연상되는 좌대, 패턴을 제작하여 공간에 계속된 일관성을 부여하였다. 인디고 핑크빛의 카펫이 깔린 바닥은 미디어 작품들의 사운드 반향을 최소화하면서도 공간 전체에 따뜻한 이미지를 부여함과 동시에 이를 밟고 전시실에 들어서는 관람객들에게 콘크리트의 현대적 건물이 아닌, 가죽과 천으로 마감된 전통 악기들의 특성을 촉각적으로 느끼게 만든다. 

재활용과 전시폐기물의 최소화 
두 공간으로 나뉜 전시장을 하나의 전시로 엮을 수 있는 방식을 고민하면서 작품이 놓여지는 공간에 개입하는대신, 비어있는 천장 공간을 자연스럽게 이어줄 수 있는 종이 걸개 설치를 제안했다. 반투명의 전통지로 제작된 종이걸개는 전체적인 공간의 부드러운 분위기를 조성함과 동시에 물리적으로 분리된 공간의 끝에서 서로를 시각적으로 연결한다. 관람객의 자연스러운 동선을 유도하고, 관람객의 시야를 보다 확장시킨다. 일반적으로 전시 걸개에 쓰이는 패브릭 대신 종이를 사용함으로써, 이들의 재활용 가능성을 높이고 전시 폐기물의 부피, 무게를 최소화하였다. 최근 전시디자인에 요구되는 ESG이슈가 대부분 그린 워싱에 머문다는 사실은 보다 능동적이고 실제적인 디자인적 접근이 필요하다는 것을 의미한다. 리사이클의 과정이 현장에서 어떻게 이루어지는지에 대해 전문적인 평가가 필요한 시점이다. 









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