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Koo Jeong A

Biography
Koo Jeong A was born in Seoul, South Korea, on March 13, 1967 (https://www.guggenheim.org/artwork/artist/koo-jeong-a). She began living in France in 1991 (YBF, 139). In the 1990s, she studied at the Ecole Nationale Superieure des Beaux-Arts (YBF, 130); she also spent time in the studios of the artists Christian Boltanski and Paul Armand Gette (Pomp, 8). Later, Koo went on to live in Berlin (YBF, 139). In 2006, she shifted her basis to London when her long-time partner Hans Ulrich Obrist took the helm of the Serpentine Galleries (Wright).

Everydayness and intimacy
During her early years in Paris, Koo began pursuing artistic practice in both the studio setting and domestic spaces (Pomp, 8). In her earliest exhibitions, she staged staging micro-interventions within apartments by laying mothballs in a kitchen or placing a glowing, phosphorescent tab on a cupboard shelf (YBF, 30). From these beginnings, Koo has consistently explored ways of staging materials—often everyday and/or ephemeral—in covert, subtle-yet-intriguing ways that play on viewers' curiosity and surprise.

Other instantiations of these themes within Koo's artistic practice include a houses made of sugar and plywood that she presented in one of her earliest solo exhibitions, Migrateurs, which opened in 1994 at the Musée d'Art Moderne de la Ville de Paris (Pomp, 9). Other installations in the 1990s used materials with a similar shelf life (asprin, cigarettes, gum, sugar cubes), along the margins of rooms (in the room's corners, on window sills, above door frames). (Dia, 42).

Coming into conversation with her installation works, Koo's drawings and photographs have often taken banal activities and intimate moments as their subjects. For her 2004 exhibition in the Espace 315 of the Museum national d'arte moderne, Centre Georges Pompidou, Koo arranged domestic furnishings for the installation Crapule (Scoundrel), and also displayed a series of 700 printed photographs, titled Impressions Offset (1992–2004). Pinned to the museum's walls, the photographs provided snapshots of the artist's life abroad; they showed her living and working spaces as well as fleeting glances of lighting and surfaces that leaned toward abstraction.