Solo Exhibitions (Brief)

Cho has held solo exhibitions including 《Stereoscope》 (Post Territory Ujeongguk, Seoul, 2023), 《The Nth Layer of Bell》 (SPACE HWAM, Seoul, 2022), and 《[Alert] Chewing water slowly is recommended》 (Post Territory Ujeongguk, Seoul, 2020).

Group Exhibitions (Brief)

Cho has also participated in numerous group exhibitions, including 《The Codex of Returns》 (Chapter II, Seoul, 2025), 《Random Access Project 3.0》 (Nam June Paik Art Center, Yongin, 2023), 《Strange Loop for Marcel》 (Seongbuk Young Art Space, Seoul, 2022), 《ZER01NE DAY 2021: Playground》 (Online, 2021), 《Rundgang》 (Universität Linz, Linz, Austria, 2017), among others.

Awards (Selected)

In 2018, Cho was selected as a New Hero Artist by Public Art and as a ZER01NE Creator.

Residencies (Selected)

Cho Ho Young participated in the Chapter II Residency Program in 2025.

Originality & Identity

Cho Ho Young’s practice begins with observing the structures of actions and sensations that are repeatedly performed in everyday life yet rarely registered consciously. Rather than presenting objects or situations as fixed in meaning, she focuses on how they form relationships and transform within specific environments. The core of her work lies not in the object itself, but in the subtle differences and transitional moments that emerge between the object, the individual, and the individual’s bodily perception.

The work From 60cm to 120cm (2017–2019) is a representative example that explores how psychological distance between people manifests as physical behavior. By observing the range of personal space that individuals unconsciously maintain and translating it into an installation structure, Cho reveals how intimacy and tension, comfort and discomfort, are sensed through the act of adjusting distance. This interest later narrows to relationships between two individuals, as seen in Relative Velocity of One Revolution(2019), where the balance of a relationship is shown to be formed through constant adjustment.

Subsequently, the artist’s focus shifts from the sensation of relationships to the cognitive structures through which sensation itself is formed. In her first solo exhibition, 《[Alert] Chewing water slowly is recommended》 (Post Territory Ujeongguk, 2020), she rearranges an environment shaped by speed and efficiency into a slower rhythm, foregrounding the fact that sensation and perception are never entirely precise. The Weight from Your Scale(2020) returns “weight,” previously reduced to numerical values, to bodily sensation, questioning the gap between measurement and perception.

In more recent works, this line of inquiry deepens toward the “conditions that constitute experience” rather than the “content of experience.” The solo exhibition 《Stereoscope》 (Post Territory Ujeongguk, 2023) investigates how learned perceptual systems pre-organize the world, creating moments in which viewers recognize sensations that diverge from expectation through their own bodies. This trajectory continues with A Patch of Ground presented in the group exhibition 《Random Access Project 3.0》 (Nam June Paik Art Center, 2023), where balance and stability are expanded into a spatial experience, understood not as fixed states but as outcomes of continuous relational adjustment.

Style & Contents

Rather than presenting completed sculptural objects, Cho Ho Young’s works are composed as “devices” that operate through the intervention of viewers’ actions and responses. She understands her works as tools and catalysts, believing that meaning arises through the process of participation. This attitude consistently appears in forms that combine installation, movement, and engagement.

From 60cm to 120cm guides viewers to observe one another and adjust their distance within a designated range through a zigzag-connected chair structure. Here, the work functions not as a visual object but as a situation in which the sense of distance is directly experienced. The ‘Hang-On!’ (2017–) series similarly reconfigures the everyday hanger using flexible materials such as silicone, demanding attentiveness and tension in the act of handling the object and thereby shifting perceptions of function and usability.

The 2020 work Stand Still visualizes the point at which opposing physical forces cancel each other out using a conveyor system and a steel ball. While appearing motionless, the work reveals a state that is in fact constantly recalibrated, which Cho expands as a metaphor for relationships and balance. This interest in physical relations returns to bodily sensation in The Weight from Your Scale, where the work operates as a device that reveals not a fixed value but the unstable state of the present.

In 《Stereoscope》, the artist dismantles everyday action structures and stages them like theatrical apparatuses. Moving Walk (2023) reinterprets the form of an actual moving walkway, inviting viewers to walk on it and re-recognize bodily sensations conditioned by mechanical environments. A Patch of Ground: Fragmented Ground (2023), composed of rubber balls and translucent flooring, responds to viewers’ weight and movement, rendering the physical relationship between body and ground as an unstable and ambiguous sensation.

Topography & Continuity

The central thread running through Cho Ho Young’s practice is a sustained inquiry into objects, people, and the bodily sensations through which their relationships are perceived. By separating automated actions and sensations from everyday life and repositioning them in new situations, she invites viewers to re-examine the conditions of perception that are usually taken for granted. This approach has remained consistent from her early works to her most recent projects.

Cho’s participatory installations are distinctive in that participation itself is not treated as an end, but as a means of precisely revealing sensory error and relational instability. Her focus has expanded from individual actions to the structures of relationships, and further toward questions of balance and homeostasis. By reading states of physical energy equilibrium as metaphors for social relationships, she presents spatial experiences that articulate the conditions under which individuals must continually adjust their senses in order to sustain relationships.

Building on this ongoing research into sensation and relations, the artist is expected to continue experimenting with the conditions of bodily experience across diverse spaces and cultural contexts. Starting from everyday objects and actions, Cho Ho Young’s work reveals the cognitive and social structures through which they operate, and will continue to function as a language capable of sharing contemporary sensibilities across multiple contexts.