Author Archives: ミーヨン

Truth is One, Sages call it by Various Names


Truth is One, Sages Call it by Various Names
Ekam Sataha Vipraha Bahudha Vadanti



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Jeju – Dang/堂/당


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Jeju – Dol/石/돌


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“I” with a thousand faces


“I” with a thousand faces



I gaze an unspecified large number of “I” Floating in the light
then vaguely vanish from my sight…
When I meet another “I” face to face on the street
I synchronize into the depths of their existence, their eyes.
The infinite “I” has a thousand faces and could be anyone…


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book-I and Thou


I AND THOU, Handmade Artist book, 2015


Handmade limited edition : 72 (Sold out)
Photography, Text and Binding  :  Mi-Yeon
Editorial coordination and Art direction : Yumi Goto, Jan Rosseel
in collaboration with Reminders Photography Stronghold
Translation : Pamela Miki

*Book Review by Gabriela Cendoya

*Shortlisted :
Steidl Book Award Japan 2016
Kassel Dummy Award 2016, Germany
Self Publishing PHOTOLUX Award 2015, Lucca, Italy

The Unseen Dummy Award 2015, Amsterdam, Netherlands


ハンドメイドアーディストブック 限定 72部 (Sold out)
写真、文、製本 : ミーヨン
サイズ : 210x297mm

86項、写真 カラー 52点

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Text | Press


I and Thou – Anne Clergue Gallery (english)

In its new exhibition, Anne Clergue Galerie is happy to present the photographic series
of 16 images from I and Thou by the South Korean artist Mi-Yeon. It was a reading of
the book by the philosopher Martin Buber that gave birth to this artistic work. Mi-Yeon
questions the relation between the outside world and herself, through a poetic vision
informed by a powerful aesthetic sensibility.

A native of Seoul, Mi-Yeon studied photography at the Icart Photo school in Paris.
From earliest childhood, she wondered about the place occupied by her own “I” in
relation to the world and to others. She was naturally drawn to the work I and Thou
by the philosopher Martin Buber, who argues that all our relations lead us into a
bonding with God, the eternal “Thou”. Buber considers human beings to be defined
by two pairs of words, “I-It” and “I-Thou”. The first expresses our relation with the other,
the fact of revealing, in the form of experience and feeling, how we interact.
This is the world as we experience it, with bonds that we can identify and distinguish.
As to the “I-Thou”, it expresses a far more spiritual relation between “me and thee”.
This view allows an abandonment of the area of feeling, so as to place, at the heart
of our reflections, the interaction with another “I”, which could equally well between
a person and a tree or between two individuals. It implies a forgetting of oneself,
a shift of one’s individual center, in order to focus it on the interaction.

In this reading, the photographer poses a true philosophical conundrum.
She uses this decentring of oneself, bringing to light what lies between ourselves
and another individual. Mi-Yeon reveals what is usually invisible during our exchanges,
whether spiritual or real, with an entity other than our self. It is a profound reflection on
the functioning of the human soul in connection with the universe of another dimension,
where notions of time and space are blurred. Her photographs are never identifiable portraits.
Although the human being often stands at the heart of her images, the play of fuzziness,
the blurred, vaguely anthropomorphic contours, never depict a face or a character trait.

One only recognizes the human, like an entity incarnating the “I”, as if the human were
the only distinguishable “I”. The use of the personal pronoun thus becomes paradoxical,
at once specific to a person and incarnating a set of individuals.

These photographs provide an approach to oriental thought, particularly Taoism, where
“the other is a variation of myself”. The characters that one perceives project this thought
by the orientation of their gaze towards the horizon. This vision, borne to the far distance,
guides the viewer to the observation of something unidentifiable. Mi-Yeon releases us
from ourselves through this very graphic work. The artist performs a sort of process whereby
a print on “washi” paper is re-photographed with a digital camera. Some prints are silk-screened.
She obtains a highly graphic rendering, with pastel and luminous colors, marked by strong contrasts.
The grain of the suggests a vague texture as if the relation with the world has materialized.

This perceptible approach to an element that we cannot identify with the naked eye elicits a
sensitive and poetic perspective on the part of Mi-Yeon. The viewer is completely lost in the
midst of this artistic work, inundated by feelings. Her Taoist philosophy reveals a quest for
wisdom aimed to achieve harmony. This places the heart and the mind on the path (the Tao),
in other words, on the path of nature. Mi-Yeon causes the innermost nature of the human
being to surge through a vision initially focused on herself. Her highly altruistic orientation
is inspired by her contemplation of the exchanges with the world that surrounds her.

This sensitive outlook, once unveiled, forces contemplation. The photographic series
“I and Thou” demands a forgetting of oneself. The mind roams her work, reflecting on
the relations that we maintain with others, with nature, and with the world. Mi-Yeon
succeeds in transmitting her philosophy, her images take possession of her thought,
thereby becoming the incarnation of herself, of her “I”.
– Anne Clergue Gallery

I and Thou – Anne Clergue Gallery (french)

Anne Clergue Galerie, lors de sa nouvelle exposition, est heureuse de vous présenter un
ensemble de seize photographies de la série photographique, I and Thou, de l’artiste coréenne
Mi-Yeon. C’est à la suite d’une lecture du livre du philosophe Martin Buber que ce travail
artistique est né. Mi-Yeon interroge la relation entre le monde extérieur et elle-même à
travers une vision poétique mêlée d’une grande sensibilité esthétique.

Née à Séoul en Corée du sud, Mi-Yeon étudie la photographie à l’école parisienne,
Icart Photo. Depuis toute petite, elle se questionne sur la place que tient son propre
“Je” face au monde et à l’altérité. Naturellement, elle s’intéresse au livre I and Thou
du philosophe Martin Buber, mettant en avant le fait que toutes nos relations nous
amènent à être en lien avec Dieu, qui serait le “Tu” éternel. Selon lui, il y aurait deux
paires de mots définissant les humains, le “I-It” et le “I-Thou”. La première définition
exprimerait notre relation avec l’autre. Ce serait le fait de montrer, sous forme d’expérience
et de sensation, comment nous inter-agissons ensemble. C’est le monde tel que nous le
vivons avec des liens que nous pouvons identifier et distinguer. Le “I-Thou” quant à lui,
exprime une relation beaucoup plus spirituelle entre le “moi et toi”. Cette vision permettrait
un certain abandon du domaine de la sensation, pour placer au coeur de notre réflexion,
l’interaction avec un autre “Je”, qui peut autant être une relation entre un être et un arbre
ou deux individus entre eux. C’est donc un oubli de soi, le déplacement de son centre
individuel afin de le focaliser sur l’interaction.

De cette lecture, la photographe, nous transmet un vrai questionnement philosophique.
Elle utilise ce décentrement de soi, faisant apparaître ce qui se situe entre nous et un
autre individu. Mi- Yeon montre ce qui est habituellement invisible lors de nos échanges,
qu’ils soient spirituels ou réels avec une entité autre que soi. C’est une réflexion profonde
sur le fonctionnement de l’âme de l’être humain en lien avec l’univers d’une autre dimension
ou la notion de temps et d’espace semble disparaître. Elle ne fait pas de photographies avec
des portraits identifiables. Bien que l’être humain apparaisse très souvent au coeur de ses images,
le jeu sur les flous, la vision trouble des contours de formes anthropomorphes, ne permet en
aucun cas de distinguer un trait de visage ou de caractère.

C’est seulement l’humain que l’on reconnaît, comme une entité incarnant le “Je”, comme si
l’être humain était le seul “Je” que nous pouvions reconnaître. Parler de ce pronom personnel
devient donc paradoxal car il est à la fois propre à chacun mais il incarne aussi un ensemble

Ces photographies s’approchent d’une pensée orientale, notamment le taoïsme, où “autrui est
un variable de mon moi”. Les personnages que l’on perçoit mettent en avant cette pensée par
l’orientation de leur regard sur l’horizon. Cette vision portée sur le lointain, guide le spectateur
sur l’observation de quelque chose de non identifiable. Mi-Yeon nous libère de nous-même à
travers ce travail très graphique. L’artiste exerce un jeu de traitement en utilisant une  impression
sur papier « washi », qu’elle re-photographie ensuite à l’aide d’un appareil digital. Certaines sont
sérigraphiées. Elle obtient un rendu très graphique, aux couleurs pastel et lumineuses où de forts
contrastes se dégagent. Le grain des images nous amène à percevoir une certaine texture,
comme si la relation que nous entretenions avec le monde était matérialisée.

Cette approche perceptible d’un élément que nous ne pouvons pas identifier à l’oeil nu fait
l’objet d’un regard sensible et poétique de la part de Mi-Yeon. Le spectateur s’oublie pleinement
au milieu de ce travail artistique donnant naissance à des émotions qui nous submerge.
Sa pensée philosophique taoïste, montre une recherche de sagesse visant à atteindre l’harmonie.
Celle-ci place le coeur et l’esprit dans la voie (le Tao), c’est-à-dire dans la même voie que la nature.
Mi-Yeon fait émerger la nature intérieure de chaque être humain à l’aide d’une vision, qui au départ,
est portée sur elle-même. Son orientation très altruiste s’inspire de sa contemplation sur les
échanges avec le monde qui l’entoure.

Ce regard sensible dévoilé ne peut qu’être contemplé. La série photographique “I and Thou”
impose alors un oubli de soi. L’esprit s’évade au travers de son oeuvre ce qui aboutit à une
réflexion sur les relations que nous entretenons avec les autres, avec la nature et avec le monde.
Mi-Yeon parvient à transmettre sa philosophie, comme si ses images prenaient possession de sa
pensée, devenant alors l’incarnation d’elle-même, de son “Je”.
– Anne Clergue Galerie


I and Thou – Nathalie Gallon

Mi-Yeon’s photographic series, « I and Thou » follows her reading of Martin Buber’s book.
Mi-Yeon’s photography explores the relationship, the relationship between oneself and the world.
There is no identifiable portrait or individual identity function in this work.
We are miles away from the selfie. Rather than egocentric, Mi-Yeon’s work is ego-dicentric.
Echoing Taoist and Buddhist teachings, the photographer states that « The other is a variant of
myself. In this series, I try to convey our soul’s connection with the universe which exists in another
dimension, one without space or any notion of time. »
– Nathalie Gallon (curator)


“Photographs that disengage us from ourselves” – Akiko Otake

One thing I notice when I look at the photographs in Alone Together is that there are
people in all of them, but not a single one of the photographs is shot at the distance
you would expect when ordinarily engaging with other human beings.

I have been taken with this fact for quite a while now.
Most of the human figures in the photographs are faraway and therefore small.
Spaces with no human beings in them, instead filled with water, sky, rocks, account
for most of the scenes. At first glance, you don’t see anyone in the shot, but at a
second closer look, you spot a lonely human figure in the corner.

Some of the people were photographed at close range, but they are deliberately out
of focus and their image is blurred. Sometimes, they are vaguely vibrating because
they are in motion – diving into the water or sitting in a moving car.

The feeling I get from this is that Mi-Yeon is not at all concerned with emphasizing
the presence of people in her photographs. On the contrary, she attempts to make
them diaphanous, to suspend them in the air, something that is represented
symbolically in her multiple-exposure photographs of human figures standing in a
street. The individual figures of the people overlap each other and their outlines
dissolve, merging into the landscape to form another kind of presence.

In many of the photographs we see the sea or sky or rocks featured big, but do not
get the sense that the people are being swallowed up by them. This is perhaps
because, even at a distance, the photographer’s gaze is fixed on the human figures.
Someone sitting on the jagged rocks holding a sun umbrella. Some men standing in
the water about to catch a beach ball that is up high in the sky above them. Two
people travelling through the water in a boat that leaves a trail of white foam in its wake.
As Mi-Yeon stares intently at the human figures, the people in the photographs
stare at something faraway and imperceptible to us. The same is true of the
photographs of the black silhouette of a line of people.

Mi-Yeon wrote the following in the preface:
    “When in a large crowd of people, “I” vanishes.
     Within the “countless I’s,” the “big I.”
I sense that she does not feel afraid about her “I” vanishing, that she even welcomes
that experience, but when I read her words, a thought crossed my mind. That maybe
it was through photography that she came to have this feeling.

When we stare at something, we go right inside the thing we are staring at.
We become one with the object, for the most part without even realizing it, and have the
experience of ourselves disappearing. The smaller the object on which our eyes are
trained, the more concentrated the object becomes, like looking at something through
the eye of a needle, and the extinction of “I” is achieved.

The act of taking photographs is nothing other than looking at the photographed
object over and over again. Through this repetitive act, the feeling that we are
liberated from the self, a self that is bound to “I,” and step out into the world is
experienced visually in the form of joy.

The fundamental qualities of a photograph are presented by Mi-Yeon as a single idea
in Alone
– Akiko Otake (Writer)


“私”から離れていく写真  大竹昭子(作家)

『Alone Together』を見て気づくのは、すべての写真に人が写っているということ、けれどもその人物像にふだん私たちが人と接するときの距離で撮られたものはひとつもないということである。そのことの不思議がさっきから私の心をとらえている。
「大勢の人のなかにいると、 私 は 消えてしまう。
“無数の私” 、“大きい私” のなかに。」
“私” が消えてしまうことに恐がなく、むしろその状態を迎え入れようとしているように感じるが、この言葉に接したとき、ひとつの思いが心のなかをよぎった。もしかしたらこの感覚は彼女が写真を通じて知ったものなのではないかとー。
写真を撮るという行為は、撮られた対象を繰り返し見ることにほかならならない。その反復により、 “私”に拘泥する自分から解放され、世界のほうに歩みだしていく感覚を、歓びとして体に刻み込んでいく。写真が本源的にもっているこの特質を、ミーヨンは『Alone Together』においてひとつの思想として提示している。


ʻ우리 자신으로부터 우리를 분리시키는 사진ʻ

『Alone Together』를 보고 알게 되는 것은, 모든 사진에 사람이 비치고 있다는 것, 그러나 그 인물들은 평소 우리들이 사람과 접할 때의 거리로 찍혀진 것은 하나도 없다라는 것이다. 그것의 불가사의가 조금 전부터 내 마음을 사로잡고 있다.
많은 사람의 모습이 멀리에 있어서 아주 작다. 물가나 하늘이나 바위 등, 사람이 없는 공간이 화면의 대부분을 차지하고 있어 처음에는 아무도 없는 것지만, 잘 보면 그 일각에 우두커니 사람의 모습이 있다.
가까운 거리에서 찍혀진 것도 있지만, 그것들은 초점이 이탈되어 상이 흐릿하다. 수중에 뛰어드는 사람이나 주행 중의 차에 타고 있는 사람 등, 움직이고 있기 때문에 상이 흔들려서 흐릿한 경우도 있다.
여기에서 느낄 수 있는 것은, 미연에게는 인간의 존재감을 두드러지게 하려고 하는 관심은 전혀 없다는 것이다. 오히려 투명한 포자와 같이 가볍게 해, 공중에 뜨게 하려고 하고 있다. 그것은 거리에 서 있는 사람의 모습을 다중노광한 사진에서 상징적으로 나타나 있다. 사람들의 모습이 겹치고, 윤곽이 녹아서, 등가인 존재로서 풍경 안에 뒤섞여있다.
바다나 하늘이나 암석군이 크게 차지하고 있는 사진이 많이 보이지만, 그렇다고 해서 사람들이 그것에 삼켜지고 있는 느낌은 받지 않는다. 그것은, 거리를 두면서도 그 인물들에게 눈을 집중시키고 있기 때문일 것이다. 뾰족한 바위 위에서 양산을 쓰고 있는 사람, 하늘 높이 올라간 비치볼을 바다에 서서 받으려고 하는 남자들, 흰 뱃길의 흔적을 그리며 선회하는 보트를 탄 2인조….
미연은 그러한 사람들의 모습을 지그시 응시하고, 사진에 찍혀진 그들도 또한 우리들은 알 수 없는 먼 무엇인가를 지그시 응시하고 있다. 많은 사람들이 검은 실루엣이 되어 줄 지어 있는 사진에서도, 그들의 시선은 한곳에 쏠려 있다.
서문에서 미연은 이렇게 쓰고 있다.

군중 속에 있으면, 나는 사라져 버린다.
‘수많은 나’, ‘큰 나’의 안으로.

‘나’가 사라져 버리는 것은 두려움 아니라 오히려 그 상태를 영입하려고 하는 것을 느끼지만, 이 말에 접했을 때, 한 생각이 내 마음속에 떠올랐다. 어쩌면 이 감각은 그녀가 사진을 통해서 안 것이 아닐까라는….
뭔가를 지그시 응시할 때, 사람은 바라보는 그것 속으로 들어가게 된다. 거의 감지 못하는 사이에 대상물과 하나가 되어 자신이 사라져가는 감각을 맛보게 된다. 시선이 향해진 대상이 작으면 작을수록 바늘구멍을 빠져 나가는 것처럼 보는 집중도는 높아지고, ‘나’의 소멸은 달성되는 것이다.
‘사진을 찍다’라는 행위는 찍혀진 대상을 반복해서 보는 것 이외에 아무것도 아니다. 그 반복에 의해, ‘나’에 구애하는 자신에게서 해방되어, 세계에 향해 걷기 시작하는 감각을 기쁨으로서 몸에 새기게 된다.
사진이 본원적으로 가지고 있는 이 특성을 미연은 『Alone Together』에서 하나의 사상으로써 제시하고 있다.  – 오타케 아키코 (작가, 사진평론가)



ミーヨンが、つむぎだす  ー  石井 仁志(メディア評論・メディアプロデューサー)

知人を介して、出会いは唐突にやってくる。2015年5月12日のことだ。自己紹介のあと、彼女は2冊の写真集を取り出して、わたくしの前にすっとおいた。…小説の中の大人の女性のように、眼前に現れた、ほぼ得体のしれぬ男に、どんな反応を示すだろうかという興味をたたえた目線を送る。と、ト書きでも入れたくなるような、自然な流れと鮮やかな登場だった。そのうちの1冊、『Alone Together』の布張りの表紙の手触りと、その薄絹でぼんやりと浮かび上がったように相好を崩す娘の大きな顔、やんわりと見つめられる被写体からの笑顔は、観る、わたくしに鼓動を意識させた。この時、湧き上がったのが肌合いという言葉だった。まれなことに、ページを繰りながら写真展のイメージが観えていた。



イメージとしての相違は別としても、2冊目の『よもぎ草子』、そして『I AND THOU』という手製本の3冊目も、その本質的な思考の積み重ねの所で彼女の気質が生み出す作品の特徴を、きわめてよく受け継いでいる。わたくしにとって『Alone Together』以来、3冊の写真集は、心地よい肌合いを常にもたらしてくれる極上の読み物なのである。まちがいなく、そこには画像を通して響いてくる物語があり,詩があり、そして心象風景の底に流れるやさしい唄がある。






Exhibitions Views

Exhibition View

Salon du pantheon
I and Thou_01
I and Thou_03
Alone Together_02
Alone Together_05
Alone Together_04

I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Anne Clergue Galerie, Arles, 2016

I and Thou, Anne Clergue Galerie, Arles, 2016

I and Thou, Salon du Panthéon, Paris, 2016

Alone Together, Niigata-eya, Niigata, 2016

Alone Together, Niigata-eya, Niigata, 2016

Yomogi soshi-who might you be?, Gallery mu-an, Nagaoka, 2016

Yomogi soshi-who might you be?, Gallery mu-an, Nagaoka, 2016

I and Thou, Festival Photo Saint-Germain, Paris, 2015

I and Thou, Festival Photo Saint-Germain, Paris, 2015

Alone Together, Space 22, Seoul, 2015

Alone Together, Space 22, Seoul, 2015

Alone Together, Space 22, Seoul, 2015

Alone and Together, Gallery Tosei, Tokyo 2013

Alone and Together, Gallery Tosei, Tokyo 2013

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

I was born, Gallery koubun, Tokyo 2000

I was born, Gallery koubun, Tokyo 2000





『月と太陽と詩と野菜』 角川春樹事務所 2006
Tsuki Taiyo Shi Yasai (Moon Sun Poem Vegetables), Kadokawa Haruki Cor, 2006



カバーイラスト 小林愛美
ブックデザイン 鈴木成一デザイン室

Cover Illustration : Aimi Kobayashi
Book Design : Seiichi Suzuki

Love Romance



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Nanaironokoi (Seven Colors Love), Kadokawa Haruki Cor., 2006


短編小説 Anthology of short stories


한국어 번역판 『일곱빛깔사랑』 소담출판사,2006
Korean Version, Sodam Publishing co., 2006


에쿠니 가오리/ 가쿠다 미쓰요/ 이노우에 아레노/ 다니무라 시호/ 후지노 지야/ 미연/ 유이카와 케이

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『LOVE LAND』 PHP研究所 2004

DSC_2016 スマートオブジェクト-1

アートディレクション 有山達也
デザイン 中島寛子



Book Design : Tatsuya Ariyama
Poems + Portraits of Weeds

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Morgan Salon #17  “TWO VIEWS” 

TWO VIEWS: Photo Show with Music, and Talk Show
Open: 7:00pm, Starts: 7:30pm

ミーヨン + ユマ・キノシタ + モーガンフィッシャー(音楽)
Detail click here







Gallery Collection Exhibition, “Gelatin Silver Print”

Dec 1st – 29th 2017, Space 22, Seoul, South Korea

스페이스 22 개관4주년기념 소장전 “Gelatin Silver Prints”
2017년 12월 1일 – 29일, 스페이스 22




Exhibition  “Yomogi soshi – Who might you be?”

Roonee 247 fine art / Recommend wall
21st Nov – 24th Dec 2017
12:00-19:00 Closed on Monday
17-9 Sato Bild 4F, Nihonbashi Kodenmma-cho
Chuo-ku, Tokyo

ミーヨン写真展   「よもぎ草子ーあなたはだれですか」
Roonee247ファインアート/ レコメンドウォール
2017.11.21(火)- 2017.12.24(日)
12:00-19:00(最終日 16:00)月曜日休館



Solo Exhibition “I and Thou”

2017年7月8日(土)ー18日(火)ギャラリー mu-an、長岡市
11:00  – 17:00  最終日16:00まで、12日(水)休廊
ギャラリー mu-an

Gallery mu-an, Nagaoka, Japan
8  – 18 July 2017 11:00  – 17:00
■ Artist Talk and Receiption:8 July, 14:00 〜



Exhibition “Regards sur la Corée”, as part of the Festival Regards d’ailleurs

la Chapelle de l’Hotel-Dieu, Dreux, France
14 January – 26 Mars 2017
Opening Reception : 8 Mars, 17:00
Curated by Nathalie Gallon



Group Exhibition “the Grand Prize Winners of ShaShin Book Award in Paris”


18 – 23 October  2016  13:00ー19:30
Lumen gallery, Kyoto, Japan
■ Artist Talk:22 October 18:00 – 19:00



Solo Exhibition “I and Thou”


Le Salon du Panthéon, Paris, France
26 September – 20 December 2016

Curated by Nathalie Gallon



Solo Exhibition I and Thou  

スクリーンショット 2016-08-25 22.13.54

3 September – 1 October 2016
Anne Clergue Gallery, Arles, France



Solo Exhibition Alone Together 

Niigata-eya Gallery, Niigata, Japan
2 – 11  August 2016
■ Artist Talk : 6 August 18:00~19:00~



Article on actuphoto about Exhibition “I and Thou” at Anne Clergue Gallery




Interview on Asia PaperCamera

スクリーンショット 2016-07-06 0.16.13




Solo Exhibition “Yomogi soshi-who might you be?”

DM Yomogi soshi

23 – 30   July 2016, Gallery mu-an, Nagaoka, Japan
■ Artist Talk and Reception : 23 July 15:00 〜



Group Exhibition “the Grand Prize Winners of ShaShin Book Award in Paris”


4 – 13 December 2016,  tokyo arts gallery, Tokyo, Japan
11:00 〜20:00  (closed on Monday)
■ Artist Talk and Reception : 5 December 17:00 –



Exhibition “Ephémérides coréennes”
As part of the festival Photo Saint-Germain, and the French-Korean Year


7 – 22 november 2015,  Tarfa Project
29 Rue de Seine 75006 Paris, France

Mi-Yeon (photo)
Cori Shim (Video)
Curated by Nathalie Gallon



All handmade photobook, ” I and Thou“, limited edition of 72

Pre-orders are available through Reminders Photography Stronghold.
For more details, please see the following link. (english)


*Review by Gabriela Cendoya

* “I and Thou” was shortlisted and exhibited at Unseen Photo Fair Amsterdam 2015.



Solo Exhibition Alone Together


Space 22, Seoul, South Korea
16  September〜7 October 2015



The 2015 Handmade Photobook Exhibition by Workshop Participants


Reminders photography stronghold, Tokyo, Japan

5 – 23 September 13:00 – 19:00




Photobook Alone Together will be displayed at Benaki Museum during Athens Photo Festival 2015

スクリーンショット 2015-08-28 23.30.46

6/3 – 7/31 2015



Photobook Alone Together featured on Self Publish, Be Happy – U.K

スクリーンショット 2015-08-28 22.49.11 




スクリーンショット 2015-05-02 13.20.48



下北沢にある本屋  「B&B」にて、文芸評論家の若松英輔さんと対談いたします

スクリーンショット 2015-05-02 13.19.595月23日(土)19時〜21時





Photobook Alone Together will be displayed at the Philadelphia Photo Arts Center Book Fair by the Indie Photobook Library

スクリーンショット 2015-08-28 22.56.52




Interview and photographs on Japanese photo magazine ‘Photo Asahi’





Korean photo magazine, PHOTODOTB  vol. 12 November, 2014




My second photo book Yomogi Soshi – Who might you be? is published from Madosha.


more info



Photobook Alone Together has been selected for one of the three winners of Shashin Book Award 2014 in Paris, France


2 shows for Shashin Book Award 2014
– Photo Off – 11/13 – 11/16, 2014 during Paris Photo, La Bellevilloise

– in)(between gallery – 1/5 – 1/16, 2015
Opening Reception: 1/8
3 rue Sainte-Anastase, 75003 Paris, France
Shashin Book Award 2014 – English



“Review of Photographer and Photobook” at Reminders Photography Stronghold, Tokyo, Japan




My First Photobook “Alone Together” was published

more info



書き下ろし短篇 「トゥールの日々とペルシアの黄色いごはん」 と写真を掲載していただきました


『URBAN NATURE』Vol. 01, 2014 京都学院大学 君塚洋一研究室発行、¥500(税別)



ASAHI CAMERA January 2014
アサヒカメラ 2014年1月号


Series Alone Together featured in Camera Asahi magazine January 2014 issue.



Mi-Yeon Photo Exhibition Alone and Together


Gallery Tosei, Tokyo, Japan
29 November  – 26 December 2013
11:00am – 7:00pm  Closed:Sun. Mon. National Holidays





book-I was born


『I was born ソウル・パリ・東京』 松柏社 2001



ブックデザイン 鈴木成一デザイン室


Essays + Photos of Seoul, Paris, Tokyo

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『いまここにいるよ』 偕成社 2002
Ima Coconi Iruyo
(I am here now), KAISEI-SHA, 2002





Essay + Portraits of two-year-old children
Book Design : Seiichi Suzuki

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Truth is One –
Sages Call it by Various Names

“I” with a Thousand Faces
I and Thou
Alone Together
long-term project
Yomogi soshi —
Who might you be?
At the age of Two
I was born



Yomogi Sosi – Who might you be?
よもぎ草子 ー あなたはだれですか




One day, a single weed popped up along a route I often took to school.
Rainy season had just begun, and the weed was shooting up, taller each time I saw it.
I looked forward to monitoring the progress of that weed day-in,
day-out as I passed by each morning and evening.

I wondered what landscape the weed saw – roots burrowed in the ground,
spending its entire existence in the same place, unable to take a single
independent step – and what it looked at.
Lowering my camera to its level, lying flat on the ground, I peered through the viewfinder.
Captured in the square frame, looked at, the weed was in turn looking.

The weed’s name was himemukashi yomogi – Canadian fleabane.
Having encountered this specimen of yomogi I started noticing other weeds unobtrusively
growing wild about the place. From the rainy season into summer,
I set out to check out different paths, eager to encounter their tiny presences.

After a while, I noticed that the yomogi had fallen over. I continued to photograph it,
whatever state it was in. Then one morning, it had disappeared without trace.

That weed fulfilled its life, albeit short, and even now, as if searching for its reincarnated form,
I find my eyes drawn to other yomogi, on other, different paths.

Memories all mine, of which no one else knows: sometimes they threaten to melt, mirage-like,
in the heat of that hot summer, yet our conversation, like a series of trysts, is captured on film,
crystal-clear and evidence-like.







매일 지나는 통학로에 어느 날 풀이 하나 돌연히 얼굴을 비추었다.
장마에 들어간지 얼마되지 않은 무렵으로 풀은 쑥쑥 자라고
나는 아침 저녁 그 길을지나면서 그 풀의 성장을 지켜보는 것이
나날이 하나의 즐거움이 되었다.

땅속에 뿌리를 기르고 스스로는 한 발짝도 움직일 수 없는 그래서
같은 장소에서만 살고있는 풀은 어떤 풍경을 보고 있을까?
무엇을 보고 있을까?
나는 카메라를 풀의 키에 맞추어 거의 바닥에 설치하고 파인더를 들여다 보았다.
정방형의 파인더에 안에 모습을 나타낸 풀은, 보여지고 있는 가운데서 보고 있었다.

히메무카시요모기. 그 풀의 일본 이름이다. 한국어는 망초.
그 풀을 만나고 나서, 주변에 자생하는 무수의 풀들의 모습에도 눈이 멈추게 됬다.
나는 그러한 작은 존재들을 만나러 이길 저길 다니며 촬영하기 시작했다.

장마가 끝날 무렵, 히메무카시요모기 쓰러져 있는것을 보게됬다
나는 그 있는 그대로의 모습을 계속 필름에 담았다.

그리고 어느날 아침 히메무카시요모기는 흔적도 없이 사라져 버렸다.
짧은 기간이었지만 그 풀은 자기의 일생을 완수하고, 나는 마치 그의 환생을 찾는 것처럼
지금도 길가의 다양한 히메무카시요모기의 모습에 눈을 빼앗긴다.

아무도 모르는 나만의 기억ー그 기억은 때론 화상인 것 같아서, 그 뜨거웠던 여름의
햇살에 녹아 버릴 것 같지만, 밀회처럼 계속된 우리 둘의 대화가 마치 증거물처럼
선명히 필름에 새겨져 있다.


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