"LINES" - Liaigre, 102 Madison Avenue, New York
Click for more information on Estate of Alain Kirili or H.K Kwon
SLAG&RX is pleased to announce Lines, a two-person exhibition by H.K. Kwon and Alain Kirili, opening November 13, 2025 at Liaigre, 102 Madison Avenue, New York, presented in partnership with Liaigre. The exhibition remains on view through March 2026.
Bridging Abstract Expressionism and Minimalism, Lines stages a dialogue between painting and sculpture, East and West, meditation and materiality.
H.K. Kwon (b. 1977, Seoul)
A successor to Dansaekhwa, Kwon describes himself as a “walking painter.” Through repeated, tactile gestures—pressing oil pigment with his fingers into horizontal and vertical sequences—he builds meditative chromatic fields in which duration is a core material; some surfaces cure over many months. Kwon studied Oriental Painting at Dankook University and earned an MFA at Hongik University; his work has been shown in Paris, Seoul, and New York.
Forthcoming: Solo project at Fondation Wilmotte, Venice, 2026.
Alain Kirili (1946–2021)
The French American sculptor is celebrated for a vertical, post-minimal vocabulary in forged metal, stone, and wood, embracing direct carving and modeling to re-ground sculpture in the sensuality of materials. Kirili’s work is held by major museums including MoMA (e.g., Cortège, 1982), the Morgan Library & Museum (drawings), and the Jewish Museum (Commandment II, 1980) among many others.
Recent/Current institutional highlights:
Centre Pompidou, Paris — Two additional monumental sculptures entered the collection in 2024, Zahin (1980) and King (1987). The museum already held multiple terracotta works from the Ivresse ensemble (acquired 2009).
MAMC+ (Musée d’Art Moderne et Contemporain), Saint-Étienne Métropole — Kirili is currently on view in the collection exhibition “BRAND NEW!” (reopened museum program showcases recent acquisitions and large-scale works).
Musée de la Cour d’Or — Metz Métropole — Two works were inaugurated into the permanent collection in September 2025.
Together, Kwon’s meditative surfaces and Kirili’s materially sensuous verticals unfold as a conversation across geographies and generations—between stillness and gesture, contemplation and corporeality.