Walking the streets of downtown Cincinnati, it is easy to miss Zaha Hadid’s Contemporary Arts Center (CAC)—especially to those on the lookout for the free-flowing parametrically derived forms. The CAC is something different. Boxy and monolithic, its gallery volumes give way to a generous interior lobby that is surprisingly porous. Views up through the six floors of galleries are pierced by a continuous thread of stair runs. It was here in the lobby that an inspired Do Ho Suh met with curator Steven Matijcio, embarking on a two-year journey that has led to Passage, a landmark survey of the Korean artist’s work.
Suh’s work is a deeply personal exploration, mapping identity, memory, and his reflections on the idea of home. The artist—living transnationally among Seoul, New York, and London—produces work that strides between the intimate space of the individual and collective networks that bind us together. Passage contains a remarkable range of media: Six new pieces are dispersed alongside drawings, videos, architectural models, and Suh’s iconic, highly detailed “transportable fabric” sculptures.