The exhibition is called “Night Landscape” or “Paysage Nocturne”. Twenty models of churches painted in black draw a landscape. Each is topped with a red cross, the distinctive emblem in the night. Since the separation of Korea in 1948, South Korea has gradually populated by Protestant Christian churches. Each of these churches has a luminous cross, as a commercial signs, and these red spots became a feature of the nocturnal landscape of contemporary Korea. However, there is no vernacular architecture that is reserved for buildings of 20 and 21 centuries, but we pay attention to find very disparate forms that sometimes remind of company headquarters or large convention center cities. The power and wealth of religion is thus stated as showy and the issue of possible infiltration of this power in all spheres of society arises from an underlying. The landscape that draws the artist evokes the rather gruesome and sordid small clay models black, friable, and still keeping the hand print, as are the tombstones of a large cemetery. Again, the artist reminds us of the fragility of a system that relies on purely capitalist basis. Look at the images captured on the web that has framed and hung on the wall as archival documents. A bridge over the great river that flows through the capital that fall apart, a shopping mall in Seoul failed, as many disasters caused by defects in response to corrupt public procurement. Dae Jin Choi suggests a reading of black landscape of his country, playing perfectly transposed in our contemporary occidental societies.