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DAILY NEWS
2011_04_06
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Three Ways to
Commemorate Nam June
<Jack of All Trades> exhibition presents a series of experimental Korean Historical Conceptual Artworks
Paik
Seoul City Wall Visitor
history by reinterpreting it in a modern sense. This exhibition features artworks of eight conceptual artists
Pavilion
Kun-yong and Hong Myung-seop. Although the members of the Korean historical avant-garde are
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INTERIOR
from the 1970-80s which is considered one of the most complicated art forms in Korean contemporary art
such as Kwak Duck-jun, Kim Ku-lim, Kim Yong-ik, Park Hyun-ki, Sung Neung-kyung, Lee Kang-so, Lee
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approaching old age today, their works are the manifestation of essential modernism of Korean
contemporary art.
best tag.
music, pasadena, prize, bridges,
amorepacific, daejeon, indonesia,
jakarta, seoul, office, han river,
house, korea, lee sang-leem
An Incomplete Beauty
Kyungah Ham: Phantom
Footsteps
Roof Sentiment
Yeseung Lee: A Question
Posed in Between Inside
and Outside
Seulgi Lee: Dreams of a
Transforming Object
Noise Scavenging:
Disrupting the Invisible
Historical Space
Yunchul Kim: A Search for
the Disposition of the
Material
Archipelago
A Needle Woman: Galaxy
was a Memory, Earth is a
Souvenir
Architectural Space that
Corresponds to an Old
Civilization
Architecture as a Social
Standard and as a Practice
pursue novelty; the other was a form to materialize the novelty in a visible form. The spirit of modernism
and materialized form in the Korean contemporary art history had remained in equilibrium between the late
7000 Pieces
1950s and early 1960s. The thriving avant-garde spirit in the wake of the tragic Korean War found its own
International Congress
Seoul Pavilion
However, this equilibrium failed to last for long. The abstract turned into a kind of back guard and the spirit
became stranded within the sturdy boundary created by the guard. In this regard, the artworks of the eight
artists in this exhibition are meaningful since they attempted to break through the doldrums. Playing the
Morphing Sounds
pivotal role to enlighten awareness, they conducted a variety of experiments to escape the influence of
Mise en Scène of
senior modernists. Their artworks demonstrate a deviation that cannot be confined by the aesthetic
horizons of abstract art. Kim Yong-ik shows a parcel performance, just like a Fluxus artist does, while Kwak
Duck-jun questions his identity as a stranger in the performance by rubbing his face on the cracked
transparent glass. Also, Hong Myung-seops aesthetical amusement opened up the possibility for new art
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criticism.
Their artworks represent diversity that rejects any type of formalization, however, these words show a kind
3.0
of similarity in a certain element. That is their aesthetic methods to pursue novelty are thoroughly based on
Filament Mind
epistemology. Of course, this method is somewhat expectable as the eight artists are referred to as
Conceptual Artists. But, what is more important is that their epistemological methods are intended to
Light Barrier
divide and reorganize the surroundings through conceptual theory. This exhibition is deserved to be
However, some elements should be carefully taken into consideration. First, there is lack of artistic
Vertigo
assessment on the modern implication of Korean Historical Conceptual Art from the 1970-80s. In order not
to dismiss the conceptual art as a product of the past in Korean contemporary art, we need to accompany
Something Behind
the evaluation of its influence on Korean art. This is especially important because their works served as a
starting point for much more radical aesthetic experiments in the 1980s. Additionally, part of this art tried to
Paris
connect with folk art, which is another aesthetic mainstream in our long art history. In particular, the
conceptual realism, which was the talk of the town in the Post Folk Art discussion, can be considered as
Principles of Motion
the results of interrelation between conceptual art and folk art given that it accompanies criticism on the
reality from an epistemological perspective. Second, the element is associated with the approach toward
conceptual art from the exhibition engineering level. As it is known, the conceptual art values flexible flow of
awareness, variable meanings and transient behaviors. Therefore, the method to embody the artistic
concept through artistic forms for the exhibition should be differentiated with the way to consecutively
display either paintings or sculptures.
Written by Kim Dong-il Research professor of Institute of Social Sciences at Sogang University
tag.
no.521 (2011.April)
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