[데일 치훌리의 유리조각들] 개인전 리뷰

살 빠지는 조각을 아시나요?!ㅎ

라스베가스 벨라지오호텔 로비 천정을 수놓은 멋있는 유리조각 ㅋ

그것을 만든 데일 치훌리의 처음이자 가장 큰 개인전이 롯데 에비뉴엘에서 진행중입니다 ^-^

 

Dale Chihuly's mesmerizing glass sculptures

 

Visitors look around Dale Chihuly`s exhibition [Avenuel]

At Avenuel in Sogong-dong, central Seoul, one will spot exquisite glass sculptures in every nook and corner from the basement to the fifth floor.

The works are by Dale Chihuly, the world renowned glass sculptor.

Also including his sculptures and drawings clustered at Lotte Art Gallery on Avenuel's 9th floor, a total of 79 pieces are on display at Avenuel for his biggest-ever solo exhibition in Korea.

Colorful yet lucid and lofty, the works perfectly match the posh shopping venue's high-end image.

"Too pretty? Too decorative? Too popular? Since when is that a problem?" Chihuly used to say when someone criticized his works.

Indeed, his works are very popular especially among fancy hotels and high-profile institutes. Some 200 museums and institutes throughout the world collected his work, including the Metropolitan Museum of Art in New York and Louvre Museum in Paris. His first signature gallery in Asia is situated in Macau, one of the richest tourist spots in the world.

His most famous work is "Fiori di Como," brilliant glass flowers that embroider the lobby's ceiling at the Belagio Hotel in Las Vegas.

It was once a fad among Korean bloggers to post a picture of the lobby on their blogs, because rumor had spread that the work "helps you lose weight just by looking at it."

Ironically, it is hard to match the beautiful works with the artist himself, as the strong looking 68-year-old man honestly appears far from "beautiful" or "fragile," with his signature black eye patch covering his left eye and all.

But some say that it was his troubled 30s that inspired him to create such beautiful works.

At 31, his studio caught fire and his entire body of work disappeared into ashes. Four years later, he was severely cut by glass in an automobile accident and had to get more than 250 stitches on his face. It was then that the black eye patch became his companion. Three years later he dislocated his shoulder while bodysurfing, and is thus no longer able to hold his glass blowing pipe.

These incidents ended up being rather fortunate for his fans, however, because through them Chihuly discovered more of his hidden talents.

To continue his work, Chihuly formed teams and hired others to blow the glass. He turned out to be a great director and his team made stunning new designs. He also found his gift for drawing as he relied on the medium to transmit his ideas to his teammates.

At this exhibition, 27 of the exhibits are his drawing works.

The exhibition is underway at Lotte Art Gallery inside Avenuel runs through Oct. 15 while the rest of the exhibits will be on display until Oct. 30.

For more information, call (02) 726-4428 or visit www.chihuly.com

(claire@heraldm.com)

By Park Min-young

한국앤틱vs유럽앤틱

가구에 관한 기획기사를 쓰려고 동대문답십리 고가구거리, 이태원 고가구거리를 돌아다니다보니

참 안타까운 사실을 알게 되었어요.

 

이태원에 새로 생긴 유럽 앤틱 가구, 소품을 파는 가게들은 한국인 신혼부부와 아주머니들이 끊임없이 찾아가는 반면,

한국고가구, 고미술품을 판매하는 가게들은 그야 말로 파리가 날리고 있다는 것을요.

가끔 방문하는 외국인들 손님 만 몇 명있는 정도.;;

 

이태원 지도에 나와있는 "고가구거리" 가 아직은 한국고가구거리를 가리키고있지만,

지금은 고작 4 곳 정도 남은 실정이라....

몇 년 새에 200개 정도 생긴 유럽 앤틱가게들에게 그 이름을 빼앗길지도 모르는 상황이래요.

화각장기술을 가진, 인간문화재급의 장인 한 분은 생활고를 견디다 못해

25년간 해온 일을 버리고 택시기사를 하신다는 얘기도 들었구요.

 

그래서..처음엔 그냥 가구거리를 소개하려다가, 방향을 틀게 되었답니다.

 

Challenging times for Korean antiques

 

Korean antique shop Koreana Antique in Itaewon-dong [Park Hae-mook/The Korea Herald]

A couple preparing to get married next year was busy browsing the European antique shops in Itaewon-dong, central Seoul, on a slow Tuesday afternoon.

"This is gorgeous. I love its classic touch. How much is it?" the bride-to-be eagerly asked the clerk, caressing a green wooden bench.

About 200 European antique shops are clustered in the area. Korean newlyweds and middle aged women continuously went in and out of the shops.

Mostly based on old European furniture and items, the contents of the shops vary according to the owners. Prices range from 10,000 won to tens of millions of won.

The inside of Britania, one of the shops on the street, was reminiscent of a house in an old European movie. Old fashioned cups, sewing machines, paintings, couches, tables, chairs and more shone under its yellow incandescent lights.

"I like pretty and girlish items. I usually buy them from France, Belgium or England. They are all at least 70 years old," said shop owner Ahn Young-hee.

"Our usual customers are Korean newlyweds who search for unique and classical items. Foreigners, on the other hand, just pass by," she said.

Interestingly, the street is not the "Antique Art Street" which the map of Itaewon-dong indicates.

Instead, the map leads us to another street in Itaewon-dong that is closer to Hannam-dong.

There, some antiques stores also sell "unique and classic items," but the ambience is somehow completely different from the previous street.

First, not a couple hundred, but only four shops awkwardly stand there. No Koreans, but only foreigners occasionally entered the shops.

The reason is simple: They sell Korean antiques, not European.

"There used to be about 15 Korean antique stores here, long before the European antique shops appeared. But they all folded over several years, not being able to make ends meet. Now there are only four left on the street, including mine," said Symon Jeonn, owner of Koreana Antique.

"Under Confucianism, Koreans used to burn all their parents' belongings when they passed away. So we don't have many antiques left and don't know how to value them. Unfortunately, it looks like Koreans still don't know how to appreciate them.

"They think occidental things are the best, while some foreigners who realize the value of Korean antiques buy them and take them overseas. Making it worse, even the number of foreign buyers has gradually decreased due to the global economic crisis," Jeonn added.

The main items in Jeonn's shop are dressers. They vary in size and price from 200,000 won to millions of won, according to the original owners' social status and when and where they were used.

Among the drawers, one wore an interesting name tag, written on it "DVD chest." No, they did not have DVDs in the Joseon Dynasty. It is one of Jeonn's ideas to attract buyers - to sell fusion items that look old-fashioned but have modern functions. He also started selling Chinese antiques a couple years ago.

His decision was a case of adaptation, because he did not only suffer from low demand, but also low supply.

One engraver who used to supply furniture to Jeonn's shop for nearly 25 years quit about five years ago and became a taxi driver. He was one of the few engravers able to perform the "Hwagakjang" skill, which is a technique to grind cow's horns as thin as paper and paint patterns on them.

"I could hardly make any money by making Hwagakjang furniture. It takes long to finish one, the cow horns are expensive and rare, and moreover, the furniture was not popular among common people.

"There are only about five experts left in the domain including three human cultural assets designated by the government. I'm sure that all of them are having a hard time supporting themselves," said Kim Si-chul, the engraver.

"I earn better, and I am much more satisfied with my life now. I should have quit earlier. If I had devoted half my life to something else rather than Hwagakjang, I could have earned much more money."

The situation is not much different in Dapsimni, Dongdaemun-dong in eastern Seoul, where approximately 150 Korean antique shops are assembled in three buildings.

It is very quiet in the buildings, and is hard to find anyone other than the shop owners.

Perhaps the situation is even worse than the Korean antique shops in Itaewon-dong, since the Dapsimni shops still obstinately sell only Korean antiques.

From censers and dressing stands to hanbok and gayageum, a traditional musical instrument, the buildings are jammed with all sorts of old Korean things.

Knowing this, the Dongdamun district office had in fact made an effort to support the shops by announcing in January that it would invest 2.1 billion won ($1.75 million) to turn the area to be the district's representative tourist spot by the end of this year.

The office had said that actual construction to rejuvenate the area would start in May after finishing the basic plans. Even taking into account that three months are remaining until the end of this year, however, shop owners complain that hardly anything has changed.

"I do not understand where they have spent the big money. The roads are still inconvenient and they didn't do any publicity activities. The government should pay as much attention to Dapsimni as it has to Insa-dong. Here, there are many more shops and authentic Korean antiques than in Insa-dong," said Lee You-bok, owner of Go You Dang, an antique shop in the area.

Lee, who has been dealing in Korean antiques for 35 years now, added that Koreans are losing so much by neglecting Korean antiques.

"Not only are they more beautiful and cheaper than factory-made-furniture sold in department stores, but they also contain more value and history. It was in these heaps of antiques that some of the greatest national treasures were found in. There could be some really valuable treasures hidden here," Lee said.

(claire@heraldm.com)

By Park Min-young

[광주 디자인비엔날레]

Biennale searches 'clue' for designs

 

One recent car commercial rambles on about the car's new functions but then ends like this: "So what? Nobody cares if it is not beautiful. Beauty is a must."

Yes, a product's attractive design has become one of the most important factors to make a hit item today, sometimes even more than its functions.

"The world's design market is practically saturated. New techniques used to be followed by new designs in the past but now it is the other way around. We need to find innovative new designs that can recharge the market again," said 2009 Gwangju Design Biennale General Director Eun Byeong-soo.

The third Gwangju Design Biennale came forth to suggest "The Clue" - also this year's title - which will eventually lead us to better designs.

The clues revealed by the biennale can be summed up as "Korean culture" and "good for everyone."

The biennale has one main exhibition divided into five parts - Clothing, Eating, Living, Enlightening, Enjoying - three special project exhibitions - Design to Save, Design for Care, Street - and a "Sing Sing Noraebang," a giant karaoke room installed in front of the Biennale Hall.

The main exhibition underway at Biennale Hall is the one that sheds new light on Korean traditional and modern culture.

Interestingly, however, the participating foreign artists outnumber Korean artists by 72 percent to 28 percent.

"It means that many foreign artists are showing works based on Korean culture. We first came up with the basic concept, gave the artists enough information, and they immediately fell in love with what they learned. Each interpreted Korean culture in their unique ways. The works reflecting Sosewon would be a good example," Eun said.

Sosewon is a beautiful Korean garden situated at Damyang, South Jeolla Province. The place is not that large but is well-known for its perfect harmony between wooden architectures and nature.

Some Korean and international artists each reinterpreted Sosewon in a two by two meter square space using various materials such as wood, plastics, lights or bamboo-looking steels. The exhibits are shown at the Biennale's "Living" section.

The "Eating" division greets visitors by stinging their nostrils with a spicy smell. Dried red peppers are piled up like a small mountain in the middle of the room in the form of Sungryemun. Looking carefully, one can spot the roads around Sungryemun that leads to City hall and Gwanghwamun, also filled with peppers.

Other than this sensational exhibit, more Korean foods and whimsical tableware are also showcased there.

The "Enjoying" section starts by exhibiting music equipment chronologically from Thomas Elva Edison's phonometer to iPods. The section's highlight is at its final room where dozens of Korean traditional instruments hang from the ceiling.

The "Clothing" section introduces designs inspired from hanbok and the "Enlightening" section features works based on Hangeul.

While the main exhibits emphasize Korean culture, the three special projects introduce nice designs that can satisfy everyone.

First, the "Design to Save" project showcases numerous everyday goods that were common in modern Korea, reminding visitors that new designs are hidden everywhere and that they can be derived from anything by anyone.

Then the "Design to Care" project displays household items from scissors to kitchen sinks that are specially designed for the disabled.

The "Street" project is literally underway on the streets and not in the Biennale Hall. Two Korean traditional houses and Gwangju Speer Girls' high school, all located in Yanglim-dong, southern Gwangju Metropolitan City, gives out an interesting ambience with modern items packed in their ancient buildings.

If you are wondering "Are these just insightful design works, or are they contemporary art?" after looking around the nearly 2,000 exhibits at the biennale, you have seen it well.

The organizers confessed that this year's biennale went a step closer to contemporary art while the first two had focused on commercial goods, mostly produced by companies.

So while this year's exhibits are definitely more fun, abundant and stimulating than the previous years, it looks like Gwangju Design Biennale has created itself another assignment for the future: Differentiating itself from its sister festival - the famous "Gwangju Biennale" centering around contemporary art.

The third Gwangju Design Biennale runs through Nov. 4 in Gwangju Metropolitan City. Tickets are 7,000 won for adults, 4,000 won for adolescents and 2,000 won for children.

For more information, visit www.gb.or.kr or call (062) 608-4114.

(claire@heraldm.com)

By Park Min-young

광주디자인비엔날레 취재 후기

광주에서 디자인비엔날레가 열려서 지난주에 다녀왔어요.

큰 행사인 만큼 - 취재진도 백여명 쯤 몰리고, 정신이 하나도 없었답니다.

규모는- 다 돌아다니면 정말 다리 아플정도로 커요.ㅋ

양림동 등 광주시내에서도 열리구요.

 

*Living 관에 있던, 우리나라 정원 소쇄원을 재해석한 OfficedA팀의 작품.

누워있는 사람은 퍼포먼스 모델이랍니다.

엄청난 사람이 몰려왔는데도 태평하게 누워서 책보고 노래듣고 ^.^;

진짜 편안해보였어요.ㅋㅋ

이런 퍼포먼스 모델들이 곳곳에 있는데- 신기하고 재미있고 그래요. ㅋ

 

*Eating관에 있는 "숭례문 광장" 작품.

고추를 저렇게 쌓고 길을 내서, 숭례문을 주변을 형상화한거랍니다. 시청가는길도 보이고 ㅋㅋ냄새가 아주 매콤;;

 

*Enjoying관의 천정을 수놓은 전통악기들.

실제로보면 꽤나 감탄스러워요 ♡

돌아와보니, 여기저기 다른 매체에서 찍은 사진에 제가 종종 찍혔더라구요.ㅋㅋ

재미있어서 올려요 ㅋㄷ 아는분만 찾으시겠죠?! ^.^

 

혹시나 저작권 뭐 그런 문제가 있을까봐; 매체표시가 된걸로^-^;

혹 그래도 안되는거면 내릴께요 말씀해주세요 ㅋㅋ 소심 ㅋ

 

아무튼 자세한 내용은 기사 참조!

[프랑스익스프레스] 40여개 프랑스 문화축제가 열립니다.

9월부터 12월까지 "프랑스 익스프레스"라는 프랑스예술축제가

서울을 비롯한 6개 도시에서 열린답니다.

 

저는 개인적으로 프랑스문화, 특히 미술과 디자인쪽에 관심이 많아서 유심히 봤는데

꽤 볼만한 전시들이 많아요- 꼭 이렇게 묶어두지 않았어도 가볼만했을 만한.ㅋ

 

과연 다 가볼수 있을지는 모르겠지만,
이쪽에 관심 있으신 분들은 꼼꼼히 챙겨보면 재미있을 듯 합니다 ^-^

 

Autumn to savor French culture

 

To the delight of many who are interested in French culture, the "France Express" season has come again.

The third "France Express," a French cultural festival hosted by the French Embassy and the French Cultural Center, began its four-month journey earlier this month.

More than 40 events are lined up in six major cities in Korea, including Seoul. About 200 French artists will be showing off their talents in Korea until December.

"This year's 'France Express' will introduce various arts, plays, music, movies and street performances like it did the last two years when the festivals all marked a great success. Particularly this year, some of the events will be closely connected with major Korean festivals and institutions," French ambassador Elisabeth Laurin told the press last week.

The festival is already heating up with some major art and design exhibitions.

"Platform Seoul," an annual contemporary art festival was the first, starting Sept. 3 and continuing until Friday.

At a show currently underway at the former Defense Security Command complex in Sogyeok-dong, central Seoul, French contemporary artists such as Christian Boltanski, Vincent Ganivet, Alain Declercq and Elise Florenty display their works along with some 100 other artists.

Daelim Contemporary Art Museum in Tongi-dong, central Seoul, yesterday opened a retrospective exhibition to commemorate the 25th anniversary of Jean Prouve's death. The show, which came from the Vitra Design Museum in Germany, is the first-ever and the biggest exhibition on the world-renowned French architect and designer in Korea.

About 90 pieces of his furniture, photos, drawings and videos are packed in the three-story museum. Among them, an armchair named "Grand Repos" is something viewers might want to take a good look at.

Made in the 1930s, the chair looks simple, chic, yet comfy. But the most amazing part about it is its current price: more than 1 million euros (1.5 billion won).

Titled "Jean Prouve: The Poetics of the Technical Object," the exhibition runs through Nov. 29.

Two blockbuster French photo exhibitions are lined up at Seoul Arts Center in Seocho-dong, southern Seoul.

Currently on display is "Les Maitres de la Photographie du 20eme Siecle," which displays about 180 photos by 18 photographers from the 1920s-1940s, including Andre Kertesz, Man Ray and Laszlo Moholy-Nagy.

"They were the photographers whose photos I had studied over and over again through text books. They initiated the time when photographs were first considered as art," said Sin Su-jin, Psychology of Photography research professor at Yonsei University.

The pioneering photographers known as "avant-garde artists" or better as "enfants terribles" tried everything that could possibly be done in the process of taking and printing a photograph.

They distorted the images using mirrors, turned on the light while developing photos in the darkroom and messed with the printing paper.

"What was the result? Photos finally started to contain message," said Sin.

Being in black and white, the photos somehow excite more curiosity. The exhibition runs through Oct. 29.

The next show at Seoul Arts Center starts on Friday, featuring photos by Sarah Moon, who is one of the best fashion photographers in France. It will run through Nov. 29.

Seongkok Art Museum in Jongro-gu, central Seoul, also took charge of two exhibitions -- "Portraits of shoes, Stories of feet" and "Ho Sup HWANG- la force de la main" -- which opened last week.

The shoe exhibition is from Romans International Museum of the Shoe which is the sole and the best shoe museum in Paris.

A total of 64 shoes dating from the 18th century till now are on show. The collection is diverse, from African shoes, Korean "jipsin," and straw sandals to fancy Chanels.

A funny thing is that none of them are in pairs.

"They are very special and rare shoes, so we only take one of a pair for exhibitions due to safety causes," said exhibition organizer Yves Sabourin.

Indeed, the beautiful shoes appear very fragile, and often too small.

"In the 19th century, women's shoes were only half the size as they are today," Sabourin said. The exhibition runs through Nov. 8.

Also at Seongkok, Korean artist Hwang Ho Sup is exhibiting his paintings and sculptures done using only his bare hands.

He painted numerous spots on canvases, making them appear like microcosms. In another series, he bent wire nets into the form of a Buddhist statue and placed them over celebrity photos.

Hwang's works seem to contain both oriental and occidental thoughts, as he has spent half his life in Korea and the other half in France. His works on display definitely offer a mix of expensive European paint and microcosm, as well as blue-eyed celebrities and Buddhism. Hwang's solo exhibition runs through Sep. 30.

More exhibitions are scheduled throughout the cities in the upcoming months, along with a full scale launch of performances, concerts and movies.

The play "Ricercar" will take place at Seoul Arts Center from Oct. 29 to Nov. 1 and "L'Effet de Serve" will run from Nov. 11 to 13 at Myeongdong Theater.

Many French musicians will be holding concerts, including pianist Yaron Herman, Accordianist Richard Galliano Tangaria and The Contemporary Orchestra Ensemble.

Busan will be the main venue for the movies. 25 French movies will be shown at the Busan International Film Festival, placing France as the country viewing the most of its films at the festival.

For more information on "France Express," visit www.france.or.kr or call (02) 315-8500.

(claire@heraldm.com)

By Park Min-young

KIAF,국제아트페어- 화요일까지!

Scaled-down art fair kicks off at COEX

 

Visitors browse the booths at the Korea International Art Fair held last year. [KIAF]

The Korea International Art Fair, one of the biggest art fairs in Korea, begins its five-day run today at COEX in southern Seoul.

Started in 2002, the annual fair has grown to become one of Asia's symbolic art fairs. It has marked particularly great success the last two years, with diverse lineups and high sales.

Compared to those times, the size is much smaller this year. The number of participating galleries dropped from last year's 218 and 2007's 208 to 168.

"The art market was also influenced by the global economic crisis. But we found out an interesting fact while preparing this fair - although companies became passive in art investments, individual buyers are continuously increasing. We are counting on them," Pyo Mi-sun, chair woman of Galleries Association of Korea - which co-hosts KIAF with COEX - told the press last week.

The organizers have high hopes for this year's KIAF.

They expect sales will reach $16 million, which is only $1 million less than that of 2007, when the art market was most prosperous. The average sales of the last seven years were slightly more than $7.1 million.

They also expect approximately 65,000 visitors to attend the fair this year, which is the same number of people that visited in 2007.

Aside the numbers, though, it is a rare chance to see so much work by so many artists in a single venue. So brace yourselves for a full array of paintings, sculptures, photos, videos and some aching legs.

The 168 participating galleries come from 16 different countries, including Korea and India, this year's guest country. In total, about 1,200 artists showcase more than 4,600 works.

Indian works are featured through a special exhibition titled "Failed Plot."

The curator is Gayatri Sinha, a renowned art critic and curator in India, and the show will introduce works by 15 Indian artists.

Another special exhibition, named "Modern Boy, Modern Girl," displays Korean contemporary art in three divisions. Works from 1920s and 1930s can be found at the first section, those from 1940s to mid-1950s in the second, and works dating from mid-1950s till now at the final section.

Regular booths are also worth paying a visit. Most of Korea's popular galleries participate at the fair, including Gallery Hyundai, Kukje Gallery, Park Ryu Sook Gallery, Seomi and Tuus and Hakgojae Gallery.

Foreign Galleries include TS1 Gallery Beijing from China, Walter Bischoff Galerie from Germany and Tomio Koyama Gallery from Japan.

Notably, Australian art is officially showcased in Korea for the first time through KIAF by the country's Commercial Galleries Association. Unfamiliar works by 22 Australian artists can be found at four different booths.

The 8th KIAF runs through Sept. 22 at Hall C and D on the third floor of COEX in Samsung-dong, southern Seoul.

Guided tours are available in Korean and English. Tickets cost 15,000 won for general visitors and 10,000 won for students (college students included). Admission is free for those under 7 or those over 65.

For more information, go to www.kiaf.org or call (02) 766-3702~4.

(claire@heraldm.com)

By Park Min-young

고려흑자 재현하시는 김시영 도예가 인터뷰

Potter reproduces Goryeo black porcelain

 

"Cheongja," or "blue porcelain," would be one of the first things that pops into many Koreans' minds at the mention of Goryeo Dynasty's culture.

With its pale blue-green color, cheongja definitely placed Goryeo as the golden era of ceramics culture in Korean history.

Not many, however, would know that "Heukja," meaning "black porcelain," was also used during the dynasty. But being continuously overshadowed by cheongja, the unfortunate No. 2 pottery could not last for long.

"Heukja were considered too flamboyant and extravagant back then, and too black later in the Joseon dynasty. You know how white was considered virtuous in Joseon's Confusion society," potter Kim Si-young, 51, told The Korea Herald.

"So now, if there are 100 Goryeo porcelains in a museum, only two or three would be Heukja and the rest would be cheongja."

Ever since Kim first came upon a piece of heukja while mountain climbing near a slash-and-burn farmers village about 20 years ago, he has devoted himself to reproducing the pottery.

He mobilized all his skills and know-how he had accumulated while majoring in metal engineering at Yonsei University and also earning a masters degree in ceramics there.

To make sure that his heukja will not disappear like it did hundreds of years ago, Kim came up with an idea: to modernize them a little "like a chameleon."

Yes, Kim's heukja all do look similarly blackish from a distance. But taking a closer look, one can understand what his strategy is, and what he meant by calling them "extravagant."

The glossy surface breaks into numerous colors - green, purple, and even red, according to the angles.

"Just like how each one of a mother's babies is unique even though they are all born from the same belly, the colors of heukja also vary according to the temperature and ambience in the kiln," said Kim.

"White or blue porcelains only have one color so they have to rely on making various designs. But heukja has its kaleidoscopic colors as a strong competence as well as beautiful designs," pitched in his daughter Kim Ja-in, who had been sitting beside him during the interview.

Kim's two daughters, including Ja-in, are majoring in sculptures and potteries at university. Ja-in, the elder one, already started out to help her father at the studio.

So the question naturally rose, if it would be his daughters who will take over his studio and continue reproducing heukja in the future, or if Kim is taking any other apprentices to follow him.

"Good point. Yes, it is necessary that someday I teach someone so that heukja will not once again disappear into history. But honestly I think I am still young to be worrying about successors just yet," Kim said with a chuckle.

"I occasionally invite special school students over to the studio for art therapy, but otherwise I just concentrate on developing my skills," he said.

The ambitious artist, who was selected as a "Gyeonggi Euddeumi" - the title given to the best traditional artist in Gyeonggi Province - in 1999, holds many plans and hopes for the future.

Juries are examining him to be Gyeonggi Province's human cultural asset in the near future. Meanwhile Kim is preparing to start solo exhibitions overseas, starting from the one which will run in France early next year.

"My final goal is to be the god of fire. It would be the time when I can really handle fire perfectly and expertly produce heukja of various colors and designs like no one else," Kim said.

Kim's solo exhibition runs from Sep. 21 to Oct. 10 at Gallery Zein Xeno in Changseong-dong, central Seoul. For more information, call (031) 584-2542.

(claire@heraldm.com)

By Park Min-young

[겸재정선] 국립중앙박물관에서 전시 시작!

지갑에서 천 원 한 장을 꺼내서, 뒤집어보세요.

산수화가 있죠?!

겸재정선의 그림이랍니다 ^.^

원본은 현재 전시중!

 

Jeong Seon's paintings on show

Did you ever wonder who painted the landscape on the back of the 1,000 won note?

It was legendary Joseon artist Jeong Seon (1675-1759).

To see more of his paintings, visit The National Museum of Korea in Ichon-dong, Seoul. A special exhibition to commemorate the 250th anniversary of Jeong Seon's death is currently underway, titled "The Life and Paintings of Jeong Seon."

Jeong, also known by his pen name Gyeomjae, was one of the first Korean artists that initiated Korean style paintings, departed from Chinese styles.

"Jeong Seon's works date from his age 36 to 82. We can see what a hard-working artist he was, as his friend Jo Young-seok - also a great Joseon artist - had said 'if we collect all the brushes Jeong Seon had used during his lifetime, it would fill a giant tomb,'" said exhibition curator Lee Su-mi.

Including the piece "Hermit Living by a River," which is the one printed on the back of the 1,000 won note and is designated as a treasure, more than 140 pieces of Jeong's work are displayed at the exhibition.

The artist is most famous for his Korean true-view landscape series. He enjoyed traveling, and did a lot of paintings in the mountains and valleys throughout Korea.

Visitors can find Jeong's beautiful landscape paintings of Hanyang, which was Seoul's ancient name, and Geumgangsan.

Maps of Hanyang and Geumgangsan, which point out the spots where the artist painted, are prepared by the museum and on display among the works.

A noticeable thing about this exhibition is that Jeong's "Album of Banquet for the Elderly in the Bugwon Garden," which he painted in 1716, is on public display for the first time.

"The piece is very important because we can guess the time's cultural and social events through it. Even all the participants of the banquet are depicted closely. It is also a monumental work for the artist himself because it painted the year he first became a government official," Lee said.

The exhibition runs through Nov. 22 in the Fine Arts Gallery in the National Museum of Korea in Ichon-dong, central Seoul. The museum is located near Ichon Subway Station, line 4, exit 2. For more information, visit www.museum.go.kr or call (02) 2077-9000.

(claire@heraldm.com)

By Park Min-young

자연을 담은 전시들 [가볼만한 전시 4곳!]

지금 당장 휴가가 가장 필요한 사람은 방금 휴가를 다녀온 사람이라던데..ㅋ

하지만 휴가를 다시 떠날 수는 없으니 ㅠ-ㅠ

아래의 전시들이라도 한 번 다녀오시는게 어떨까요?!

좀 멀긴 해요;; 4곳 중 3 곳이 제주도;;ㅋㅋ

 

Four exhibitions that echo nature

 

Summer has gone. A recent survey showed those who most urgently need time off are the ones who have just returned from vacation. For those suffering from serious vacation hangovers, here are four nature-friendly exhibitions that might provide you with a refreshing breather in the midst of your often-hectic life.

Three exhibitions are currently underway on Jeju Island, proving that the island is still a great place to visit whether it is summer or not.

The Jeju Museum of Art, a new venue which opened three months ago, is hosting four inaugural exhibitions called "Eye of the Pacific Rim."

Among them, the most in touch with nature is the main exhibition "SU:MBISORI." "Sumbisori" -- in Jeju dialect -- is the sound female divers make when they emerge from the water before taking another deep breath and diving in again to hunt for shellfish.

"It is the sound of healing and an outcry for survival to maintain our lives. This semi-cathartic function of sumbisori is like an artistic masterpiece that originates from a casual encounter that overwhelms our entire body and cuts through our soul, resonating in our hearts, and enables us to recharge ourselves with energy," said curator J.W. Stella.

At the exhibition, 36 local and international artists showcase paintings, photos, installations or media works that look at Jeju Island's wind, water, lights and sounds.

Exhibits are divided into two styles; nature that claims to be art, and artificial works that remind us of some part of nature.

For example, Kim Ju-yon built an elaborate 5-meter-high and 2-meter-wide newspaper tower and planted water-soaked seeds in between the layers. Plants and moss soon sprouted, turning the tower green.

With the exhibition soon to end, Kim's work, "Metamorphosis" is also coming full-circle, with the greenery dying and turning a brownish color, letting visitors witness nature's life cycle.

Meanwhile Kim Ki-chul "shows" the sound of rain through artificial devices. Nylon strings connected to low, suspended speakers look like streaks of rain when light is reflected on them. Sounds of raindrops, which Kim had recorded, gently vibrate throughout the room.

Further south on Jeju Island, the "Jeju Botanical Garden Art Project" is underway at Botanical Garden Yeomiji in Seogwipo.

This is the first year of the project, which aims to be the first Korean biennale held in a garden. Naturally, all 10 participating teams focused on a garden theme for their works.

Among the exhibits, Kang Ik-joong's "Mixed with the Wind and Connected to the Ground" will be the first to greet visitors.

Kang, wanting to "bring Cheonjiyeon waterfall -- a famous waterfall in Jeju Island -- into the garden," turned the garden's center pillar and elevator into a 15-meter-high waterfall.

LED bars cling to a giant green mesh covering the pillar, mimicking a waterfall as lights flash down. Forty-eight waterfall paintings are on display to complement the centerpiece.

Do not forget to visit Dumoak Gallery while you are in Seogwipo. It is a photo gallery that was opened by photographer Kim Young-gap in 2002 who, at the time was suffering from Lou Gehrig's disease, but continued to photograph Jeju Island until his death in 2005.

At the front gate of the gallery, which used to be a school, thousands of basalt rocks greet visitors and the playground is filled with unusual shaped rocks and little sculptures, forming a maze. The highlight of the gallery is, of course, Kim's beautiful photos of the island, which he loved so much that he spent 20 years of his life there; his ashes were scattered in the gallery's front yard.

For many in Seoul who do not have enough time to travel to Jeju, a possible alternative is the Savina Museum of Contemporary Art in Anguk-dong where the exhibition "Green Utopia" provides a short escape from the hot and dusty city. Thirteen artists showcase 30 works that depict nature in a positive and optimistic light.

A mini willow tree forest by Lee Hyun-jean is actually a work of video-recorded willow trees projected onto ribbons, but they look, feel and smell like real willows as you wander through the installation.

Beside the willows, Won Seoung-won put up a very refreshing photo of her dream room; under the deep blue ocean a man happily swims with different kinds of fish, while water plants grow in every nook and corner of the room.

"SU:MBISORI" runs through Sep. 30 at Jeju Museum of Art in Jeju City, Jeju Island. For more information, call (064) 710-4300 or visit www.jmoa.jeju.go.kr

"Green Utopia" runs through Oct. 24 at Savina Museum of Contemporary Art in Anguk-dong, central Seoul. For more information, call (02) 736-4371 or visit www.savinamuseum.com

"Jeju Botanical Garden Art Project" runs until September 2011 at Botanical Garden Yeomiji in Seogwipo city on Jeju. For more information, call (064) 735-1100 or visit www.yeomiji.or.kr

Dumoak Gallery is located in Seogwipo city. For more information, call (064) 784-9907 or visit www.dumoak.co.kr

(claire@heraldm.com)

By Park Min-young

전시 [플랫폼 인 기무사] 리뷰

알고는 있지만 가볼 수는 없었던 곳.

옛 기무사 터에서 전시가 열리고 있습니다 ^-^

전시 뿐 만 아니라 기무사를 둘러보는 묘한 재미까지 있답니다;;ㅋ

 

근데; 다 보려면 좀 다리가 아파요 ㅠ-ㅠㅎㅎ

 

Art fills former military spy command

 

The former Defense Security Command complex, situated in Sogyeok-dong, central Seoul used to have an icy, autocratic aura. Nicknamed Kimusa, an abbreviation of the command's Korean name, the complex itself was feared by many Koreans during the dictatorships of the 1970s and 1980s. Years after, as the notoriety gradually faded away from people's minds, the command relocated to Gwacheon, on the outskirts of the capital, in November 2006. The remaining complex, including the main building designated as a national cultural heritage site, waits to be remodeled as a branch of The National Museum of Contemporary Art in Gwacheon by 2012. To fill the void until then, Korean curator Kim Sun-jung and Mami Kataoka, chief curator of the Mori Art Museum in Tokyo, host this year's Platform -- a contemporary art festival been held annually since 2006 -- there, titled "Platform in Kimusa." The subtitle is 'Void of Memory.' "It refers to how Kimusa was a place everyone knew but not everyone could enter. It is in, but also not in our memories at the same time," Kim said. "We selected the artists and their exhibits being fully aware of the history of the venue. The works could appear extra gloomy and dark." Entering the main building, one would immediately realize that Kim did not lie. The dim setting and curious exhibits remind of a scene from a horror movie. In one of the first rooms in the main building, a woman dressed in pale beige hanbok roams around, singing a song so slowly that it almost sounds like mourning. Beside her, odd-looking dishes are piled up. This is Lee Sook-young's performance art "Mother Country and Freedom is." "The dishes are called 'Infinite Yin energy amplifying furniture.' Kimusa had been overly packed with rough male spirits over the years. I wanted to purify it with female spirits before it turns into an art museum. The woman is singing Kimusa's traditional martial song in her own style," Lee said. Creepy? Now, if you are really willing to fully enjoy this peculiar exhibition, it would be smart to wear your most comfortable sneakers. There are nearly 200 works to see, not to mention that the complex is quite large and dusty. The exhibition runs in four buildings -- the main building, the dining hall, the annex building and the settlement house. The organizers left the buildings the way they were preserved. Paints have scraped off from the walls, doors are squeaky and some windows have been shattered on the floors. But hopefully once you get used to the eerie ambience and the musty basement odor, you will realize that you are standing in a building full of interesting works by more than 100 artists. "There are mainstream artists, less famous artists, artists recommended by other artists and curators, as well as international artists participating. We did not separate them but rather mixed them together. You know, even when you go into the same store, it feels different according to what street you found it at. We wanted to give the visitors that unique experience with artworks," said Kim. For example, world renowned installation artist Lee Bul's four-meter-high work "Aubade," which talks about the collapse of Utopia, is placed in the auditorium of the main building with a collection of other works. But do not be mistaken, as some non-mainstream or international artists' works are no less interesting. In Jung Yoon-suk's "The Home of Stars," visitors can find photos of former presidents Roh Tae-woo and Chun Doo-hwan in military uniforms. The photos were in their "home," Kimusa, as they used to serve there. Swedish artist Magnus Bartas shows a video of Korean actress Choi Eun-hee and her husband, director Sin Sang-ok, who were kidnapped to North Korea. He filmed the footage of North Korea himself while he was traveling there, and added some existing documentary films. Thy Van Tran, a Vietnamese artist, carved beautiful patterns on half of a piano and scraped off all the wood on the other half to express the identity of her country, which had been a former French colony. "Platform in Kimusa" runs through Sept. 25 at the former DSC complex in Sogyuk-dong, central Seoul. It opens at 2 p.m., and only docent tours are available during the day, starting at 2 p.m., 3 p.m. and 4 p.m. Reservations are required. Visitors can look around freely from 5-9 p.m., following the guiding lights that were specially installed for nighttime visitors. Admissions (including entrance fee for entering Artsonje Center) are 8,000 won for adults and 4,000 won for students. For more information, visit www.platformseoul.org or call (02) 733-8945. (claire@heraldm.com) By Park Min-young

[국제갤러리-이우환 전시 리뷰] 돌과 철의 대화

Dialogue between rock and steel

 

"Relatum-Dialogue" by Lee Ufan [Kukje Gallery]

Lee Ufan [Kukje Gallery]

Weighty rocks, large iron plates and sticks lay around in the first and second floors of Kukje Gallery in Sogyeok-dong.

We hardly ever give them a glance when similar objects are strewn around outdoors, probably in a nearby construction site; in the gallery, though, no one dares to touch them.

They are Lee Ufan's works. Lee is one of Korea's most renowned artists, and also known as a writer and a philosopher. Currently, he is holding a solo exhibition in his home country for the first time in six years.

It is also the first-ever show featuring his sculptures in Korea.

Many people identify Lee with his most famous painting series - "From Point" and "From Line" - which he sparsely painted basic dots, lines and brush strokes on the canvases.

Void, which is referred to as the beauty of the margin in oriental philosophy, is always spotlighted in Lee's works.

Another important concept in the works is "Monoha," a Japanese movement that criticizes modernism and illuminates the relationship between natural and artificial materials through visual art. In fact, it was Lee who theoretically established the concept in Japan in the 1970s.

At this exhibition titled "Sculpture," Lee is showcasing a three-dimensional version of Mono-ha. Like his paintings, the objects are sparsely laid out to emphasize margins.

The rocks and the iron plates symbolize opposites - nature and artificial. Yet, the two are like brothers, as both originated from nature.

They seem to be quietly gazing at each other, or perhaps deep in conversation.

"I just brought these rocks and irons which did not know each other together and let them talk. I am just a mediator," Lee said.

The only controversy about this respected artist has been in regards to his identity, because he is often known as a Japan-based artist in other countries.

He transferred to the department of philosophy at Nihon University in Tokyo while attending the School of Arts at Seoul National University because he decided he needed to have "a solid working knowledge of aesthetics or social beliefs as foundation" for his art.

Since then, he grew to be an influential artist in both countries. During the Biennale de Paris in 1971, in which he participated as Korea's representative, Lee joined some other participating Japanese artists and introduced the concept of Monoha to the European world.

The world was excited about this new concept and Lee held many exhibitions and won many prizes overseas. Japan is even planning on constructing a Lee Ufan art gallery.

Still, he never forgot about his home country. In 2001, he held an exhibition called "Nostalgie Coreene" in Musee National des Arts Asiatiques-Guimet in Paris, showcasing his personal collection of Korean decorative folk paintings.

So the usual question of whether he considers himself a Korean artist or a Japanese artist popped up again at the press conference last week.

"I am just artist Lee Ufan," Lee answered, adding that he only gets the question from the Korean press and that he does not see why that should be an issue.

"I lived 20 years in Korea, 20 years in Japan and 30 years in Europe ... I could not help being influenced by Japan. But I also am bound by my Korean roots, which I can't shake off even if I wanted to. If I am influenced by Japanese styles, the Korean culture in me had me focus on relationships."

The exhibition runs through Oct. 9 at Kukje Gallery in Sogyeok-dong, central Seoul. For more information, visit www.kukjegallery.com or call (02) 733-8449.

(claire@heraldm.com)

By Park Min-young