프랑스 사로잡은 한국 문학

Korean literature captivates France

 

It is not just films from Korea that are gathering fans in France.

The French are paying more attention to Korean literature as well.

A big-scale project to commemorate the 100th anniversary of Korean poet Yi Sang’s birth will take place in Paris this month, co-hosted by La Generale, a cultural complex supported by the city of Paris and Lab201, an art project organizer based in Korea.

“The idea of the exhibition came from Emmanuel Ferrand, a sound artist and mathematician who is deeply interested in Yi Sang’s poems. In this international exchange project, we will not simply consider the important literary aspects of Yi Sang’s works , but try to go further, to reinterpret them in the fields of sciences, architecture, and visual and performing arts,” said Kim Jo-eun, curator of the project.

Korean writer Hwang Sok-yong speaks at the Korean-French Literature Forum in Paris earlier this month. Korea Literature Translation Institute

Titled “Yi Sang in Paris,” the project includes exhibitions, performances, concerts, lectures, workshops and publications on Yi Sang and his works.

An exhibition titled “2010 Paris/Seoul, Did the Line Assassinate the Circle?” will feature various genres of art including videos, performances and sound art. About 20 French and Korean artists who are interested in Yi Sang’s works will participate in the show.

Gu Min-ja, a Korean video installation artist, filmed Paris streets pretending it is Yi Sang who is traveling in the city. Luna Yoon Kyung, a Korean-French artist, will throw a performance inspired from Yi Sang’s poetry.

After the Paris show which runs through July 4, the exhibition will arrive at Space Hamilton in Seoul in Aug. 5 and run through Aug. 21.

This “Korean wave” in France, especially in the literature arena, was actually detected several years ago.

“Boosted by Korean movies and the 2002 World Cup, Korean literature is becoming more and more recognized in France and its sales are increasing every year as well,” said Serge Safran, chief editor at Zulma Publishing Company which publishes French translations of Korean literature in France, at the Korean-French Literature Forum held in Paris earlier this month.

Poster of the exhibition “2010 Paris/Seoul, Did the Line Assasinate the Circle?” which is part of the “Yi Sang in Paris” project. Yi Sang in Paris

The two-day forum was hosted by the Korea Literature Translation Institute. Korean authors who are well-known in France, including Hwang Sok-yong, Lee Seung-woo, Shin Kyung-suk and Kim Young-ha participated at the forum along with French writers Camille Laurens, Cecile Wajsbrot, Benoit Duteurtre and many French editors and journalists, and discussed the status of Korean literature in France and the universality and particularity of literature in general.

Hwang, whose latest work “Shim Cheong” was released in France, is already an established author there. Over 7,000 copies of “Shim Cheong” were sold in its first six months. Le Monde, a daily newspaper in France, highlighted the unique way Hwang had written the book, by posting the parts he wrote on his blog first to better interact with his readers, last April.

“Because Hwang Sok-yong had first published the separate pages of his book on his blog between February and July in 2008, it was read by and commented upon by about 2 million readers. When his work was published in the form of a book at the end of the summer, more than 500,000 copies were sold. This success has stimulated other famous writers to do the same,” reported Le Monde.

Hwang’s other novels, such as “The Old Garden,” “The Guest,” “The Road to Sampo,” “Chronology of Mr. Han,” “The Strange Land” and “The Shadow of Arms,” are published in France in French versions as well.

Lee, Shin and Kim are also under the limelight in France. Lee’s “The Other Side of Life” was nominated for the foreign literature section of the Prix du Femina, one of the biggest literature awards in France, a few years ago.

Shin was awarded the Prix de l’Inapercu with “An Isolated Room” last year. The prize is established by literary critics and literature journalists in France to honor extraordinary works that are unjustly overlooked by major literature awards such as the Prix du Femina.

In the case of Kim, the top three French daily newspapers, including Le Figaro, all praised his novels for their originality.

“The forum was packed with people, which proved the recent interest in Korean literature in France. After the forum, the Culture department of the French Foreign Ministry even suggested that we should hold cultural exchange events regularly,” said Jeong Jin-gwon, a Korea Literature Translation Institute official.

“Korea Literature Translation Institute has been hosting forums in five cities -- Berlin, Paris, New York, Tokyo and Beijing -- since last year to increase the cities‘ interest in Korean literature and to help establish a solid base for publishing and distributing Korean authors. This is the first time we held a forum in Paris, but it will be held every year from now on,” Jeong added. 　

By Park Min-young   (claire@heraldm.com)

내 손으로 가구만들기 도전! DIY 공방

[Weekender] Hammering around at DIY workshop

 

One day Lim Chun-gi, a 58-year-old high school teacher, realized how old and fake his MDF bookshelves looked. After an endless search for a decent solid wood bookshelf in different stores, he came up with a better idea – to make one himself.

Lim visited the Bukgajwa-dong branch of Banzzogi, a do-it-yourself workshop, last April with his wife and made the perfect bookshelf. Content with the result, they went on with their next mission, to make a bed for their two boys.

“We made it with cypress, which is known for its insecticidal effects. ... It is also known to help cure atopic diseases. My boys do not have such diseases but the nice smell of the wood really freshened up their rooms which were usually filled with a bit of odor,” said Lim with a laugh.

Banzzogi manager Lim Dong-baek (left) helps Kim So-ra make a bookshelf at Banzzogi DIY workshop. Ahn Hoon/ The Korea Herald

Naturally, the couple really got into DIY furniture making, spending two thirds of their last summer and winter vacations at the workshop. Now during the semesters, they still visit the workshop at least once a week.

“It is a fun hobby, something I can brag to my friends about, especially because my wife and I can do it together. We even made some furniture for our relatives,” Lim said proudly.

Five members of the workshop, including Lim, were busy concentrating on their works at Banzzogi’s in Bukgajwa-dong on a recent Thursday afternoon. The workshop was not at all like a dusty carpenter’s shop. It was more like a home interior shop with its cozy interior and soft lighting.

Banzzogi is one of the nation’s largest DIY workshop chains with some 20 branches throughout the country. For a membership fee of around 300,000 won, one can become a lifetime member and use everything in the workshop.

“Our members range from middle school students to the elderly. Making furniture is not as hard as it looks. Even beginners can easily make a table like this after about three or four visits. Besides, I am here all the time to give help,” said Lim Dong-baek, manager of Banzzogi’s Bukgajwa-dong branch, pointing to a cute red table for two.

After receiving lessons on the basics of DIY, such as how to use the tools and paints on their first few visits, members can immediately start making their own furniture. No extra payment is needed except for the cost of materials.

“I usually suggest some sketches for beginners, but members come up with their own designs as they get more experienced,” said Lim.

Based on the sketch, Lim does most of the preparatory heavy labor for the members such as getting the right size of wood ready. Then members can enjoy the fun of sanding down the pieces with sandpaper, nailing them together and painting them.

“Some say that DIY furniture costs more than they thought, simply comparing with the prices of similar ready-made furniture made of MDF or plywood. But you should compare it with the furniture made of the same kind of solid wood. In that case, the total cost for DIY furniture comes to about half the cost of buying a ready-made one,” said Lim.

“And it is not just about money. DIY furniture is attractive because you can actually design your own furniture that fits into your house perfectly and have lots of fun while making them,” Lim added.

Kim So-ra, whom is said to be as good as a professional carpenter now, has been visiting the workshop everyday since two years ago. About 50 percent of the furniture in her home is her own handiwork, from tables and closets to a large bookshelf that covers one whole wall in her living room.

“They say furniture emits more toxic agents than new houses. That is why our eyes hurt when we visit furniture shops. I prefer making my own furniture for my children because here, we can choose high quality wood and paint made of natural, eco-friendly materials,” said Kim.

She was making a table for a client on Thursday.

“I get orders from my relatives and friends, mostly, but sometimes even from strangers who visit my blog and see photos of my creations. I don’t charge that much but it does earn me some pocket money,” said Kim.

Banzzogi managers also take orders for custom built furniture and the price is usually double the cost of making it by oneself.

“Making DIY furniture could be a fun hobby for a family, too. Our members often bring their family along to the workshop on the weekends, and they have a lot of fun working together,” said Lim.

There are many DIY workshop chains like Banzzogi throughout the country. For details on Banzzogi, go to www.banzzogi.net, for Self Design Easy Making, visit www.my-diy.co.kr, for Hafele DIY, visit www.diyhafele.co.kr and for Zaengyi, go to www.zaengyi.co.kr

Offline-based workshops are clustered near Hongik University in Sangsu-dong, central Seoul. They offer classes but only for short periods of time because they focus more on producing custom built furniture.

By Park Min-young   (claire@heraldm.com)

DIY파워블로거 하얀미소 호경자씨

[Weekender] Power blogger Ho and her sweet home

 

From the unique furniture and sweet ornaments to the carefully painted wall and even the lighting fixture hanging from the ceiling, every inch of Ho Gyeong-ja’s house was created by her.

Powerblogger and DIY specialist Ho Gyung-ja

“The concept of my house is naturalism. I made all the furniture and walls to fit into the concept and added plants and trees to add flavor,” said Ho.

Better known for her online nickname “Hayanmiso” or White Smile, Ho is a housewife-turned-powerblogger, or perhaps more accurately, a housewife-turned-DIY specialist who is a celebrity in the DIY furniture and home interior industry. She writes books, gives lectures and holds classes on DIY all over the country.

Ho, however, had never imagined that she would become such a specialist. Just six years ago she was like most other women, ignorant about electricity, tools and paint.

“This house was a disaster 20 years ago. There was old furniture, cheap furniture and all kinds of junk everywhere,” Ho confessed with a giggle.

By chance, she encountered some blog postings that introduced DIY furniture and immediately thought it was for her. She had always loved sewing and drawing, so she knew she had the aptitude for it.

So out of need and keen interest, Ho taught herself about tools by browsing toolmakers’ websites, garnered interior tips from different online communities, ordered materials through the Internet and set to work.

She first started by repainting a door and then expanded her work step by step, to reforming furniture and on to actually making it from scratch. She posted photos and details on how she did it on her blog, treating it like a journal.

Ho’s handmade desk and chair in her bedroom Ahn Hoon/ The Korea Herald

“My husband was worried that I was revealing too much of my know-how on my blog, but I think that was why people loved it. My blog became famous as a blog where people can get tips on easy and healthy home interior design,” said Ho.

Her newfound hobby quickly led to money.

Numerous companies have contacted her, asking for a review of their products on her blog. She receives so many lecture requests that she has to turn most of them down. She also teaches some basic DIY skills at her house once a month. Less than 10 people can fit into her house for the class, but about 80 to 100 people sign up every time.

“I could say I earn more than most regular office workers. But I try my best to put my family and decorating my own house before profit-making,” she said.

Learning to make DIY furniture and basic home interior skills is something that could benefit you for a lifetime, said Ho.

Ho’s kitchen is filled with her handmade furniture and ornaments. Ahn Hoon/ The Korea Herald

“Commercial interior shops tend to say ‘it is impossible’ or ask for additional fees. But based on my experience, nothing is impossible or requires much additional costs. For example, when I asked the interior people if I could whitewash the bathroom tiles, they said it was impossible. But it worked perfectly, giving a beautiful country-like look to my bathroom, when I did it by first brushing Gesso on the tiles, then whitewashing it and then painting varnish to finish up. If you don’t know these steps, you’ll end up spending more money just as the interior shops want you to do.”

But of course, buying a bunch of tools and filling the house with clumsy handmade furniture could be a problem, too. Ho said it is important to be patient and take plenty of time.

“You can’t learn everything overnight. First, you should check if it fits you by making small changes to the house like painting an old piece of furniture that can be thrown out any time or changing door handles. If you still find it fun, try reforming some furniture. If it is still fun, then it is time to buy some tools that are not too expensive. Also, don’t forget to visit furniture shops often to develop your eye for furniture,” she advised.

To visit Ho’s blog, go to www.blog.naver.com/smileho05.

By Park Min-young  (claire@heraldm.com)

 

불가리 125주년 회고전

Bulgari looks back on 125 years of jewelry history

 

The Bulgari Korea staff received a desperate phone call from the headquarters office a few days before the Cannes International Film Festival: French actress Julliette Binoche was looking for a special platinum diamond necklace made by Bulgari in 1930.

Keira Knightly wears a dazzling Bulgari necklace decorated with sapphires, rubies, emeralds and diamonds at the 2006 Academy Awards. Bvlgari

The staff immediately sent the necklace, which had just arrived in Korea for the exhibition “Between History and Eternity: 1884-2009.”

The Cannes-winning French actress elegantly walked on the Cannes’ red carpet showing off the glamorous necklace with 131 diamonds, 137 karats in total, and returned it to Bulgari after the event.

That necklace and 66 more precious jewelries made by Bvlgari between 1884 and 2009 are on display at Hotel Shilla in Jangchung-dong, central Seoul. A bigger version of the exhibition, featuring some 500 pieces, was held in Rome and Australia last year to celebrate the 125th anniversary of the jewelry house. This is the first time the exhibition has come to Asia.

“It would be meaningless to try to value the price of the collection because they are not for sale. Bulgari kept some from the start and repurchased some at a much higher price to keep them in the archive. All pieces are literally one-of-a-kind,” said Bae Jee-in, Bulgari’s PR official.

Along with the stories behind the original owners of the pieces on display, the exhibition offers a brief look back on how jewelry has changed over more than a century.

The exhibition starts with silver ornaments made by Georgis Bulgari, father of Bulgari founder Sortirio Bvlgari, in the 1880s. Silver is still known to be too soft for delicate details but Bulgari’s silver buckles with shell-like details are very exquisite.

From the 1910s to the 1930s, the trend was all about “French style,” with extremely delicate diamond settings in platinum. From then pieces of jewelry became more colorful and bold, getting closer to the familiar Italian Bulgari style and reach the peak in 1950s to 1960s.

Bulgari’s emerald platinum necklace made in 1961, estimated to be worth at least 20 billion won. Bvlgari

One dazzling necklace decorated with 25 sapphires totaling 48 karats, 88 rubeis totaling 75 karats, 71 emeralds totaling 48 karats and 348 brilliant cut diamonds is simply breathtaking. The necklace, made in 1967, put actress Keira Knightly in the limelight at the 2006 Academy Awards.

Another must-see piece is the emerald platinum necklace made in 1961 which is estimated to be worth at least 20 billion won ($16.5 million), the most expensive in the exhibited collection. It is composed of 224 diamonds and seven cushion-shape emeralds which are of 118.46 karats in total.

The exhibition runs through June 15 at Hotel Shilla in Jangchung-dong, central Seoul. For more information, call (02) 2056-0100.

By Park Min-young  (claire@heraldm.com)

갤러리시리즈_7_PKM갤러리 박경미대표

[Gallery Talk] PKM initiates new way of running gallery

 

This is the seventh in a 10-part series on prominent art galleries in Korea. – Ed

Park Kyung-mee, president of PKM Gallery in Hwa-dong, central Seoul, and PKM Trinity Gallery in Cheongdam-dong, southern Seoul, is a role model for many curators in Korea.

She worked as a curator for 11 years at Kukje Gallery and individually, and gradually grew to become one of the most influential figures in the Korean art field. She successfully curated a number of major art events, including the 2001 Venice Biennale for which Park was the commissioner of the Korean pavilion. Park finally opened her own gallery in Hwa-dong after the Biennale.

“My basic thought on Korean contemporary art has always been the same; that we need a paradigm shift from the older artists to the younger ones. It has slowly changed that way, so I think I have chosen the right direction,” said Park.

PKM Trinity Gallery which Park opened in 2008 usually holds large exhibitions on established foreign artists but PKM Gallery in Hwa-dong still features experimental works by young artists based on Park’s original standard of values.

Park Kyung-mee, president of PKM Gallery     Ahn Hoon / The Korea Herald

Park had also opened a branch in Beijing in 2006, the sixth Korean gallery to launch in China, but it was closed down last December. “It did not show a loss but did not operate in the black either. It was worse because the market was so bad last winter. China is yet not a mature place for full-fledged contemporary art to be showcased. So it was still meaningful that PKM Gallery Beijing got to introduce some fresh, leading contemporary arts in China,” said Park.

Park has no immediate plans to open another gallery outside of Korea. Instead, she will be focusing more on the domestic market, said Park. That is why PKM, one of the Korean galleries most spotted at international art fairs, did not participate at the recent Hong Kong fair.

“We have been slowing down our participation in international art fairs since last year, because we know that holding exhibitions on our home ground is important, too. But we are considering participating in the next year’s Hong Kong fair,” said Park.

Park has been famous for her discerning eye for talented artists ever since her days as a curator. She still organizes exhibitions and selects artists herself. But as she now has a tighter schedule as a director, she came up with an innovative outsourcing system for the gallery in cooperation with Bartleby Bickle & Meursault, an art consulting and publishing firm, last year.

“James Lee, the director of BB&M and I have known each other for more than 15 years and our eyes for contemporary art and artists are very similar. As the gallery gets bigger, it becomes impossible for me to be in charge of everything. So I wanted to try something new; something that is not too off the mark from what I would have done but is still more active,” she said.

BB&M works exclusively with PKM. It takes care of the exhibitions and artists at the Hwa-dong gallery. The two have held several shows this year, including the solo exhibition by installation artist Park Chan-kyong -- film director Park Chan-wook’s brother -- which ended last weekend. This kind of partnership is more common among galleries outside of Korea, but it is a new approach here, said Park.

Starting this year, Park is also trying out a new system to develop young and talented artists in the form of a contest. PKM will announce a medium every year and young artists between 25 to 30 years of age can submit their works that correspond to the medium. This year’s medium is drawing, and submissions are open through Friday.

So what kind of artist, exactly, is PKM looking for?

“Contemporary artists should express a contemporaneousness which can be read through a universal context. And also, most importantly, they should work hard,” said Park.

“When a certain gallery’s artists’ become established, the gallery’s value is increased as well. I hope PKM can develop and get a hold of many artists who will become big and the gallery can also become the top and stay there for a long time as well.”

For more information on PKM Gallery or PKM Trinity Gallery, visit www.pkmgallery.com.

By Park Min-young   (claire@heraldm.com)

테오얀센의 바다괴물들

Jansen’s ‘Strandbeests’ stomp into Korea

 

Video clips of weird looking creatures wandering, or sometimes racing, around the delft beach in the Netherlands were a hit on YouTube a few years ago.

The animal-like-creatures, called “Strandbeests,” were created by Dutch artist Theo Jansen who soon rose to stardom and was dubbed the Leonardo Da Vinci of the 21st century.

Jansen studied physics in college but became a painter after graduation. His knowledge of physics, however, did not disappear. He started to make some whimsical gadgets in the 1980s, such as a machine that automatically paints paintings.

In 1990, Jansen made his first Strandbeest called “Animaris Vulgaris.” Made of plastic tubes, nylon strings and rubber bands, Jansen’s works move solely by wind power.

“I sent a flying object up in the air on one cloudy day and it was the talk of town in the Netherlands for three months, mistaken as a UFO,” said the 61-year-old artist at a recent press conference.

Jansen’s works will be on show for the first time in Korea at the exhibition “Theo Jansen -- Animals modular” which starts this weekend at Gwacheon National Science Museum in Gwacheon, Gyeonggi Province.

Theo Jansen and his work “Animaris Umerus” KR Holdings Company

Of 25 Strandbeests Jansen has created, 17 of them, including “Animaris Vulgaris,” and “Animaris Ordis,” which was specially made for a BMW TV commercial, will be on display. The exhibition will also reveal Jansen’s latest piece, “Animaris Umerus,” for the first time.

Visitors will get a chance to see how Jansen’s creatures evolved through time. Though his latest creations still move by wind power, he added some sensors using plastic bottles so that the beasts could automatically change direction when they touch water.

”Like how our body is restricted by protein, which our body is made of, my creatures are restricted by plastic tubes. So I put in efforts to improve its functions and many people, including myself, found the results beautiful,” said Jansen.

“I had promised myself that I would only do the work for a year, but I am still doing it as if it were some kind of a disease. But I am so happy that I caught the disease.”

The United Nations Environment Program is planning to establish a Theo Jansen award in July, as his works usually feature environmental elements such as new energy. Jansen will be the first winner of the prize.

“I’m honored. They also offered me the chance to be the publicity ambassador but I am not sure if I would take it or not because I’m worried I will not be able to concentrate on my work,” said Jansen.

The exhibition runs from Saturday through Oct. 17 at Gwacheon National Science Museum in Gwacheon, Gyeonggi Province. The museum is located near Seoul Grand Park Station on Subway Line No. 4, Exit 5. Tickets range from 4,000 won to 13,000 won. For more information, visit www.theojansen.co.kr.

By Park Min-young   (claire@heraldm.com)

갤러리시리즈_6_대안공간 루프 서진석대표

[Gallery Talk] Gallery Loop to spread Asian art

 

This is the sixth in a 10-part series on prominent art galleries in Korea. – Ed

Korea’s contemporary art market, culture and environment have greatly changed over the last 10 years, according to Suh Jin-suk, director of Gallery Loop.

Along with Project Space Sarubia and Art Space Pool, Gallery Loop has been one of the nation’s leading non-profit alternative art spaces since its establishment in 1999.

“Alternative spaces have changed their goal and role in accordance with such changes. They should, because if they don‘t, they will become mainstream,” said Suh.

The biggest goal of alternative spaces ten years ago was to discover and support young artists but this is no longer the case, asserted Suh.

Gallery Loop director Suh Jin-suk Park Hae-mook/ The Korea Herald

“There was no such thing as a proper art market or the concept of professional artists in Korea back then. Over 97 percent of the galleries lent their spaces to artists, which meant young and talented artists who could not afford the rent could not survive. But after the Korean art market really got bigger in the mid-2000s, most galleries and museums started to support young artists as if they were trying to prebuy good products. So, supporting new artists is not as important as it was before. We used to assign more than 90 percent of our exhibitions to young artists but now that figure is about 30 percent,” he said.

“Now we have another goal, to lessen the gap between Asian art and world art, which seems to have grown wider in the last ten years. It has become important for everything to reach a certain global standard after the worldwide economic crisis. We are building international networks and actively participating in exchanges to reach the goal.”

The Asia Art Award, a newly created combination of an art prize ceremony, exhibition and forum jointly organized by CJ Culture Foundation, Korea Sports Promotion Foundation and Gallery Loop, is one good example. The first AAA winner, Apichatpong Weerasethakul, also took home the Palme D’Or at Cannes International Film Festival last month.

“AAA is designed to discover and cultivate the talents of young Asian artists and provide them with a system that will support the international promotion and circulation of their art. We receive more positive responses from overseas than from Korea. I even saw a Japanese webzine criticizing their country for not having initiated such a project,” said Suh.

Though many commercial galleries and museums are also aiming for the world market by collaborating with foreign galleries and artists, Suh said the approach taken by alternative spaces is different.

“It is different because we don’t just deal with artworks and exhibitions. We focus on creating a discourse. About 20 to 30 curators participated in the AAA, for example. It is not a one-time event but the basis of building a new infrastructure,” said Suh.

It is not an easy task to run an alternative art space, however, due to financial reasons. Ssamzie, which used to be one of the leading alternative art spaces, recently closed down as the group Ssamzie went bankrupt.

“Yes, it is hard to raise funds because alternative spaces usually lack popularity and most enterprises only support projects that are popular. Loop is run 40 percent by government support, 30 percent by funds raised through art projects and enterprises, and 30 percent by the fund from a design firm under Gallery Loop.”

But this does not mean that alternative art spaces have to force themselves to get closer with the public, he said.

“We don’t have to, because we are supposed to suggest new trends. But I do think that the gap between Loop and the public has narrowed much compared to when we started. Many non-professionals visit the Loop while only students who major in art or professionals in art used to come. I think more people are starting to love experimental works and I am sure that the line between professionals and non-professionals is blurring,” he said.

“I hope Gallery Loop can suggest a new platform in the world market and show what kind of meaning Asian art can have in the world contemporary art. Personally, I hope I can become one of the most important curators in the world.”

For more information on Gallery Loop, visit www.galleryloop.com.

By Park Min-young   (claire@heraldm.com)

갤러리 시리즈_5_국제갤러리 이현숙대표

[Gallery Talk (10)] Kukje to open new art center in 2013

This is the fifth in a 10-part series on prominent art galleries in Korea. – Ed

Kukje Gallery in Sogyeok-dong, central Seoul, really lives up to its name “Kukje,” which means international.

It is one of the galleries in Korea that is most often seen at international art fairs. This year alone it participated in The Armory Show in March, Hong Kong International Art Fair in May and is scheduled to participate in Art Basel later this month.

The gallery is also famous for its numerous exhibitions on high-profile international artists such as Alexander Calder, Anish Kapoor, Julian Opie and Damien Hirst.

“Ever since the Helen Frankenthaler exhibition, which was one of the first exhibitions by the Kukje Gallery featuring a prominent foreign artist, it has been on everyone’s tongue that Kukje holds some exhibitions. We naturally gained credibility,” said Lee Hyun-sook, founder and director of Kukje Gallery.

Kukje Gallery founder and director Lee Hyun-sook Kim Myung-sub/ The Korea Herald

For her outstanding business acumen, Lee is often dubbed a heroine of Korean art business. For shows on late U.S. artist Jean Mitchel Basquiat or Joan Mitchell, for which the insurance prices alone cost more than several tens of millions of dollars, Lee did not have to pay a single penny on guarantee fees but just had to sign the papers.

Kukje Gallery was introduced as one of Asia’s most well-known galleries by the New York Times in 2005, and Lee was elected as the president of the Korean Art Galleries Association in 2006.

Lee did not study art or business, however. She was more of an ordinary housewife who had a hobby of collecting antique art, ceramics and oriental paintings -- until she opened the gallery in 1982.

It was only when she started to visit the United States frequently, to visit her children who were studying there, that she awakened to Western contemporary art.

“I realized how behind Korean contemporary art was. Minimalist artists such as Calder were in the spotlight in the world but Impressionists’ works were still the most popular in Korea,” said Lee.

“I started the gallery because I wanted to sell my collections in order to buy new ones. I decided to focus on Western art because it is hard to pass on the authenticity of Oriental artworks.”

Her daughter, Tina Kim, is following in Lee’s footsteps.

Kim opened Tina Kim Gallery in New York in 2002, which Lee proudly said is gaining quite an acclaim as an Asian gallery there.

“Many gallery owners in foreign countries do not have anyone to pass down their galleries to while there are many second-generation gallerists in Korea. I’m thinking, if these children take over most galleries in Korea, Korean art could conquer the international art market,” said Lee.

To conquer the world, or first, to revive the Korean art market, it is important to commercialize Korean contemporary artists, said Lee.

“The best would be establishing a systematic genealogy of Korean Monochrome artists such as Lee U-fan, because it is the kind that is rare in other countries. The art market can only be revived when there are things to sell. The government should provide more support for such Korean artists to make sales overseas,” said Lee.

Lee plans on establishing a non-profit art center behind the Kukje Gallery building by 2013. The site is prepared and will soon go under construction.

“It will be a total cultural complex where visitors can enjoy films about art, contemporary music and participate in seminars. The center will be designed by Florian Idenburg, the MoMA award winning architect and will have high ceilings so that tall sculptures can be placed there,” said Lee.

Kukje Gallery is currently holding a two-man exhibition featuring French artists Jean-Michel Othoniel and Xavier Veilhan which runs through June 26.

For more information on the exhibition or on Kukje Gallery, call (02) 735-8449 or visit www.kukjegallery.com.

By Park Min-young   (claire@heraldm.com)

 

미술로 도시를 바꾸다

Art projects transform provincial cities

 

A peculiar café opened this month in an old town hall building in Banjuk-dong, Gongju city in South Chungcheong Province.

Dusty windows and dull gray plastered walls of the original building were nowhere to be seen. Instead, freshly painted windowsills, colorful banners, tables, chairs and fun decorations brightened up the space. The once abandoned site had turned into a bright, lively cove filled with joyful conversations and the aroma of rich coffee.

The café, named “Happiness for Daily Life,” is a creative approach by Gongju city, one of the many local governments of Korea where “design” is recently the talk of the town. Many cities, including Seoul, which ambitiously started the “World Design Capital Seoul 2010” project, are busy transforming their old buildings and sites into an artsy and a warm home-like venue.

Gongju city’s project is notable in the way it combines Korean traditional craft techniques with British contemporary designs, thanks to the help from The Korean National University of Cultural Heritage and the British Council.

British artists discuss at "Happiness for Daily Life" cafe in Banjuk-dong, Gongju city in South Chungcheong Province.   British Council

“The village café is central to everyday life in rural towns in Britain. In an age of over-consumption and dwindling natural resources, designers in Britain are questioning their role and their relationship to society, thinking again and the process of design production. This project was aimed at showing a village café of the U.K. to Korea based on local culture,” said Clare Cumberlidge, curator of the project.

Four leading British designers -- Michael Marriott, Anthony Burrill, Linda Brothwell and Fabien Cappello -- were in charge of the building’s interior designs, furniture production and decorations.

“It was a handsome building but had a very bad ceiling, walls and the windows were boxed in. So we tried to show the character of the original building and reveal its handsomeness,” said Marriott.

“The first thing we did was get rid of the suspended ceiling of two and a half meters that cut half of the windows. It was most important to let in light. Then we reinstalled the orange door for direct access to the garden and stripped away old bits of old walls and plaster so that people can see the original walls.”

Under the directions from the British designers, students from the Korean National University of Cultural Heritage added some flair to the designs with Korean traditional craft techniques such as “dancheong,” or Korean traditional multicolored paintwork on wooden buildings.

Kim Baek-seon, a Korean designer who has been in the spotlight for his oriental culture-inspired-works, also participated in the project by filling the second floor of the building with his wooden furniture.

The café project is planned to last six months. It has yet to be decided on how the newborn building will be used afterwards, but Gongju city officials projected it would most likely be used as a cultural complex with a café and a museum.

Anyang city in Gyeonggi Province, on the other hand, is conducting a more full-fledged transformation of the city through the “Anyang Public Art Project 2010,” which is currently underway.

The project, which is celebrating its third year, aims to develop the city in a creative way with the help of many local and international artists, as well as the full participation of citizens from beginning to end.

“Everything, from civil complaints to everyday life can be art. We will showcase a brand new concept of public art which is ‘of the citizens, by the citizens and for the citizens,’” said Park Kyong, director of APAP 2010.

APAP 2010 is divided into three big parts -- “New Community,” “Open City” and “Nomadic Projects.” And as usual, all artworks created during the project will stay in the city permanently to enhance the cultural life of Anyang citizens.

“New Community” includes the establishment of new buildings such as an Open Pavilion, Open House, Open Court and Open University, built by international architect groups, which Anyang citizens can actually use.

Once the constructions are finished by the end of May, various classes and events are to be held in the venues.

Through “Open City,” construction of public venues such as Anyang Adventure Playground & Redevelopment Learning Center are currently underway, as are collective projects like the Seoksu Art Project 2010 or Museum of Complaints.

The creations are led by local and international artists. However, citizens can voice their suggestions and complaints about the projects anytime during the APAP 2010 period, which can be reflected in the results.

“Bang Bang,” a balloon house dangling behind a truck, is a representative work of the “Nomadic Projects.” Designed by architecture group Raumlabor-Berlin, “Bang Bang” is a mobile venue where exhibitions, seminars or parties could be held in.

To participate in the APAP 2010 project, visit www.apap2010.org. An exhibition will be held after the completion of all projects, from Sept. 5-Oct. 31 throughout Anyang city.

“Happiness for Daily Life” café in Gongju city is open through Nov. 11. For more information about the café, contact the British Council at www.britishcouncil.or.kr.

By Park Min-young  (claire@heraldm.com) 　

홍콩, 미술시장으로 뜨는 이유?

Art world heads for Hong Kong

 

The global art market has been gradually shifting from the financial-crisis-hit Europe and America to emerging Asia over the last few years.

Among Asian countries, many say that Hong Kong has emerged with the most clout. This week is a chance to see why, as the city accommodates three mega art events: the Hong Kong International Art Fair, Asia Auction Week and Hong Kong Christie’s auction on Asian contemporary art.

“Waterdrops SH07003” by Kim Tschang-yeul featured at Art HK through Gallery Hyundai Gallery Hyundai

Hong Kong International Art Fair

The third Hong Kong International Art Fair began its four-day run on Thursday at Hong Kong Convention and Exhibition Center. Also known as Art HK, the fair is gaining acclaim as the new Art Basel.

Art HK stumbled a bit after its first year in 2008 as Lehman Brothers, its supporter at the time, went bankrupt, but regained strength after last year’s success. The size of the fair has grown with each edition. This year, 150 galleries from 28 countries are participating, compared to the 101 galleries from 21 countries that were present in 2008. Deutsche Bank is supporting this year‘s fair.

“Not many expected Asian art scene would become this important. World’s No. 1 art fairs like Art Basel in Swiss, Miami Basel in U.S. have been slowing down in recent years while Hong Kong International Art Fair is prospering. Important galleries in New York and London are preparing long-term plans for Asia,” said Magnus Renfrew, director of Art HK.

More than 2,000 art works by over 500 artists are featured at the fair, from the world’s prominent galleries like Gagosian Gallery in the U.S. and White Cube in London. It is notable that those top-notch galleries are turning to the Asian market.

From Korea, 12 galleries -- including Gallery Hyundai, Gana Art Gallery, Kukje Gallery, Hakgojae Gallery, Gallery In, The Columns, Park Ryu Sook Gallery, Cais Gallery, Keumsan Gallery, One and J Gallery, Pyo Gallery and Arario Gallery -- are participating.

“Fancy and glamorous artworks are popular at Art HK, where much of the population is Chinese. We prepared works by many artists including Lee U-fan, Lee Ki-bong, Jeong Yeon-doo, Damien Hirst and Anish Kapoor,” said Lee Seung-min, a curator at Kukje Gallery.

Gallery Hyundai is taking 30 works by 19 Korean and international artists.

“We are showcasing works by some talented up-and-rising artists, along with those by veteran artists, to show off the power of young Korean artists,” said Sung Eun-jin, a curator at Gallery Hyundai.



Asian Auction Week



Asian Auction Week which takes place on Saturday at Mandarin Oriental Hotel in Hong Kong is a chance to check out the latest trends in Asian art. It will feature 160 works of art from four countries: Korea, Taiwan, Japan and Singapore.

AAW is a pan-Asian auction event first organized by Korea’s K-Auction in November 2008 in alliance with Kingsley’s Art Auction of Taiwan, Shinwa Art Auction of Japan and Larasati Auctioneers of Singapore.

“Hong Kong was relatively less touched by the global financial crisis. We can cut additional costs and provide more various works in Hong Kong,” said Son I-ju, K-Auction’s PR official.

According to K-Auction, 75 percent of the auctioned items at the last auction were sold to non-Korean customers and they preferred works by young Korean artists.

This year, K-Auction will be offering works by Korean and international artists, including Robert Indiana, Lee U-fan, Paik Nam-june, Kim Tsang-yeul, Kim Dong-yoo and Kang Ik-joong.



Hong Kong Christie’s Auction



Hong Kong Christie’s will hold its Avant-Garde Asian Contemporary Art Spring Sale from Saturday through Sunday at Hong Kong Convention Center.

The auction will bring together over 480 contemporary art works from Korea, China, Japan and India. All the works together are estimated to be worth more than $30 million.

More than 60 works by 36 Korean artists, including Paik Nam-june, Kang Hyung-koo, Kim Dong-yoo, Choi Woo-ram, Jeon Gwang-young and Min Byung-heon will be on show as well.

“Korean artists are celebrated for their exceptional technical abilities, experimentation with materials and hyper-realistic paintings,” said the auction house.



Why Hong Kong?



The biggest reason pointed out by art insiders is that big collectors from China, Singapore, Taiwan and Macau are poised to expand their collections in Hong Kong.

Renfrew also pointed out that Hong Kong’s gateway position also provides the perfect platform for an international fair by enabling Asian collectors’ access to blue-chip and emerging artists from the West, as well as showcasing new art from Asia and around the world to a global audience.

In addition to its prime location, Hong Kong also offers the benefit of imposing no duties or taxes on the import or export of art.

“Hong Kong provides a much more convenient environment for galleries to participate in its art fair because we do not have to worry about visas or paying much tax,” said Park Won-jae, director of One and J. Gallery.

For details on Art HK, visit www.hongkongartfair.com, on AAW, visit www.asianauctionweek.com and on the Christie’s auction, visit www.christies.com.

By Park Min-young   (claire@heraldm.com)

코리안 아이, 런던에서.

London eyes Korean art, again

 

Standard Chartered Bank, London’s Saatchi Gallery and Korean Eye once again rolled up their sleeves to promote Korean art in Britain.

The exhibition “Korean Eye: Fantastic Ordinary” will feature works by 12 Korean contemporary artists at Saatchi Gallery, one of Britain’s most prominent galleries.

The gallery had only lent the venue for last year’s exhibition titled “Korean Eye: Moon Generation,” but decided to take a bigger role this year as one of the organizers.

“A year ago, we started the inaugural Korean Eye exhibition and did not know it would have such an immediate success. More than 40,000 people visited the exhibition within two weeks so it was extended four times and was there for over three months,” said David Ciclitira, founder of Korean Eye, at the press conference on Tuesday.

Phillips de Pury enabled sales of the exhibits at last year’s show but since the auction house is not participating this year, the focus will be less on sales and more on the quality of the exhibition.

“The Costume of Painter — Phantom of Museum D. W. House harp ds” by Bae Joon-sung Korean Eye

A bigger and more international board of curators including Johnson Chang, director of Hanart Gallery in China, Amelie von Wedel, director of Wedel Fine Art, Serenella Ciclitira, Korean Eye Co-Founder and Honorary Fellow of Royal College of Arts, Rodman Primack, Philips de Pury Chairman, Jiyoon Lee, director of Suum Art Project in Korea, and Lee Dae-hyung, director of H-Zone in Korea, promised a high-quality exhibition.

“We are showcasing more works by a smaller number of artists this time, so this exhibition will be an opportunity to take an in-depth look at Korean contemporary art,” said Lee Dae-hyung.

The participating artists, including Bae Joon-sung, Kim Hyun-soo, Shin Mee-kyoung and Bae Chan-hyo, are younger, and their work is more experimental compared to the art in last year’s exhibition.

Another notable point about the exhibition is that it is heading for more world markets.

“This year we have expanded the boundaries of the exhibition to start in London at the Saatchi Gallery, then move on to Singapore in September and finally on to Seoul to coincide with the G20 Summit in November,” said Ciclitira.

Standard Chartered Bank increased its support fund from $60,000 to $600,000 this year for the traveling exhibition. It also announced its plans to support the big scale Korean contemporary art exhibition which is planned during the London Olympics in 2012, using the entire Saatchi Gallery exhibition space.

Korean Eye exhibition plans to continue for two more years and expand its venues to more international cities in the United Arab Emirates, China and Japan.

The organizers are publishing “Korean Eye Contemporary Korean Art,” a book on Korean contemporary art, in English as well. The book will be launched on July 5.

“The Korean Eye book, published by SKIRA, will become the first English-language book on Korean contemporary art and artists,” said Ciclitira.

The exhibition will first run from July 3-18 at Saatchi Gallery in London and then move to Singapore on September and back in Seoul on November. For more information, go to www.KoreanEye.org.

By Park Min-young   (claire@heraldm.com)

 

잃어버렸다던 명성황후 카펫, 알고보니 박물관에 내내 있었다

Empress’ carpet found in museum

 

National Museum of Korea announced on Wednesday that it had found a relic similar to the lost leopard carpet assumed to have been in Empress Myeongseong’s office, in its collection.

The empress’ carpet, made of 48 leopards’ pelts, was lost on its way back to Korea after it was taken to the U.S. during the Korean War.

The leopard carpet found by the National Museum of Korea National Museum of Korea

The case of the carpet recently regained the public’s attention as an NGO headed by a Buddhist nun Hyemun that aims to retrieve Korean relics taken out of the country and Lay Buddhist Association for Jogye Order of Korean Buddhism raised the issue last Tuesday, calling on the government to track down the lost carpet.

“The Cultural Heritage Administration sent an official document requesting to check if the museum has the carpet in question. We found the carpet within our collection, immediately, and decided to show it to the public right away,” said a museum official.

Hugh V. Giltner, a U.S. soldier, had bought the carpet from a street vendor for $25 in April 1951, and sent it to his parents in the U.S. as a present. His father was an antique collector.

But as the carpet was too large -- 2.5 meters by 5.6 meters -- to keep inside the house, Giltner took it to Joseph R. Simmons, a fur dealer. Recognizing the value of the precious carpet from Korea, Simmons showed the carpet to the media. A U.S. magazine ran a story on the carpet, “The Sergeant‘s Souvenir” in its Aug. 28, 1951 issue.

Korean Consulate General in New York reacted immediately, announcing a statement asking for the return of the carpet. The carpet was stolen from empress Myeongseong’s office and is a priceless treasure, it said.

U.S. Customs Office is known to have confiscated the carpet from Giltner and sent it back to Korea.

“According to our research on relics taken out of the country to the U.S., the leopard carpet was categorized as a looted good during the Korean War and it is known to have been returned to the Korean Embassy in the U.S. between August 1951 and February 1952. But it went missing after that. We suspect that a powerful man at the time could have hid it,” said Ven. Hyemun.

A plum flower pattern on the back of the leopard carpet revealed by the National Museum of Korea

Museum officials said that there is high possibility that the carpet revealed by the museum -- 2.43 meters wide and 5.74 meters long with six vertical patterns and red cloth on the edges -- is the long lost carpet.

“It is certain that the carpet was produced to be used inside the palace, based on the plum flower pattern on the back, and that it is very similar to the carpet we are looking for, as the margin of error regarding the size is within 3 cm and it is similar to the carpet seen in the photo published in Life, a U.S. magazine, in 1951. The carpet has very high value as there are no other relics that can be compared to this,” said Lim Jae-wan, a museum official.

But there is no specific proof that empress Myeongseong had actually owned or used the carpet.

“Scholars have different opinions on when the plum flower pattern began to be used within the palace. But many presume that it was after 1897. So since empress Myeongseong was murdered two years before that, there is also a possibility that the empress did not actually use the carpet. There is also a possibility that there was more than one carpet of this kind in the palace,” said Lim.

By Park Min-young   (claire@heraldm.com)

갤러리 시리즈 _4_ 선화랑 김창실 대표

‘Artworks should be judged by quality, not by price’

 

This is the fourth in a 10-part series on prominent art galleries in Korea. – Ed

Sun Gallery president Kim Chang-sil was running about in high heels in her gallery in Insa-dong, central Seoul, answering her endlessly ringing cellphone and checking every little detail, on a Thursday afternoon.

The 75 year old is still the busiest person in the gallery, 33 years after she stepped into the world of art dealing. She had many titles over the years, including two terms as the president of the Galleries Association of Korea.

“It is hard, but I have to do it because I feel a sense of responsibility,” she said, turning the key to her office, tucked away in the back room on the gallery’s fourth floor.

There, through Kim’s collection of her favorite artworks, photos of her family and those she took with VIPs like President Lee Myung-bak, awards she won and books she wrote, one can see her efforts and achievements over the years.

“Once I decide to do something, I have to do it right. I decided to start a culture business, so I am running a culture business, as it should be run,” she said, taking a seat on an antique couch she bought nearly 40 years ago, before she opened the gallery in 1977.

Kim Chang-sil, president of Sun Gallery, sits on the sculpture “Rest” by Kim Myung-sook. Kim Myung-sub/ The Korea Herald

Sun Gallery contributed much to Korea‘s art scene, introducing numerous talented local and international artists to the Korean public. Sun Art, a quarterly magazine which was published by the gallery for 13 years, contributed to raising awareness of art among the public and the annual Sun Art Award, established in 1984, is still well-recognized in the field. In 2008, Kim opened an atelier in Suwon, Gyeonggi Province, which provides free accommodation and studio space for artists.

It is no surprise that Kim was honored with an Order of Cultural Merit last year. It was the first time that a gallery owner was given the prize.

Kim has been interested in art ever since she was a child, as she grew up in a relatively privileged family which encouraged cultural experiences.

“I thought all family should naturally have music and art in their homes,” she confessed.

But since her father insisted that women, too, should have a certain skill to make a living, Kim studied medicine at Ewha Womans University and opened a pharmacy. She later quit that job and concentrated on educating her children after her marriage, but her interest in art did not fade away.

One day, she came across Do Sang-bong’s painting “Lilac” and bought it. It was her first collection. One thing led to another and Kim decided to open her own gallery.

“I just wanted to see more artworks of good quality and collect them,” said Kim.

Her love for art greatly influenced her daughter, Lee Myung-jin, as Lee one day gave up her dream to be a pianist and announced that she wanted to follow in Kim’s footsteps. Lee opened a gallery of her own, Gallery Sun Contemporary in Sogyuk-dong, Seoul.

Does she give advices to her daughter every now and then?

“Young people these days do not like to be lectured,” said Kim, laughing. But she did point out some important values in running a gallery.

“The key is to walk a straight path. The art business suffers from many problems these days because so many galleries just focus on making money. They frantically try to raise the value of their affiliated artists only, making other galleries and artists suffer. I’ve been asked to participate in auctions, several times, but I never do it because I do not want to hurt other galleries,” said Kim.

“Take Park Soo Keun for example. He too, is another bestselling artist created by galleries, although I do think he is one of the greatest artists in Korea. Some thoughtless investors simply buy the works because galleries say it is good. But artworks should be assessed and selected for their good quality, not for their English or French translation. We don’t buy French artists’ works because we speak good French, do we?”

In fact, the word “sun” in the gallery’s name is from the Chinese letter that means “to select,” not the one that means “nice,” she explained.

For the gallery’s last exhibition which commemorated its 33rd anniversary, Kim carefully selected pieces by 363 Korean artists. The unprecedented exhibition, which showed off Kim’s influence in the art business was given a favorable reception.

The gallery’s upcoming exhibition is on Lisa Vershbow, a metal craft artist perhaps better known here as the wife of Alexander Vershbow, a former U.S. ambassador to Korea. Her exhibition starts on Wednesday.

It was Kim who had offered Vershbow to showcase her works in Korea for the first time at Sun Gallery, four years ago.

“I saw her works first and liked them very much. Her works are peculiar, as she does not use gemstones to make jewelry. She is a hardworking artist who is very well recognized in the U.S.,” said Kim, fingering a long broach on her collar that was made by Vershbow.

For more information on Sun Gallery or on Lisa Vershbow’s exhibition, call (02) 734-0458 or visit www.sungallery.co.kr.

By Park Min-young  (claire@heraldm.com)

비엔나에서 열린 북한미술특집전

N.K. leader portraits on display in Vienna

 

Amid heightened tensions here following the sinking of a South Korean Naval ship, apparently by the North in March, a little known side of North Korea is being shown at a venue far from the Korean Peninsula.

Vienna’s Museum of Applied Arts, or MAK, offers an exhibition titled “Flowers for Kim Il Sung,” a first-ever comprehensive look at North Korean contemporary art outside of the country.

Through cooperation with Korean Art Gallery and the Paektusan Academy of Architecture, both in Pyongyang, the show features more than 100 oil, ink and watercolor paintings, 30 posters and some architecture models and photographs from the world’s most isolated communist country.

MAK had to go through “extensive negotiations” with the relevant ministry in Pyongyang, said Peter Noever, director of MAK.

“It took a long time for the museum to persuade the skeptical North Koreans to let them include the Kim Il-sung and Kim Jong-il portraits in the show,” Noever told the press. As a result, 16 portraits of the former and current North Korean leaders are seen at the show, for the first time outside of North Korea, according to the museum officials.

Persuading North Koreans, however, was not the only problem. The Austrian government also raised doubts about the exhibition, criticizing MAK for working with the Pyongyang regime. But Noever rejected suggestions that the museum is supporting the regime.

“The exhibition should in no way be viewed as a political statement, but rather purely as a unique opportunity to examine the idealizing art of the Democratic People’s Republic of Korea, which is hardly known at all. With this showing at the MAK, the Democratic People’s Republic of Korea has broken through its isolation -- at least in terms of artistic production,” said Noever.

Currently in the spotlight in North Korea is a culture determined by the all-encompassing worship of “Eternal President” Kim Il-sung and his currently reigning son Kim Jong-il, and characterized by Juche ideology, a North Korea-specific interpretation of socialism.

The works are created by artists who occupy a special status in North Korea, according to MAK. All are members of the state artist association, paid a monthly salary and have to produce a certain number of paintings.

The exhibition runs through Sept. 5 at MAK. For more information, visit www.MAK.at.

By Park Min-young   (claire@heraldm.com)