ON KOREAN
CONTEMPORARY
ART
Recently, many Korean artists have been introduced to the world at international exhibitions. There was Korean Eye in London; the inclusion of Joonho Jeon, Kyoungwon Moon and Haegue Yang in Documenta 13 in Kassel, Germany; and Ufan Lee’s 2011 solo exhibition at the Guggenheim Museum, New York. As a result, the representation of Korean art has grown rapidly in the US. In recent years, many Korean galleries have opened in New York City, including COOHAUS, Gallery Ho, Shin Gallery, Kips Gallery
and DOOSAN Gallery. In 2012, Leeum, a well-regarded museum in Seoul, Korea, held an exhibition for artist Doho Suh. Until then it had generally organized exhibitions featuring non-Korean artists, so the decision to exhibit Doho Suh was unusual. However, the exhibition was a record-breaking success, reestablishing Leeum as a museum on the Korean art scene. As Leeum took a bold turn towards Korean contemporary art, Luciano Benetton’s annual art project chose 200 Korean artists.
Fruits (2013)
by Euija Kim
I would like to reflect on Korean contemporary art. A Korean saying says that, “If you know your e nemy and know yourself, you win 100 times out of 100 battles,” and I feel it applies to the current expansion of Korean art within the contemporary- art world. Nearly 100 years ago in 1915, Hee-dong Ko created Sisters, the first modern Korean painting. Much of modern art in Korea was heavily influenced by – and often tried to mimic – Western art.
Fried Chicken (2013) by Eunhye Hong
In the early 20th century, a generation of Korean artists traveled to Japan, France and other countries to be educated in the arts; upon their return to Korea, they were faced with the Korean War (1950-1953). Between 1950 and 1960, the Korean art scene was dominated by “Informel,” an interpretation of Western abstract art. In the 1980s, ideological disjuncture and democracy movement gave birth to Minjung or “people’s art.” By 1990, the modern-art movement in Korea became almost obsolete, and to study and practice modern art, artists were forced to travel overseas. In recent years, however, Korean contemporary art has blossomed, opening up new opportunities for artists, institutions and collectors.
Untitled (2013)
by Sook Jin Park
Untitled (2013)
by Goyeong Choi
Today, the growth of Korea’s economy and the introduction of its contemporary art to the world have facilitated the establishment of a number of art institutions and promoted the idea of art collecting.
Dim (2013) by Hanhong Park
This has led to numerous art galleries opening and young talent being shown. A generation of promising young Korean artists has been supported by wealthy patrons and commissioned to produce artworks. Well- known artists from this generation include Youngho Ji, Osang Kwon, Dongwook Lee, Jin Ham, Doho Suh, Bul Lee and Haegue Yang, most of whom live and work overseas. Korean contemporary art has certain specific characteristics. It is often extremely labor intensive and many times calls for a group of artists to collaborate and work together to create one piece.
Untitled (2013)
by Sunhee Ahn
Untitled (2013) by Helena - Zin Son
Doho Suh’s labor-intensive and meticulous work is a perfect example of contemporary Korean art. It often uses common or everyday objects: tires, fabrics or collages of photographs are just some things you can often see mixed into an artist’s work. Art-school students often appreciate artists such as Marcel Duchamp whose 1917 piece Fountain pioneered turning ordinary objects into art. Students are also taught that they must not only be artists but also inventors and innovators, such as the great Leonardo da Vinci.
Untitled (2013)
by Soojung Lee
Time (2013)
by Jae-sung Choi
Many Korean contemporary artists use ordinary objects in unique ways to set themselves apart from others in the contemporary art world. Osang Kwon’s photo sculpture is a prime example of the innovative and groundbreaking techniques these artists use. Unlike in other countries, Korean students start to be trained in art during childhood.
Neo – Peony (2013)
by Seongmin Ahn
Still Life (2013)
by Jiyoun Kim
Korean children are taught techniques in figurative painting and drawing. Even before entering universities or art schools, they are already familiar with artistic disciplines and formats. With current growth and expansion of Korean contemporary art, these bright young artists must find ways to stand out in the highly talented world of contemporary art.
Untitled (2013)
by Se Hyun Lee
Untitled (2013)
by Joeun Kim
What they need is to reintroduce the history of their country to their work. Their Western education of art and knowledge of Korean history should be blended together to create something new and exciting. They must also learn how to create for themselves, out of passion, regardless of whether they have been commissioned or not, or the price tags put on their works.
Untitled (2013)
by Minjin Kim
Untitled (2013)
by Minha Kim
The world of Korean contemporary art has a bright and promising future. All that is needed is the participation and encouragement of the art community. So I would like to express my enormous gratitude to Luciano Benetton for recognizing these talented young Korean artists and for allowing them To blossom and be a part of this amazing project.
SUNHWA SHIN
Director, COOHAUS
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