ART.FAIR | FAIR FOR MODERN AND CONTEMPORARY ART
GAGA GALLERY Feature Artist
최영욱 Young Wook, 이관우 Kwan Woo, Lee, 오재천 Jaechun, Oh
이경림 Kyunglim , Lee, 이철희 Chulhee, Yi, 권경주 Kyoungjoo, Kwon
남궁정화 Junghwa,Namgoong, 강정화 Junghwa, Kang, 김민정 Minjung, Kim
ART.FAIR | FAIR FOR MODERN AND CONTEMPORARY ART
This year for the ninth time, from October 29 to November 1, 2011 ART.FAIR is presenting promising new positions and selected current artworks from internationally established artists. Moreover, the broad spectrum of contemporary art is also being opened up to include selected works from the 20th century.
ART.FAIR thus encourages its audience to make new discoveries and to discuss the contemporary period in light of the modern.
GAGA Gallery Feature Artists
Young Wook , Choi
‘Social shopping’ open for Choi Young-wook prints
2011-05-06 19:01
Culture media company artday, which runs the mobile application “artday” on both
Android and Apple smartphones, said two versions of his internationally-popular print work “Karma” will be sold both on the application and the company’s website at www.artday.co.kr from 10 a.m. on May 9. The mobile application provides extensive information about local art exhibitions, discount coupons for art cafes and products, and user reviews.
Choi produced only 150 copies each of the two prints, as limited editions, the company said. To prevent illegal trading of the prints, the company and the artist agreed not to reproduce the prints in the future.
 |
| Artist Choi Young-wook (Park Hae-mook/The Korea Herald) |
Choi’s prints are estimated to be worth about 700,000 won to 800,000 won a piece, but social shopping will help slash the price to 300,000 won, artday said.
To help establish the right culture for appreciating printed art, Choi followed internationally-approved guidelines when making the limited edition, artday said.
The production of A/P, or artist’s proof, was limited to 15 percent of the amount of the total production of the limited editions and the artist discarded all the materials used for the production of the prints to prevent illegal copies.
The company has been receiving reservations for Choi’s works since May 2 on the application and the website.
Meanwhile, artday is also participating in the Seoul Open Art Fair, which runs through May 8 at COEX in Samseong-dong in southern Seoul. At its booth, it will hold a preview exhibition of Choi’s prints.
The 46-year-old’s collections are held by renowned institutions, including the Bill Gates Foundation and Philadelphia Museum of Art.
Young Wook, Choi [Profile]
2001 MAF Hongik University Seoul Korea
1991 BFA Hongik University Seoul Korea
Solo Exihibitions 12 Times
2011Solo Exhibition (atelier aki in VERSACE HOME, Seoul,Korea)
2011 Solo Exhibition(gaga Gallery, Seoul, Korea)
2011 Yegam Gallery Art( New York )
2010 Solo Exhibition(gaga Gallery, Seoul, Korea)
2009 Solo Exhibition(Art gate Gallery, New York )
2007 Solo Exhibition(ANNEX Convention Center, Fukuoka, Japan)
2006 Solo Exhibition(ONO Gallery, Tokyo, Japan)
2004 Solo Exhibition(Seoul Art Gallery, Seoul, Korea)
2003 Solo Exhibition(Noam Gallery, Seoul, Korea)
2000 Solo Exhibition(Alternative Space, Seoul, Korea)
1996 Solo Exhibition(Kim Nae Hyun Gallery,Seoul, Korea)
1992 Solo Exhibition(Gain Gallery, Seoul, Korea)
Art Fairs
2011 Art.Fair (Staatenhaus am Rheinpark Köln)
2011 Singapole Affoderble Art Fair(Singapole)
2011 KIAF(Coex,Seoul)
2011 Scope Art show(New York)
2011 Red Dot Art Fair(New York)
2011 AsiaTop Gallery Hotel Art Fair(Honkong/Seoul)
2011 Seoul Open Art Fair(Seoul Korea)
2010 L A art fair
2010 Scope Miami
Collections
Bill Gates Foundation
Philedelphia Museum of Art
GAGA Gallery(Seoul)
Baekwoon Gallery(Seoul)
L`oreal Korea(Seoul)
LG ,U Plus(Seoul, Korea)
Komferry Asia(Seoul)
Korea Herald(Seoul)
NUVICO (NJ,USA).etc..
Chulhee, Yi
Chulhee, Yi
● Education
1984 B. F. A. in dept. of Art Education, Kyung Hee University
1993 M. F. A. in Hong ik University
● Art Fair
2001 Seoul Art Fair-Yuna Gallery Invitation
2004 Philippines International Art Fair
2005 Seoul Art Center Professional Artist Festival
2007 Manif Seoul International Art Fair
2008 Manif Seoul International Art Fair
2009 Pusan Art Fair
2009 Art Chicago
2009 Korea intl Art Fair
2010 Korea intl Art Fair
● Solo Exhibitions
1989 1st Exhibition (Dong-Soong Art Center)
1990 2nd Exhibition (Dong-Soong Art Center)
1992 3rd Exhibition (Seoul Arts Center)
1993 4th Exhibition (Japan Gallery wache invitation)
1994 5th Exhibition (Yuna Gallery Invitation)
2001 6th Exhibition (Soheon Gallery Invitation)
2006 7th Exhibition (Gumho art museum Gallery )
2010 8th Exhibition ( artpark Gallery )
● Group Exhibitions
1983 5 Artists Exhibition in Le Centre Cultural Francais
1988,90,92,94 Group Exhibitions DongWoo-(The National Museum of Modern
Art)
1991 Attention Artist Exhibition -(Deukwon Gallery)
1992 Autumn Message Exhibition -(Museum of Cheongdam)
1992 A Bright Prospect Artist 21-(Invitation of Hyundai Art Gallery)
1993 D. M. Z Exhibition -(Seoul Museum of Art)
2005 Geochang International Sculpture Symposium
2008, 09 Korean Sculptures Association Exhibition
2008 The Street Festival of Cheongdam
2009 Peace Dream Art Festival -(Spain Andalusia)
2009 Art in Super Star- (Seoul Art Center)
2009 Corporation National Sculptures Association in Korea Exhibition
2009 Beartree Park Exhibition
2010 Art in Super Star- (Changwon Sungsan Art Hall)
● Awards
1988 Won the Special Selection for National Art Festival
1988 Won the Dong-A Art Award at Dong-A Art Festival
2005 The Prime Minister Award at National Art Festival
2008 MBC Sculpture Great Festival Encouragement Award
2009 MBC Sculpture Great Festival Grand Prize Award
Selected for Joong-Ang Arts Festival (3 times)
Selected for Dong-A Arts Festival (2 times) Selected for National
Art Festival (3 times) , etc
● Collections
- 40th anniversary of Ceremony Sculpture
-The federation of korean industries
- Symbolic sculpture-Kangjin celadon Museum
- Commemorative sclpture of world-cup- Ulsansi
- Symbolic sculpture-KT&G
- Symbolic sculpture-Asiana Airlines
- Seoul Bukbu Geriatric Hospital
- Symbolic sculpture of Seoul Mapo large Bridge
- Foundation of korean Trade Unions- Yeoido Branch
- Seoul Museum Of Art
- Chungbuk Yedanho Art Park
- National Museum of Contempory Art
- Korean Folk Village
- MBC Daejanggum Theme Park
Kwanwoo, Lee
Condensed_39.4x39.4 inches_Mixed media(Korean Stamps) on Canvas_2011
Masks of Duplicity: Signs of the Times
Industrialism brought the multiple, ready-made object in to consumer culture while Post-Industrialism has dematerialized the commodified object into bits of data and information. This phenomenon of the West gradually expanded to South Korea where ancient tradition has mingled with the new, leaving many to wonder how exactly tradition will survive. Contemporary artist Lee GanU’s mixed media paintings turn the notion of the populous on its head by taking thousands of found objects, specifically Korean seal stamps, that have been used for purposes of authenticity in times past. As one of the most mass-produced, hand-made objects that pre-dates the Industrial Era, seal stamps were initially used by artists, philosophers and emperors as a mark of signature that designated a document as official. Today everyone in Korea owns at least two personal seal stamps but many are now utilizing the digital signature. Lee GanU scoops up what many Westerners would call souvenirs in order to de-authenticate objects of authentication, by removing them from their traditional use before validating them again within a painterly framework that represents the vibrant intersection of East and West. In a new series titled Condensed Lee GanU uses small Korean stamps as individual color pixels, creating representations of larger icons, such as Buddha, as well as abstractions that reflect strong contours and contrasts, hinting at topographical landscapes.
Condensed_64.2x51 inches_Mixed media(Korean Stamps) on Canvas_2010
The gray representations of the meditating Buddha are offset with a red background, combining the forgotten individual identities of hundreds into part of something larger. As a play upon perspective, Lee GanU captures Buddha from above and below using an ocean of stamps that extends the notion of icon and identity. As an increasing number of hand-carved characters become signs of a growing population, these mixed-media paintings are pixel portraits showing that the whole is nothing without the sum of its parts. Within an increasingly polyphonic society that bases its identification on products, the notion of the original is suddenly an ossified after-thought, making authorship more problematic.
Other abstract works contain a litany of signs and symbols that appear to speak in multiple voices at once. Here, Lee GanU applies the Western notion of the sign and signified but dwarfs it within a large scale typically seen in scroll paintings from countries across Asia. As art critic Kim Jong-Gil states: “It can be expected that if Lee GanU attains a sense of streamlined, poetic condensation in the ways of reinforcing the frame along with the accumulation of seals, as well as the application of color and form, then his work could be enhanced.” The pieces appear to hint at silhouettes, but as soon as the vague trace of a representation is found, one’s eyes are immediately lost in a sea of signs, searching once again for something larger and definite. It could be suggested that these pieces respond to Roland Barthes’ essay Death of the Author from 1968. However their core substance appears to lay much deeper than a philosophical French theory that was formulated as a response to Western capitalism. In fact Koreans began using hand-made, mass produced seals as early as the 2nd-century B.C., long before sign and signified became a central theme in critical writing.
Condensed_47.2x47.2 inches_Mixed media(Korean Stamps) on Canvas_2011
His earlier works from 2010 consist of various scales of stamps that are arranged in a tight consistency, creating natural curves and depth that allude to the undulating slopes and hills seen across an open landscape. Jeong Seok Do describes the subject of these pieces as an empty bowl: “The metaphor of a bowl is a common way of thinking about the process of cognition and linguistics.” This combination of texture and written characters, moreover, makes for a compelling illusion - a layered dialogue that is far from ambiguous. Appearing as hieroglyphics, the different height of these stamps renders a texture that twists and turns within a rectangular framework while reflecting either anonymous or forgotten identities. In the current age of overpopulation, the multiple challenges the unique qualities of singularity, making it harder for an independent vision to stand both alone and distinct from the rest of digitized visual culture.
Condensed_51.2x19 inches_Mixed media(Korean Stamps) on Canvas_2010
Lee GanU was born in 1969 in Gwacheon, South Korea. Having grown up near the city center of Seoul, GanU has lived near a cultural intersection of the world. While studying art at Kwandong University, the artist majored in Western Painting and subsequently had seven shows. Although this may appear to compromise Korean artistic tradition by playing into the West’s conspicuous desire for the exotic, Lee GanU utilizes the visual tradition of the West in order to communicate Korean aesthetics toward a Western audience without idolizing any of his chosen, found content. An argument could easily be made in favor of the artist’s chosen aesthetic approach due to the fact that he does not distort, glamorize or devalue the issue at hand. In addition, the artist does not seek to put these objects back into a Warholian circuit of meaningless mass-production. Rather, each mixed-media painting commemorates a dead technology, in this case the hand stamp, and therefore leaves the authentic, rustic nature of these found objects intact.
Condensed_64.2x51 inches_Mixed media(Korean Stamps) on Canvas_2010
By re-using countless seal stamps for purposes of fine art, without losing much of the original meaning that is seen on each object, Lee GanU’s choice to re-materialize the hand-made reveals that even though particular ways of life are replaced with others, the found object will endure. Regardless of country or culture, the demand for convenience will always juxtapose the staying power of particular customs. It is currently unknown what trace of any global society will look like in the future now that the preservation of documentation is mostly digital. Lee GanU focuses on the historic displacement of the cultural seal-stamp wrought by computer technology. His work has been featured internationally, in art fairs throughout the world, in cities such as Seoul, Peking, New York and Paris. This exhibition of Condensed at Able Fine Art NY Gallery marks Lee GanU’s debut in America.
Jill Conner, An art critic
July, 2
삶의 의미로서 도장-기억과 시간의 은유 中 발췌
정석도 (성균관대 동양철학박사, 북경대학 미학 연구교수
)
이관우의 작업은 도장으로 대표된다. 그의 작업에서 도장은 현대 미술사에 정착된 용어로서 오브제의 범주를 넘어 서 있다. 회화의 조형요소로 탈바꿈된 일상적 사물은 본래의 의미(용도)를 벗어나 자유롭게 재해석된 채로 화면에 배치된다. 반면 이관우의 도장작업에서 개개의 도장은 사물로서의 의미를 벗어난 것이라기보다 본래의 의미를 더욱 부각시키는데서 회화성을 획득하고 있다. 도장의 의미란 무엇인가? 일상적 사물로서의 도장의 의미가 화면에서 더욱 부각되었다는 것은 무슨 뜻인가? 여기에 대한 대답은 도장에서 가장 중요한 요소인 이름에서 찾을 수 있다. 이름이 새겨진 도장은 한 사람의 정체성을 암시한다. 개인의 정체성은 외적으로는 이름으로 대변된다. 또한 내적으로는 기억에 의존하고 있다. 한 사람이 변함없이 그이로 알려지는 것은 우선 이름이 동일한데서 알 수 있고, 이어 내가 나를 동일한 사람으로 기억하기 때문이다....... 이 기억은 보다 넓게 보면 시간의 문제로 소급될 것이다. 기억한다고 하는 의식적 행위는 과거를 현재에 되살리는 것을 뜻한다. 때문에 기억은 시간이라는 토대 위에서 재현될 수 있는 사건이다. 따라서 총괄적으로 볼 때 도장은 시간의 은유이다. 눈에 보이지 않는 시간을 단단한 사물에 새겨 넣어 물질화(공간화)한 것이므로. 그렇다면 고착된 시간은 어떤 시간인가? 혹은 무슨-누구의 시간인가? 여기서 다시금 도장에 새겨진 이름을 떠올림으로써 도장이 가진 본래적 의미를 되새길 수 있다. 도장은 추상적인 시간 일반을 은유하는 것이 아니라 구체적인 한 개인의 삶의 시간을 함축하는 것으로 삶의 시간에 대한 은유인 것이다. ......
이관우의 작업에 등장하는 도장은 이처럼 내던져진 존재로서의 인간들, 그 삶의 (시간의)의미들이 함축되어 있다. 거기엔 지금 살아 있는 사람의 이름, 세상에 내던져지기 이전으로 되돌아간 사람의 기억, 황제의 시간 등등 수많은 삶의 형태와 그 의미들이 복제된 채로 어우러져 있다. 과거와 현재가 공존하고, 사회적 계급의 고하를 막론하고 사람의 삶, 그 시간의 흐름에 주목하면서 전체적으로 ‘사람사이’, 즉 인간과 인간이 만든 사회를 반영하고 있다. 이와 같은 의미의 해석은 도장이 가진 은유적이고 상징적인 의미로 인해 가능한 것이다. 그렇다면 이관우의 작업이 단지 의미 있는 사물을 재발견하고, 그 의미를 부각시키는 것에서만 의미를 가지는가? 완성된 작품 이전에 그것의 과정을 눈여겨 볼 필요가 있다. 그 이유는 작가가 작업하는 방식을 보고 있자면 전통적인 농작업 방식이 연상되기 때문이다. 작가가 물감 대신 도장을 사용해서 조형하는 것을 보면 마치 농부가 메마른 땅을 일구는 것처럼 느껴진다. 농부가 메마른 땅을 일구어 내듯, 그의 작업행위는 밭갈이나 논갈이에 해당된다. 그것도 기계화된 영농이 아닌, 예전 우리 할아버지들이 하던 방식대로 소와 쟁기를 이용해 논밭을 갈거나, 호미나 쇠스랑으로 일구던 방식대로 일일이 손으로 일궈나가는 방식 말이다. 형태적으로도 이미 화면은 구획된 밭이나 논과 흡사하다. 사각형의 화면은 작가에게 있어서 특히 의미의 농토이다. 농부가 쉴 새 없이 땅을 일구고 작물을 파종-수확하듯 작가는 셀 수 없이 많은 손놀림을 통해 빈 화면을 삶의 의미가 각인된 도장으로 채우면서 새로운 공간으로 일궈내고 있다. 그렇게 일궈진 공간은 거울과 같이 살아 숨쉬는 현실의 인간을 되비춰 주고 있다.
이관우의 최근 작업을 보면...... 고정된 도장의 의미를 확대해서 새로운 의미를 생산하고자 하는 작가의 마음을 읽게 된다. ...... 한 사람의 이름으로서의 문자가 가진 삶의 의미 및 시간적 의미와 인간의 문화적 기억이 공존하는 양상을 보이는 것이다. 그로써 보다 확대된 삶의 의미, 즉 개인의 삶과 역사적 삶-문화적 삶의 의미, 그 관계성이 사유되고 있다.
The meaning of life on carved the seal- Metaphor of memory and time.
-About artist Lee, Kwan Woo’s recent works-
: Written by Jeong, Seok Do (Oriental philosophy and Art critic)
The seal is representative of Lee, Kwan Woo’s art works. The seal is beyond the boundary of the object as a fixed term of the contemporary art through this artist’s works. The daily thing transformed into formative element that is arranged in his art works through the restoration of the pictorial surface out of the primary meaning of the thing(use). While the particular seals obtain the pictorial meaning with showed its true selves in the Lee, Kwan Woo’s art works. What does mean of the seal? What does it mean by that showed the seal of meaning as the daily thing in the surface of his artworks? The answer for these question find for the name is the most important thing of the seal. The seal with carving name suggests one’s identification. To external, a persons identity is spoken for the name. Also to internal, it is relying on the memory. For one thing a person becomes know to a same because under the same name, for another reason for I remember me the same person ...... By more widely on the point, the memory goes a question of time. If a conscious action as memorize, it means that is recall of past in the current. Thats why the memory is an event can be a re-creation on the foundation as the time. In the gross, the seal is a metaphor of the time. It is quite sure why that is made up a materialization by carved on hard material from invisible time. Then, which time is the fixed time? Or Is the time what’s-whose? At this time, it is possible for recall the primary meaning of the seal as remind the name carving that. The seal is not metaphor of the abstract time, is the metaphor of the time for life because involving with a one’s specific life time.
...... The seals include of the man who thrown existing and the meaning of one’s life time in a Lee Kwan Woo’s artworks. There contain that one’s name of living at this time, memory of back to the past before thrown in the world, and the Imperial Age with a large number of life style and replication the meanings. It is an accurate reflection of the human life for the general ‘between people’ as human-made society in which coexist with past and present, irrespective of social rank. This interpreted the meaningwere made possible by the symbolic and figurative character of seal. If so, is it the only reason the meaning of Lee, Kwan Woo’s artworks that usually thing’s rediscovery and rediscovering its meaning? We need to, require further examination the process carefully before completed works. The reason makes we think of the traditional methods of agriculture when we watch his works. It gives the feeling as a farmer used in farming to dry earth when watched the artist uses seal instead of paint. Like the farmer, his act of working is equal to plowing of a field. It is unlikely to mechanized agriculture as way by hand the traditional farming of our ancestors, using the ox with the plow or hoe with scraper for farming. The surface looks like the form of planned field. A square surface is one of farmland with special meanings to him. Like the farmer kept up a continual farming and produced a crop, the artist fill the empty space with the meaning of life on carved seal with numerous hands. So, it is created pictorial surface which reflecting the realities of human life as a living like a mirror.
Lee, Kwan Woo’s recent artworks ...... We can read the artist’s intention there to produces new sequences with different meanings by magnifies the fixed meaning of the seal....... The letter for one’s name has symbol of the life, meaning of the time and the culturalmemory which are coexistence in this artworks because it’s inner side consist of pictorial seals of divided bowl shape and have letter seals background like a ridge in a dry field. And it has a thought that relationship which of magnified meaning of life as personal and history and culture.
Youngwook, Choi
Young Wook, Choi [Profile]
2001 MAF Hongik University Seoul Korea
1991 BFA Hongik University Seoul Korea
Solo Exihibitions 12 Times
2011Solo Exhibition (atelier aki in VERSACE HOME, Seoul,Korea)
2011 Solo Exhibition(gaga Gallery, Seoul, Korea)
2011 Yegam Gallery Art( New York )
2010 Solo Exhibition(gaga Gallery, Seoul, Korea)
2009 Solo Exhibition(Art gate Gallery, New York )
2007 Solo Exhibition(ANNEX Convention Center, Fukuoka, Japan)
2006 Solo Exhibition(ONO Gallery, Tokyo, Japan)
2004 Solo Exhibition(Seoul Art Gallery, Seoul, Korea)
2003 Solo Exhibition(Noam Gallery, Seoul, Korea)
2000 Solo Exhibition(Alternative Space, Seoul, Korea)
1996 Solo Exhibition(Kim Nae Hyun Gallery,Seoul, Korea)
1992 Solo Exhibition(Gain Gallery, Seoul, Korea)
Art Fairs
2011 Singapole Affoderble Art Fair(Singapole)
2011 KIAF(Coex,Seoul)
2011 Scope Art show(New York)
2011 Red Dot Art Fair(New York)
2011 AsiaTop Gallery Hotel Art Fair(Honkong/Seoul)
2011 Seoul Open Art Fair(Seoul Korea)
2010 L A art fair
2010 Scope Miami
Collections
Bill Gates Foundation
Philedelphia Museum of Art
GAGA Gallery(Seoul)
Baekwoon Gallery(Seoul)
L`oreal Korea(Seoul)
LG ,U Plus(Seoul, Korea)
Komferry Asia(Seoul)
Korea Herald(Seoul)
NUVICO (NJ,USA).etc..
Kyunglim Lee
Kyunglim, Lee
1968 Born in Seoul1990 B.F.A. in Oriental Painting College of Fine Art, Seoul National University
SOLO EXHIBITIONS
2004 1st Solo Exhibition "Gifts from daily life"(UM Gallery)2005 Art-Seoul Exhibition “Here and Now” (Seoul Arts Center)2008 Yool Gallery,Gallery the Space,Danwon Arts Competition (Dawon Pavillion)2009 Our Town-Space Movin,Gallery SSun, Lee House gallery2010 Gallery the K, Ah-San gallery, Palais de seoul, Etc.
Art Fairs
2005 LA Art Fair
2007 07 MANIF (Seoul Art Center)
2011 Sofa(Coex ) 2011 Art Daegu(exco),Etc.
2011 Seoul Art Fair(Coex, Hotel)
2011 Art.Fair (Staatenhaus am Rheinpark Köln)
2011 Singapole Affoderble Art Fair(Singapole)
GROUP EXHIBITIONS
2010 On the Otherside of The Globe(London,Britannia centre)
“JaJooHean” Exhibition (Tokyo, Japan)
Seoul,New York exchange Exhibition (Hun Gallery,Gallery Ho Gallery Ho Auction (Gallery Ho), Etc.
|
| ▲ The ten thousand in peace, 혼합 매체, 294x158cm, 2011 ⓒ2011 CNBNEWS |
| |
이경림, 심겨진 곳에 꽃을 피우리라2011.09.14 15:30 입력
글 서성록(안동대 미술학과 교수)
예술은 끓어오르는 주전자처럼 우리 안에서 넘치는 뭔가에 대해 말하고 노래하고 보여주는 어떤 것이라고 한다.(Luci Shaw) 예술을 한다는 것은 곧 ‘존재 안에 빛나는 그 무엇’을 드러내는 행위다.
이경림이 자신의 예술적 충동과 내적 열정을 쏟아낸다는 점은 다른 화가와 비슷하다. 하지만 그에게는 그 이상의 무엇이 있는 것같다. 작가는 우리가 전에 품어본 적이 없는 정서와 만나게 해준다. 세상의 필요를 채우는 것이 아니라 반대로 새로운 갈증을 일으켜 필요를 유발한다. 그 유발하는 갈증은 우리 자신을 돌아보게 하고 삶의 중요한 부분을 환기시킨다.
그의 작품은 골판지의 결합으로 이뤄진다. 골판지는 생활 주변에서 흔히 만날 수 있어 작품으로 등장하는 것에 별로 이질감을 느끼지 못한다. 재료의 한계를 허들 넘듯이 거뜬히 극복하고 있다. 더욱이 종이 특유의 소프트한 성질로 인해 보는 사람에게 편한 감정을 준다. 화면은 크고 작은 골판지 조각들이 이웃하고 있다. 대충 얼개지은 것같지만 서로 각을 맞추고 빈틈없이 꼼꼼하게 연결되어 있다. 거기에 작가는 색채와 무늬, 이미지들을 새겨넣는다. 어떤 것은 스트라이프 모양, 도트모양, 글자, 드로잉, 색칠하기 등으로 공간을 덮어간다. 각 부분이 모여 전체를 이루고 전체는 부분을 조화롭게 이끌어간다.
그의 작품에 빠지지 않고 등장하는 것이 있다. 바닷가의 조개껍질, 소라껍질, 나뭇가지, 길가에서 주어온 들꽃, 도토리 등이다. 이런 자연물들은 그의 작업에 특별한 의미를 갖는다. 그것들은 신비한 생명의 질서를 간직한 자연물들이다. 가령 조개껍질은 조그만 형태에서 시간의 경과에 따라 나선형으로 점차 커진다. 여기에는 이른바 ‘피보나치의 수열’ 원리가 작용한다. 조개껍질은 황금분할의 비를 정확히 유지하면서 자라난다. 자연계에서 많은 생물의 구조가 이 원리를 따른다는 것은 잘 알려진 사실이다.
작가가 ‘피보나치 수열’의 원리를 증명하려고 이 작품을 한 것은 물론 아니다. 작가는 어느 작은 생명체라도 소중한 존재이며 특별한 존재의미를 지니고 있음을 환기시킨다. 사실 조개껍질을 보고서 생명의 신비를 발견하는 사람은 많지 않을지 모른다. 그러나 그것이 황금분할의 원리가 숨어 있다는 것을 알면 놀라지 않을 수 없을 것이다. 작고 소소한 것에 보내는 갈채에서 작가의 번뜩이는 통찰력을 감지할 수 있다.
그의 그림은 메타포로 가득 차 있다. 일반 풍경을 사생한 것이 아니라 해독되기만을 기다리는 메시지가 들어찬 그림에 가깝다. 그가 사는 동네를 소재로 한 그림을 보면 화면 중심에 길이 뻗어있고 그 주변으로 건물이 들어서 있다. 언뜻 보면 평범한 마을풍경을 옮긴 것같다. 그러나 사실은 그가 ‘꿈꾸는 마을’에 가깝다. 뒷산에는 무지개가 떠있고 하늘에는 별빛이 총총하다. 이런 별빛은, W. 워즈워드(William Wordsworth)의 시에 나오는 “하늘의 별처럼 들의 꽃처럼 인간에게는 양심이 있다”는 구절에 착안한 것이다. 작가는 하늘의 별처럼 들의 꽃처럼 참다운 삶이 있고 아름다움이 있는 풍경, 우리 모두가 희구하는 곳을 제시한다. 길바닥에 흩어진 꽃잎도 사실은 죽어 메마른 땅이 아니라 생명과 기쁨으로 충만한 삶을 이야기하고 있다. 집 주변의 나무는 어떤가. 평범한 나무가 아니라 영롱한 빛을 내는 신비스런 나무다. 거기에도 별빛이 비춘다. 하지만 그 나무는 외부에서 빛을 받은 것이 아니라 스스로 빛을 낸다. 그 빛으로 어두운 주위를 비춘다. 축복을 퍼뜨리는 광원에 가깝다. 이렇게 그의 그림은 마치 동화에 나오는 마을처럼 웃음꽃이 피어나는 곳으로 묘사된다.
그 외 작품 역시 사람들에 대한 이야기로 구성되어 있다. 그가 바라는 인간상과 자신의 삶을 형상화하고 있다. 그러한 인간상과 삶은 모두 내적인 통찰로 바라본 것들로서 인간존재의 시각이 담겨져 있다.
는 열매맺는 나무를 만든 작품이다. 잎사귀가 무성한 나무가 있는가 하면 잎사귀는 없고 앙상한 가지만 남아 있는 작품이다. 이것은 포지티브한 삶과 네거티브한 삶을 표상한 것이라고 한다. 잎사귀가 무성한 것은 곧 열매맺는 삶이고 그렇지 못한 것은 그루터기만 남은 나무를 일컫는다. 이 작품은 삶에 대한 지혜를 담은 일종의 잠언이다.
는 한 그루의 나무가 중심에 서 있고 주위는 어둠에 에워싸여 있는 작품이다. 주위는 여러 골판지 조각으로 나누어져 있으며 중앙의 나무를 압박하는 것같은 구도이다. 작가는 우리의 시선을 한 그루의 나무에게 집중시킨다. 빛을 받으며 서 있는 나무는 축복의 팡파르를 받는 인간을 암시한다. 여기서 빛은 곧 생명의 빛, 진리의 빛, 사랑의 빛을 말한다. 혼란스런 세상속에 살지만 그리스도의 오심을 소망하며 살고 있는 자신을 나타낸 작품이다. ,<음악>,,<휴(休)>도 비슷한 내용이다. 는 기도하는 사람을, <음악>은 기타를 치며 예배하는 사람을, 는 새집에서 벗어나 언약의 땅을 찾아 떠나는 새를, <휴(休)>는 나무의 그늘아래서 편히 쉬는 사람을 각각 표현하고 있다.
St. 어거스틴이 지적했듯이 사람은 ‘결핍의 존재’이므로 만족이 있을 수 없다. 그의 목마름은 지위나 물질이나 지식으로는 채워지지 않는다. 어쩌면 예술로도 채워지지 않는 것인지도 모른다. 작가는 인간안에 도사리고 있는 ‘결핍’을 ‘천상적 충만’으로 바꾼다. 소망에 ‘영혼의 닻’을 내리고 ‘별로 가는 여행’을 시작한다. 하늘에서 번개가 내리치면 곧이어 천둥이 화답하듯이 작가가 받은 축복을 감사로 화답한다. 주어진 것에 대한 진실한 감사의 기쁨은 인색해지려는 충동보다 질길 뿐만 아니라 강하다. 그의 그림의 원동력은 여기에서 나온다.
이경림
1990 서울대학교 미술대학 동양화과 졸업
2004~2011 개인전 17회
(UM갤러리,예술의 전당-05.06아트 서울전,07마니프국제
아트페어,갤러리 라메르,갤러리더스페이스,단원선정작
가전,스페이스 모빈,갤러리 썬,리하우스갤러리,갤러리더케이,아산갤러리,
10마니프국제아트페어,팔레드서울)
1990~2011단체전60여회
(새로운 형상과 정신전 /자주현 전 입선 -일본,동경/
신미술대전 -디자인포장센터/LA ArtFair-GAIIERY3 /서
울대 60주년 기념전/Line Art Fair -벨기에/한미교류
전-훈갤러리/아트미션 -예술희락전-인사아트타/free oneself전-한전아트센터
,런던 브리테니아센터,뉴욕jm갤러리,tjh갤러리,SOAF전,아트대구)
Jaechun, Oh
Jaechun, Oh
Jae Cheon,Oh
․8 times Private Exhibition
․Chung-Ang University Graduate School of Arts Department of Plastic Arts
- Major in Western Painting
․Receiving of Repin Academy of Russia, Petersburg
․Digital Art(Major in Fine Arts)
․Choice, 9 times Winner of Korea Art Great Exhibition(84∼2006)
The National Museum of Modern Art
․Grand Prize of Nationwide Mudeung Art Great Exhibition 91
(Gwangju Museum of Art)
․The First Prize of World Art Exchange Association Art Competition Exhibition
- Western Arts section.
․New Millennium Art Great Exhibition - Awards of Chairman Awards
․New Works Exhibition 300 Display, National Circuit Exhibition
(Seoul, Daejeon, Daegu, Pusan, Gwanju, Mokpo.)
․Visit Art (Museum of Modern Art)
․Private View of Commemoration of Open Memorial, Daejeon Museum of Art
(300 Printer Display)
․Korea Modern Arts Exhibition (Korea Cultural Center in LA, USA)
․MIAF 2007 Mokwoo National Art Fair(Arts Center Museum)
․BIAF 2008 Pusan National Art Fair(BEXCO)
․BGAF 2009 Beijing Art Fair(북경관음당 Art Fair)
․BIAF 2009 The Special Exhibition of Pusan National Art fair
(Pusan Cultural Center, BEXCO)
Review : Art Great Exhibition of Competition Mokwoohoe,
Gyeonggi Art Great Exhibition, Korea Disabled Art Great Exhibition,
Nationwide Nude Art Great Exhibition,
Unity Art Great Competition, Namnong Art Great Exhibition.
Competition of Concrete Arts Exhibition Art Great Exhibition,
Na Hye Seok Art Great Exhibition, Peace Art Great Exhibition
Gyeonghyang Art Great Exhibition,
Surved as Steering Committee and Judge.
Present : Korean Fine Arts Association, Member of Mokwoohoe.
Secretary of New Works Exhibition,
Lecturer of Western Arts - Wolsan Art Center
2011 Singapole Affoderble Art Fair(Singapole)
JUNGHWA, NAMGOONG
BREEZE10P(53.0X40.9)acrylic on canvas.2011
Hope 65.1x45.5 acrylic on canvas 2011
ABYSS 90.0X40.0 27.3x40.9(cm) acrylic on canvas 2011
JUNGHWA NAMGOONG
1986. B.F.A, M.F.A. in Ehwa womans University
Korea National Art Exhibition (special prize)
Busan Art Exhibition (special prize )
93. Busan Art Festival (culture center)
93/94. Busan Printmakers Association Exhibition (gallery Nubo/sungha gallry)
98. Inking Exhibition (Picasso gallery)
99. Inking Exhibition (Kyoto Art gallery)
2000. Todays Print Exhibition 2000 (culture center)
01. Busan Print Art Festival (Busan City Hall)
02. International IMPACT ART Festival (23rd, international Art center of Kyoto)
02~04. Busan International Print Art festival (Busan City Hall)
04. Exhibition of Busan and Daugu Printmaker Association
04. Young Honam Art Exchange Exhibition
05. Korea Art Festival 2005. (Sejong Center)
05. PRINTS WAVE (Busan City Hall)
05. KOREA RUSSIA ART FAIR (Sejong Center/Russia Moscow Central House of Artist)
05. Busan International Print Art Festival (Busan City Hall)
06. PRINTS WAVE (Busan City Hall)
06. Busan International Print Art Festival (Busan City Hall)
06. Incheon-Busan cross wave of print exhibition (shinsaegae gallery)
07. PRINTS WAVE (Busan City Hall)
07. The 27th ARTEX SHANGHAI 2007 (Nancys Gallery)
08. Time & Memory (Busan City Hall)
09. The 6 city artist preview
09. The opening of Spo one park gallery artist preview
09. 2009 6th Ansan International Art Fair ( Ansan arts center)
09. MUL ART SHOW 2009 (Busan culture center )
09. Busan Printmakers Association Exhibition (Haeundae culture center)
2010. Star & Blue Artist Hotel Art Fair 2010 ( millennium seoul Hilton Hotel)
10. Namgoong junghwa 1Th private exhibition.( gallery Bom)
10. 2010 KOREA SELECTED ARTISTS EXHIBITION (The palace of Kyunghees branch)
10. ASIA TOP GALLERY HOTEL ARTFAIR SEOUL (THE SHILLA Hotel ,Seoul)
10. KOREA INTERNATIONAL ART FAIR (COEX in SEOUL)
10. Something To Say..... (gallery Bom)
10. ARTSINGAPORE 2010 (SUNTEC SINGAPORE. LEVEL 4)
10. 2010 Busan Print Art Festival (Hansol gallery)
10. OBLIVION . 2Th Solo Exhibition (gallery BOM)
11 Singapole Affoderble Art Fair(Singapole)
11 Art.Fair (Staatenhaus am Rheinpark Köln)
Collection
National museum of contemporary art, art bank. Korea.
Now ; member of Busan fine arts association
/ member of Busan Printmakers Association
ART.FAIR | FAIR FOR MODERN AND CONTEMPORARY ART
GAGA GALLERY Feature Artist
최영욱 Young Wook, 이관우 Kwan Woo, Lee, 오재천 Jaechun, Oh
이경림 Kyunglim , Lee, 이철희 Chulhee, Yi, 권경주 Kyoungjoo, Kwon
남궁정화 Junghwa,Namgoong, 강정화 Junghwa, Kang, 김민정 Minjung, Kim
ART.FAIR | FAIR FOR MODERN AND CONTEMPORARY ART
This year for the ninth time, from October 29 to November 1, 2011 ART.FAIR is presenting promising new positions and selected current artworks from internationally established artists. Moreover, the broad spectrum of contemporary art is also being opened up to include selected works from the 20th century.
ART.FAIR thus encourages its audience to make new discoveries and to discuss the contemporary period in light of the modern.
GAGA Gallery Feature Artists
Young Wook , Choi
‘Social shopping’ open for Choi Young-wook prints
2011-05-06 19:01
Android and Apple smartphones, said two versions of his internationally-popular print work “Karma” will be sold both on the application and the company’s website at www.artday.co.kr from 10 a.m. on May 9. The mobile application provides extensive information about local art exhibitions, discount coupons for art cafes and products, and user reviews.Choi produced only 150 copies each of the two prints, as limited editions, the company said. To prevent illegal trading of the prints, the company and the artist agreed not to reproduce the prints in the future.
To help establish the right culture for appreciating printed art, Choi followed internationally-approved guidelines when making the limited edition, artday said.
The production of A/P, or artist’s proof, was limited to 15 percent of the amount of the total production of the limited editions and the artist discarded all the materials used for the production of the prints to prevent illegal copies.
The company has been receiving reservations for Choi’s works since May 2 on the application and the website.
Meanwhile, artday is also participating in the Seoul Open Art Fair, which runs through May 8 at COEX in Samseong-dong in southern Seoul. At its booth, it will hold a preview exhibition of Choi’s prints.
The 46-year-old’s collections are held by renowned institutions, including the Bill Gates Foundation and Philadelphia Museum of Art.
Young Wook, Choi [Profile]
2001 MAF Hongik University Seoul Korea
1991 BFA Hongik University Seoul Korea
Solo Exihibitions 12 Times
2011Solo Exhibition (atelier aki in VERSACE HOME, Seoul,Korea)
2011 Solo Exhibition(gaga Gallery, Seoul, Korea)
2011 Yegam Gallery Art( New York )
2010 Solo Exhibition(gaga Gallery, Seoul, Korea)
2009 Solo Exhibition(Art gate Gallery, New York )
2007 Solo Exhibition(ANNEX Convention Center, Fukuoka, Japan)
2006 Solo Exhibition(ONO Gallery, Tokyo, Japan)
2004 Solo Exhibition(Seoul Art Gallery, Seoul, Korea)
2003 Solo Exhibition(Noam Gallery, Seoul, Korea)
2000 Solo Exhibition(Alternative Space, Seoul, Korea)
1996 Solo Exhibition(Kim Nae Hyun Gallery,Seoul, Korea)
1992 Solo Exhibition(Gain Gallery, Seoul, Korea)
Art Fairs
2011 Art.Fair (Staatenhaus am Rheinpark Köln)
2011 Singapole Affoderble Art Fair(Singapole)
2011 KIAF(Coex,Seoul)
2011 Scope Art show(New York)
2011 Red Dot Art Fair(New York)
2011 AsiaTop Gallery Hotel Art Fair(Honkong/Seoul)
2011 Seoul Open Art Fair(Seoul Korea)
2010 L A art fair
2010 Scope Miami
Collections
Bill Gates Foundation
Philedelphia Museum of Art
GAGA Gallery(Seoul)
Baekwoon Gallery(Seoul)
L`oreal Korea(Seoul)
LG ,U Plus(Seoul, Korea)
Komferry Asia(Seoul)
Korea Herald(Seoul)
NUVICO (NJ,USA).etc..
Chulhee, Yi
Chulhee, Yi
● Education
1984 B. F. A. in dept. of Art Education, Kyung Hee University
1993 M. F. A. in Hong ik University
● Art Fair
2001 Seoul Art Fair-Yuna Gallery Invitation
2004 Philippines International Art Fair
2005 Seoul Art Center Professional Artist Festival
2007 Manif Seoul International Art Fair
2008 Manif Seoul International Art Fair
2009 Pusan Art Fair
2009 Art Chicago
2009 Korea intl Art Fair
2010 Korea intl Art Fair
● Solo Exhibitions
1989 1st Exhibition (Dong-Soong Art Center)
1990 2nd Exhibition (Dong-Soong Art Center)
1992 3rd Exhibition (Seoul Arts Center)
1993 4th Exhibition (Japan Gallery wache invitation)
1994 5th Exhibition (Yuna Gallery Invitation)
2001 6th Exhibition (Soheon Gallery Invitation)
2006 7th Exhibition (Gumho art museum Gallery )
2010 8th Exhibition ( artpark Gallery )
● Group Exhibitions
1983 5 Artists Exhibition in Le Centre Cultural Francais
1988,90,92,94 Group Exhibitions DongWoo-(The National Museum of Modern
Art)
1991 Attention Artist Exhibition -(Deukwon Gallery)
1992 Autumn Message Exhibition -(Museum of Cheongdam)
1992 A Bright Prospect Artist 21-(Invitation of Hyundai Art Gallery)
1993 D. M. Z Exhibition -(Seoul Museum of Art)
2005 Geochang International Sculpture Symposium
2008, 09 Korean Sculptures Association Exhibition
2008 The Street Festival of Cheongdam
2009 Peace Dream Art Festival -(Spain Andalusia)
2009 Art in Super Star- (Seoul Art Center)
2009 Corporation National Sculptures Association in Korea Exhibition
2009 Beartree Park Exhibition
2010 Art in Super Star- (Changwon Sungsan Art Hall)
● Awards
1988 Won the Special Selection for National Art Festival
1988 Won the Dong-A Art Award at Dong-A Art Festival
2005 The Prime Minister Award at National Art Festival
2008 MBC Sculpture Great Festival Encouragement Award
2009 MBC Sculpture Great Festival Grand Prize Award
Selected for Joong-Ang Arts Festival (3 times)
Selected for Dong-A Arts Festival (2 times) Selected for National
Art Festival (3 times) , etc
● Collections
- 40th anniversary of Ceremony Sculpture
-The federation of korean industries
- Symbolic sculpture-Kangjin celadon Museum
- Commemorative sclpture of world-cup- Ulsansi
- Symbolic sculpture-KT&G
- Symbolic sculpture-Asiana Airlines
- Seoul Bukbu Geriatric Hospital
- Symbolic sculpture of Seoul Mapo large Bridge
- Foundation of korean Trade Unions- Yeoido Branch
- Seoul Museum Of Art
- Chungbuk Yedanho Art Park
- National Museum of Contempory Art
- Korean Folk Village
- MBC Daejanggum Theme Park
Kwanwoo, Lee
Condensed_39.4x39.4 inches_Mixed media(Korean Stamps) on Canvas_2011
Masks of Duplicity: Signs of the Times
Industrialism brought the multiple, ready-made object in to consumer culture while Post-Industrialism has dematerialized the commodified object into bits of data and information. This phenomenon of the West gradually expanded to South Korea where ancient tradition has mingled with the new, leaving many to wonder how exactly tradition will survive. Contemporary artist Lee GanU’s mixed media paintings turn the notion of the populous on its head by taking thousands of found objects, specifically Korean seal stamps, that have been used for purposes of authenticity in times past. As one of the most mass-produced, hand-made objects that pre-dates the Industrial Era, seal stamps were initially used by artists, philosophers and emperors as a mark of signature that designated a document as official. Today everyone in Korea owns at least two personal seal stamps but many are now utilizing the digital signature. Lee GanU scoops up what many Westerners would call souvenirs in order to de-authenticate objects of authentication, by removing them from their traditional use before validating them again within a painterly framework that represents the vibrant intersection of East and West. In a new series titled Condensed Lee GanU uses small Korean stamps as individual color pixels, creating representations of larger icons, such as Buddha, as well as abstractions that reflect strong contours and contrasts, hinting at topographical landscapes.
Condensed_64.2x51 inches_Mixed media(Korean Stamps) on Canvas_2010
The gray representations of the meditating Buddha are offset with a red background, combining the forgotten individual identities of hundreds into part of something larger. As a play upon perspective, Lee GanU captures Buddha from above and below using an ocean of stamps that extends the notion of icon and identity. As an increasing number of hand-carved characters become signs of a growing population, these mixed-media paintings are pixel portraits showing that the whole is nothing without the sum of its parts. Within an increasingly polyphonic society that bases its identification on products, the notion of the original is suddenly an ossified after-thought, making authorship more problematic.
Other abstract works contain a litany of signs and symbols that appear to speak in multiple voices at once. Here, Lee GanU applies the Western notion of the sign and signified but dwarfs it within a large scale typically seen in scroll paintings from countries across Asia. As art critic Kim Jong-Gil states: “It can be expected that if Lee GanU attains a sense of streamlined, poetic condensation in the ways of reinforcing the frame along with the accumulation of seals, as well as the application of color and form, then his work could be enhanced.” The pieces appear to hint at silhouettes, but as soon as the vague trace of a representation is found, one’s eyes are immediately lost in a sea of signs, searching once again for something larger and definite. It could be suggested that these pieces respond to Roland Barthes’ essay Death of the Author from 1968. However their core substance appears to lay much deeper than a philosophical French theory that was formulated as a response to Western capitalism. In fact Koreans began using hand-made, mass produced seals as early as the 2nd-century B.C., long before sign and signified became a central theme in critical writing.
Condensed_47.2x47.2 inches_Mixed media(Korean Stamps) on Canvas_2011
His earlier works from 2010 consist of various scales of stamps that are arranged in a tight consistency, creating natural curves and depth that allude to the undulating slopes and hills seen across an open landscape. Jeong Seok Do describes the subject of these pieces as an empty bowl: “The metaphor of a bowl is a common way of thinking about the process of cognition and linguistics.” This combination of texture and written characters, moreover, makes for a compelling illusion - a layered dialogue that is far from ambiguous. Appearing as hieroglyphics, the different height of these stamps renders a texture that twists and turns within a rectangular framework while reflecting either anonymous or forgotten identities. In the current age of overpopulation, the multiple challenges the unique qualities of singularity, making it harder for an independent vision to stand both alone and distinct from the rest of digitized visual culture.
Condensed_51.2x19 inches_Mixed media(Korean Stamps) on Canvas_2010
Lee GanU was born in 1969 in Gwacheon, South Korea. Having grown up near the city center of Seoul, GanU has lived near a cultural intersection of the world. While studying art at Kwandong University, the artist majored in Western Painting and subsequently had seven shows. Although this may appear to compromise Korean artistic tradition by playing into the West’s conspicuous desire for the exotic, Lee GanU utilizes the visual tradition of the West in order to communicate Korean aesthetics toward a Western audience without idolizing any of his chosen, found content. An argument could easily be made in favor of the artist’s chosen aesthetic approach due to the fact that he does not distort, glamorize or devalue the issue at hand. In addition, the artist does not seek to put these objects back into a Warholian circuit of meaningless mass-production. Rather, each mixed-media painting commemorates a dead technology, in this case the hand stamp, and therefore leaves the authentic, rustic nature of these found objects intact.
Condensed_64.2x51 inches_Mixed media(Korean Stamps) on Canvas_2010
By re-using countless seal stamps for purposes of fine art, without losing much of the original meaning that is seen on each object, Lee GanU’s choice to re-materialize the hand-made reveals that even though particular ways of life are replaced with others, the found object will endure. Regardless of country or culture, the demand for convenience will always juxtapose the staying power of particular customs. It is currently unknown what trace of any global society will look like in the future now that the preservation of documentation is mostly digital. Lee GanU focuses on the historic displacement of the cultural seal-stamp wrought by computer technology. His work has been featured internationally, in art fairs throughout the world, in cities such as Seoul, Peking, New York and Paris. This exhibition of Condensed at Able Fine Art NY Gallery marks Lee GanU’s debut in America.
Jill Conner, An art critic
July, 2
삶의 의미로서 도장-기억과 시간의 은유 中 발췌
정석도 (성균관대 동양철학박사, 북경대학 미학 연구교수
)
이관우의 작업은 도장으로 대표된다. 그의 작업에서 도장은 현대 미술사에 정착된 용어로서 오브제의 범주를 넘어 서 있다. 회화의 조형요소로 탈바꿈된 일상적 사물은 본래의 의미(용도)를 벗어나 자유롭게 재해석된 채로 화면에 배치된다. 반면 이관우의 도장작업에서 개개의 도장은 사물로서의 의미를 벗어난 것이라기보다 본래의 의미를 더욱 부각시키는데서 회화성을 획득하고 있다. 도장의 의미란 무엇인가? 일상적 사물로서의 도장의 의미가 화면에서 더욱 부각되었다는 것은 무슨 뜻인가? 여기에 대한 대답은 도장에서 가장 중요한 요소인 이름에서 찾을 수 있다. 이름이 새겨진 도장은 한 사람의 정체성을 암시한다. 개인의 정체성은 외적으로는 이름으로 대변된다. 또한 내적으로는 기억에 의존하고 있다. 한 사람이 변함없이 그이로 알려지는 것은 우선 이름이 동일한데서 알 수 있고, 이어 내가 나를 동일한 사람으로 기억하기 때문이다....... 이 기억은 보다 넓게 보면 시간의 문제로 소급될 것이다. 기억한다고 하는 의식적 행위는 과거를 현재에 되살리는 것을 뜻한다. 때문에 기억은 시간이라는 토대 위에서 재현될 수 있는 사건이다. 따라서 총괄적으로 볼 때 도장은 시간의 은유이다. 눈에 보이지 않는 시간을 단단한 사물에 새겨 넣어 물질화(공간화)한 것이므로. 그렇다면 고착된 시간은 어떤 시간인가? 혹은 무슨-누구의 시간인가? 여기서 다시금 도장에 새겨진 이름을 떠올림으로써 도장이 가진 본래적 의미를 되새길 수 있다. 도장은 추상적인 시간 일반을 은유하는 것이 아니라 구체적인 한 개인의 삶의 시간을 함축하는 것으로 삶의 시간에 대한 은유인 것이다. ......
이관우의 작업에 등장하는 도장은 이처럼 내던져진 존재로서의 인간들, 그 삶의 (시간의)의미들이 함축되어 있다. 거기엔 지금 살아 있는 사람의 이름, 세상에 내던져지기 이전으로 되돌아간 사람의 기억, 황제의 시간 등등 수많은 삶의 형태와 그 의미들이 복제된 채로 어우러져 있다. 과거와 현재가 공존하고, 사회적 계급의 고하를 막론하고 사람의 삶, 그 시간의 흐름에 주목하면서 전체적으로 ‘사람사이’, 즉 인간과 인간이 만든 사회를 반영하고 있다. 이와 같은 의미의 해석은 도장이 가진 은유적이고 상징적인 의미로 인해 가능한 것이다. 그렇다면 이관우의 작업이 단지 의미 있는 사물을 재발견하고, 그 의미를 부각시키는 것에서만 의미를 가지는가? 완성된 작품 이전에 그것의 과정을 눈여겨 볼 필요가 있다. 그 이유는 작가가 작업하는 방식을 보고 있자면 전통적인 농작업 방식이 연상되기 때문이다. 작가가 물감 대신 도장을 사용해서 조형하는 것을 보면 마치 농부가 메마른 땅을 일구는 것처럼 느껴진다. 농부가 메마른 땅을 일구어 내듯, 그의 작업행위는 밭갈이나 논갈이에 해당된다. 그것도 기계화된 영농이 아닌, 예전 우리 할아버지들이 하던 방식대로 소와 쟁기를 이용해 논밭을 갈거나, 호미나 쇠스랑으로 일구던 방식대로 일일이 손으로 일궈나가는 방식 말이다. 형태적으로도 이미 화면은 구획된 밭이나 논과 흡사하다. 사각형의 화면은 작가에게 있어서 특히 의미의 농토이다. 농부가 쉴 새 없이 땅을 일구고 작물을 파종-수확하듯 작가는 셀 수 없이 많은 손놀림을 통해 빈 화면을 삶의 의미가 각인된 도장으로 채우면서 새로운 공간으로 일궈내고 있다. 그렇게 일궈진 공간은 거울과 같이 살아 숨쉬는 현실의 인간을 되비춰 주고 있다.
이관우의 최근 작업을 보면...... 고정된 도장의 의미를 확대해서 새로운 의미를 생산하고자 하는 작가의 마음을 읽게 된다. ...... 한 사람의 이름으로서의 문자가 가진 삶의 의미 및 시간적 의미와 인간의 문화적 기억이 공존하는 양상을 보이는 것이다. 그로써 보다 확대된 삶의 의미, 즉 개인의 삶과 역사적 삶-문화적 삶의 의미, 그 관계성이 사유되고 있다.
The meaning of life on carved the seal- Metaphor of memory and time.
-About artist Lee, Kwan Woo’s recent works-
: Written by Jeong, Seok Do (Oriental philosophy and Art critic)
The seal is representative of Lee, Kwan Woo’s art works. The seal is beyond the boundary of the object as a fixed term of the contemporary art through this artist’s works. The daily thing transformed into formative element that is arranged in his art works through the restoration of the pictorial surface out of the primary meaning of the thing(use). While the particular seals obtain the pictorial meaning with showed its true selves in the Lee, Kwan Woo’s art works. What does mean of the seal? What does it mean by that showed the seal of meaning as the daily thing in the surface of his artworks? The answer for these question find for the name is the most important thing of the seal. The seal with carving name suggests one’s identification. To external, a persons identity is spoken for the name. Also to internal, it is relying on the memory. For one thing a person becomes know to a same because under the same name, for another reason for I remember me the same person ...... By more widely on the point, the memory goes a question of time. If a conscious action as memorize, it means that is recall of past in the current. Thats why the memory is an event can be a re-creation on the foundation as the time. In the gross, the seal is a metaphor of the time. It is quite sure why that is made up a materialization by carved on hard material from invisible time. Then, which time is the fixed time? Or Is the time what’s-whose? At this time, it is possible for recall the primary meaning of the seal as remind the name carving that. The seal is not metaphor of the abstract time, is the metaphor of the time for life because involving with a one’s specific life time.
...... The seals include of the man who thrown existing and the meaning of one’s life time in a Lee Kwan Woo’s artworks. There contain that one’s name of living at this time, memory of back to the past before thrown in the world, and the Imperial Age with a large number of life style and replication the meanings. It is an accurate reflection of the human life for the general ‘between people’ as human-made society in which coexist with past and present, irrespective of social rank. This interpreted the meaningwere made possible by the symbolic and figurative character of seal. If so, is it the only reason the meaning of Lee, Kwan Woo’s artworks that usually thing’s rediscovery and rediscovering its meaning? We need to, require further examination the process carefully before completed works. The reason makes we think of the traditional methods of agriculture when we watch his works. It gives the feeling as a farmer used in farming to dry earth when watched the artist uses seal instead of paint. Like the farmer, his act of working is equal to plowing of a field. It is unlikely to mechanized agriculture as way by hand the traditional farming of our ancestors, using the ox with the plow or hoe with scraper for farming. The surface looks like the form of planned field. A square surface is one of farmland with special meanings to him. Like the farmer kept up a continual farming and produced a crop, the artist fill the empty space with the meaning of life on carved seal with numerous hands. So, it is created pictorial surface which reflecting the realities of human life as a living like a mirror.
Lee, Kwan Woo’s recent artworks ...... We can read the artist’s intention there to produces new sequences with different meanings by magnifies the fixed meaning of the seal....... The letter for one’s name has symbol of the life, meaning of the time and the culturalmemory which are coexistence in this artworks because it’s inner side consist of pictorial seals of divided bowl shape and have letter seals background like a ridge in a dry field. And it has a thought that relationship which of magnified meaning of life as personal and history and culture.
Youngwook, Choi
Young Wook, Choi [Profile]
2001 MAF Hongik University Seoul Korea
1991 BFA Hongik University Seoul Korea
Solo Exihibitions 12 Times
2011Solo Exhibition (atelier aki in VERSACE HOME, Seoul,Korea)
2011 Solo Exhibition(gaga Gallery, Seoul, Korea)
2011 Yegam Gallery Art( New York )
2010 Solo Exhibition(gaga Gallery, Seoul, Korea)
2009 Solo Exhibition(Art gate Gallery, New York )
2007 Solo Exhibition(ANNEX Convention Center, Fukuoka, Japan)
2006 Solo Exhibition(ONO Gallery, Tokyo, Japan)
2004 Solo Exhibition(Seoul Art Gallery, Seoul, Korea)
2003 Solo Exhibition(Noam Gallery, Seoul, Korea)
2000 Solo Exhibition(Alternative Space, Seoul, Korea)
1996 Solo Exhibition(Kim Nae Hyun Gallery,Seoul, Korea)
1992 Solo Exhibition(Gain Gallery, Seoul, Korea)
Art Fairs
2011 Singapole Affoderble Art Fair(Singapole)
2011 KIAF(Coex,Seoul)
2011 Scope Art show(New York)
2011 Red Dot Art Fair(New York)
2011 AsiaTop Gallery Hotel Art Fair(Honkong/Seoul)
2011 Seoul Open Art Fair(Seoul Korea)
2010 L A art fair
2010 Scope Miami
Collections
Bill Gates Foundation
Philedelphia Museum of Art
GAGA Gallery(Seoul)
Baekwoon Gallery(Seoul)
L`oreal Korea(Seoul)
LG ,U Plus(Seoul, Korea)
Komferry Asia(Seoul)
Korea Herald(Seoul)
NUVICO (NJ,USA).etc..
Kyunglim Lee
Kyunglim, Lee
1968 Born in Seoul1990 B.F.A. in Oriental Painting College of Fine Art, Seoul National University
SOLO EXHIBITIONS
2004 1st Solo Exhibition "Gifts from daily life"(UM Gallery)2005 Art-Seoul Exhibition “Here and Now” (Seoul Arts Center)2008 Yool Gallery,Gallery the Space,Danwon Arts Competition (Dawon Pavillion)2009 Our Town-Space Movin,Gallery SSun, Lee House gallery2010 Gallery the K, Ah-San gallery, Palais de seoul, Etc.
Art Fairs
2005 LA Art Fair
2007 07 MANIF (Seoul Art Center)
2011 Sofa(Coex ) 2011 Art Daegu(exco),Etc.
2011 Seoul Art Fair(Coex, Hotel)
2011 Art.Fair (Staatenhaus am Rheinpark Köln)
2011 Singapole Affoderble Art Fair(Singapole)
GROUP EXHIBITIONS
2010 On the Otherside of The Globe(London,Britannia centre)
“JaJooHean” Exhibition (Tokyo, Japan)
Seoul,New York exchange Exhibition (Hun Gallery,Gallery Ho Gallery Ho Auction (Gallery Ho), Etc.
이경림, 심겨진 곳에 꽃을 피우리라2011.09.14 15:30 입력
글 서성록(안동대 미술학과 교수)
예술은 끓어오르는 주전자처럼 우리 안에서 넘치는 뭔가에 대해 말하고 노래하고 보여주는 어떤 것이라고 한다.(Luci Shaw) 예술을 한다는 것은 곧 ‘존재 안에 빛나는 그 무엇’을 드러내는 행위다.
이경림이 자신의 예술적 충동과 내적 열정을 쏟아낸다는 점은 다른 화가와 비슷하다. 하지만 그에게는 그 이상의 무엇이 있는 것같다. 작가는 우리가 전에 품어본 적이 없는 정서와 만나게 해준다. 세상의 필요를 채우는 것이 아니라 반대로 새로운 갈증을 일으켜 필요를 유발한다. 그 유발하는 갈증은 우리 자신을 돌아보게 하고 삶의 중요한 부분을 환기시킨다.
그의 작품은 골판지의 결합으로 이뤄진다. 골판지는 생활 주변에서 흔히 만날 수 있어 작품으로 등장하는 것에 별로 이질감을 느끼지 못한다. 재료의 한계를 허들 넘듯이 거뜬히 극복하고 있다. 더욱이 종이 특유의 소프트한 성질로 인해 보는 사람에게 편한 감정을 준다. 화면은 크고 작은 골판지 조각들이 이웃하고 있다. 대충 얼개지은 것같지만 서로 각을 맞추고 빈틈없이 꼼꼼하게 연결되어 있다. 거기에 작가는 색채와 무늬, 이미지들을 새겨넣는다. 어떤 것은 스트라이프 모양, 도트모양, 글자, 드로잉, 색칠하기 등으로 공간을 덮어간다. 각 부분이 모여 전체를 이루고 전체는 부분을 조화롭게 이끌어간다.
그의 작품에 빠지지 않고 등장하는 것이 있다. 바닷가의 조개껍질, 소라껍질, 나뭇가지, 길가에서 주어온 들꽃, 도토리 등이다. 이런 자연물들은 그의 작업에 특별한 의미를 갖는다. 그것들은 신비한 생명의 질서를 간직한 자연물들이다. 가령 조개껍질은 조그만 형태에서 시간의 경과에 따라 나선형으로 점차 커진다. 여기에는 이른바 ‘피보나치의 수열’ 원리가 작용한다. 조개껍질은 황금분할의 비를 정확히 유지하면서 자라난다. 자연계에서 많은 생물의 구조가 이 원리를 따른다는 것은 잘 알려진 사실이다.
작가가 ‘피보나치 수열’의 원리를 증명하려고 이 작품을 한 것은 물론 아니다. 작가는 어느 작은 생명체라도 소중한 존재이며 특별한 존재의미를 지니고 있음을 환기시킨다. 사실 조개껍질을 보고서 생명의 신비를 발견하는 사람은 많지 않을지 모른다. 그러나 그것이 황금분할의 원리가 숨어 있다는 것을 알면 놀라지 않을 수 없을 것이다. 작고 소소한 것에 보내는 갈채에서 작가의 번뜩이는 통찰력을 감지할 수 있다.
그의 그림은 메타포로 가득 차 있다. 일반 풍경을 사생한 것이 아니라 해독되기만을 기다리는 메시지가 들어찬 그림에 가깝다. 그가 사는 동네를 소재로 한 그림을 보면 화면 중심에 길이 뻗어있고 그 주변으로 건물이 들어서 있다. 언뜻 보면 평범한 마을풍경을 옮긴 것같다. 그러나 사실은 그가 ‘꿈꾸는 마을’에 가깝다. 뒷산에는 무지개가 떠있고 하늘에는 별빛이 총총하다. 이런 별빛은, W. 워즈워드(William Wordsworth)의 시에 나오는 “하늘의 별처럼 들의 꽃처럼 인간에게는 양심이 있다”는 구절에 착안한 것이다. 작가는 하늘의 별처럼 들의 꽃처럼 참다운 삶이 있고 아름다움이 있는 풍경, 우리 모두가 희구하는 곳을 제시한다. 길바닥에 흩어진 꽃잎도 사실은 죽어 메마른 땅이 아니라 생명과 기쁨으로 충만한 삶을 이야기하고 있다. 집 주변의 나무는 어떤가. 평범한 나무가 아니라 영롱한 빛을 내는 신비스런 나무다. 거기에도 별빛이 비춘다. 하지만 그 나무는 외부에서 빛을 받은 것이 아니라 스스로 빛을 낸다. 그 빛으로 어두운 주위를 비춘다. 축복을 퍼뜨리는 광원에 가깝다. 이렇게 그의 그림은 마치 동화에 나오는 마을처럼 웃음꽃이 피어나는 곳으로 묘사된다.
그 외 작품 역시 사람들에 대한 이야기로 구성되어 있다. 그가 바라는 인간상과 자신의 삶을 형상화하고 있다. 그러한 인간상과 삶은 모두 내적인 통찰로 바라본 것들로서 인간존재의 시각이 담겨져 있다.
는 열매맺는 나무를 만든 작품이다. 잎사귀가 무성한 나무가 있는가 하면 잎사귀는 없고 앙상한 가지만 남아 있는 작품이다. 이것은 포지티브한 삶과 네거티브한 삶을 표상한 것이라고 한다. 잎사귀가 무성한 것은 곧 열매맺는 삶이고 그렇지 못한 것은 그루터기만 남은 나무를 일컫는다. 이 작품은 삶에 대한 지혜를 담은 일종의 잠언이다.
는 한 그루의 나무가 중심에 서 있고 주위는 어둠에 에워싸여 있는 작품이다. 주위는 여러 골판지 조각으로 나누어져 있으며 중앙의 나무를 압박하는 것같은 구도이다. 작가는 우리의 시선을 한 그루의 나무에게 집중시킨다. 빛을 받으며 서 있는 나무는 축복의 팡파르를 받는 인간을 암시한다. 여기서 빛은 곧 생명의 빛, 진리의 빛, 사랑의 빛을 말한다. 혼란스런 세상속에 살지만 그리스도의 오심을 소망하며 살고 있는 자신을 나타낸 작품이다. ,<음악>,,<휴(休)>도 비슷한 내용이다. 는 기도하는 사람을, <음악>은 기타를 치며 예배하는 사람을, 는 새집에서 벗어나 언약의 땅을 찾아 떠나는 새를, <휴(休)>는 나무의 그늘아래서 편히 쉬는 사람을 각각 표현하고 있다.
St. 어거스틴이 지적했듯이 사람은 ‘결핍의 존재’이므로 만족이 있을 수 없다. 그의 목마름은 지위나 물질이나 지식으로는 채워지지 않는다. 어쩌면 예술로도 채워지지 않는 것인지도 모른다. 작가는 인간안에 도사리고 있는 ‘결핍’을 ‘천상적 충만’으로 바꾼다. 소망에 ‘영혼의 닻’을 내리고 ‘별로 가는 여행’을 시작한다. 하늘에서 번개가 내리치면 곧이어 천둥이 화답하듯이 작가가 받은 축복을 감사로 화답한다. 주어진 것에 대한 진실한 감사의 기쁨은 인색해지려는 충동보다 질길 뿐만 아니라 강하다. 그의 그림의 원동력은 여기에서 나온다.
이경림
1990 서울대학교 미술대학 동양화과 졸업
2004~2011 개인전 17회
(UM갤러리,예술의 전당-05.06아트 서울전,07마니프국제
아트페어,갤러리 라메르,갤러리더스페이스,단원선정작
가전,스페이스 모빈,갤러리 썬,리하우스갤러리,갤러리더케이,아산갤러리,
10마니프국제아트페어,팔레드서울)
1990~2011단체전60여회
(새로운 형상과 정신전 /자주현 전 입선 -일본,동경/
신미술대전 -디자인포장센터/LA ArtFair-GAIIERY3 /서
울대 60주년 기념전/Line Art Fair -벨기에/한미교류
전-훈갤러리/아트미션 -예술희락전-인사아트타/free oneself전-한전아트센터
,런던 브리테니아센터,뉴욕jm갤러리,tjh갤러리,SOAF전,아트대구)
Jaechun, Oh
Jaechun, Oh
Jae Cheon,Oh
․8 times Private Exhibition
․Chung-Ang University Graduate School of Arts Department of Plastic Arts
- Major in Western Painting
․Receiving of Repin Academy of Russia, Petersburg
․Digital Art(Major in Fine Arts)
․Choice, 9 times Winner of Korea Art Great Exhibition(84∼2006)
The National Museum of Modern Art
․Grand Prize of Nationwide Mudeung Art Great Exhibition 91
(Gwangju Museum of Art)
․The First Prize of World Art Exchange Association Art Competition Exhibition
- Western Arts section.
․New Millennium Art Great Exhibition - Awards of Chairman Awards
․New Works Exhibition 300 Display, National Circuit Exhibition
(Seoul, Daejeon, Daegu, Pusan, Gwanju, Mokpo.)
․Visit Art (Museum of Modern Art)
․Private View of Commemoration of Open Memorial, Daejeon Museum of Art
(300 Printer Display)
․Korea Modern Arts Exhibition (Korea Cultural Center in LA, USA)
․MIAF 2007 Mokwoo National Art Fair(Arts Center Museum)
․BIAF 2008 Pusan National Art Fair(BEXCO)
․BGAF 2009 Beijing Art Fair(북경관음당 Art Fair)
․BIAF 2009 The Special Exhibition of Pusan National Art fair
(Pusan Cultural Center, BEXCO)
Review : Art Great Exhibition of Competition Mokwoohoe,
Gyeonggi Art Great Exhibition, Korea Disabled Art Great Exhibition,
Nationwide Nude Art Great Exhibition,
Unity Art Great Competition, Namnong Art Great Exhibition.
Competition of Concrete Arts Exhibition Art Great Exhibition,
Na Hye Seok Art Great Exhibition, Peace Art Great Exhibition
Gyeonghyang Art Great Exhibition,
Surved as Steering Committee and Judge.
Present : Korean Fine Arts Association, Member of Mokwoohoe.
Secretary of New Works Exhibition,
Lecturer of Western Arts - Wolsan Art Center
2011 Singapole Affoderble Art Fair(Singapole)
JUNGHWA, NAMGOONG
BREEZE10P(53.0X40.9)acrylic on canvas.2011
Hope 65.1x45.5 acrylic on canvas 2011
ABYSS 90.0X40.0 27.3x40.9(cm) acrylic on canvas 2011
JUNGHWA NAMGOONG
1986. B.F.A, M.F.A. in Ehwa womans University
Korea National Art Exhibition (special prize)
Busan Art Exhibition (special prize )
93. Busan Art Festival (culture center)
93/94. Busan Printmakers Association Exhibition (gallery Nubo/sungha gallry)
98. Inking Exhibition (Picasso gallery)
99. Inking Exhibition (Kyoto Art gallery)
2000. Todays Print Exhibition 2000 (culture center)
01. Busan Print Art Festival (Busan City Hall)
02. International IMPACT ART Festival (23rd, international Art center of Kyoto)
02~04. Busan International Print Art festival (Busan City Hall)
04. Exhibition of Busan and Daugu Printmaker Association
04. Young Honam Art Exchange Exhibition
05. Korea Art Festival 2005. (Sejong Center)
05. PRINTS WAVE (Busan City Hall)
05. KOREA RUSSIA ART FAIR (Sejong Center/Russia Moscow Central House of Artist)
05. Busan International Print Art Festival (Busan City Hall)
06. PRINTS WAVE (Busan City Hall)
06. Busan International Print Art Festival (Busan City Hall)
06. Incheon-Busan cross wave of print exhibition (shinsaegae gallery)
07. PRINTS WAVE (Busan City Hall)
07. The 27th ARTEX SHANGHAI 2007 (Nancys Gallery)
08. Time & Memory (Busan City Hall)
09. The 6 city artist preview
09. The opening of Spo one park gallery artist preview
09. 2009 6th Ansan International Art Fair ( Ansan arts center)
09. MUL ART SHOW 2009 (Busan culture center )
09. Busan Printmakers Association Exhibition (Haeundae culture center)
2010. Star & Blue Artist Hotel Art Fair 2010 ( millennium seoul Hilton Hotel)
10. Namgoong junghwa 1Th private exhibition.( gallery Bom)
10. 2010 KOREA SELECTED ARTISTS EXHIBITION (The palace of Kyunghees branch)
10. ASIA TOP GALLERY HOTEL ARTFAIR SEOUL (THE SHILLA Hotel ,Seoul)
10. KOREA INTERNATIONAL ART FAIR (COEX in SEOUL)
10. Something To Say..... (gallery Bom)
10. ARTSINGAPORE 2010 (SUNTEC SINGAPORE. LEVEL 4)
10. 2010 Busan Print Art Festival (Hansol gallery)
10. OBLIVION . 2Th Solo Exhibition (gallery BOM)
11 Singapole Affoderble Art Fair(Singapole)
11 Art.Fair (Staatenhaus am Rheinpark Köln)
Collection
National museum of contemporary art, art bank. Korea.
Now ; member of Busan fine arts association
/ member of Busan Printmakers Association