Eleven Korean contemporary craftsmen will introduce work motivated by Korea’s customary culture at an exceptional presentation in Poland.
The Savina Museum of Contemporary Art presents “one inspiration ― The Very First Ideas from Korean Tradition and Culture” at the Royal Lazienki Museum in Warsaw, from Oct. 3 through Nov. 29 in participation with the Korea Foundation for International Culture Exchange’s Traveling Korean Arts program
This visiting show appeared in 2018 at the Korean Cultural Center in Tokyo and the Shirota Gallery, and went a year ago to the Korean Cultural Center Canada and Gallery 101 in Ottawa, Canada. The 2020 show is an aspect of the Month of Korean Culture program worked by the Korean Cultural Center in Poland during October.
“We imagined the presentation as a technique for the worldwide advancement of Korean culture, globalizing the feel of Korean custom and at the same time keeping up the personality of Korean workmanship. As it were, this show can be seen from the viewpoint of the development of culture grasping both the nearby forte and worldwide comprehensiveness of Korean craftsmanship,” said Lee Myung-alright, head of the historical center.
The show presents the style of Korean conventional craftsmanship deciphered by the remarkable visual dialects of the 11 craftsmen.
Kim Seung-youthful’s figure “Pity” is roused by Korea’s National Treasure No. 83, the Pensive Bodhisattva sculpture. He changed the meditative posture into a stance of cleaning ceaselessly tears, underlining the bodhisattva’s human side bearing the heaviness of life. Another work by Kim, “Brain,” depicts ever-changing human feelings through the outside of water in enormous and little chambers.
Kim Sung-bok approaches “dokkaebi,” a fanciful animal regularly contrasted with trolls, in a lively way. “Dokkaebi give off an impression of being sufficiently inviting to play with individuals as opposed to upsetting them… I am keen on communicating trust in our regular daily existences through model,” the craftsman said.
“Dreams of Dokkaebi,” is a progression of wooden figures dependent on the fantasies of individuals everything being equal. “Dream Spoon” is the craftsman’s response to the spoon class hypothesis isolating individuals brought into the world with a gold spoon or soil spoon in their mouth, corresponding to the dokkaebi club, which is accepted to bring riches.
Yoo Hyun-mi utilizes simple and conventional procedures, however her works include a wide scope of masterful exercises from painting and model to photography and video. She makes etched and painted items as a scenery and takes pictures and recordings, bringing about a strange state of mind.
Her arrangement “The Ten Traditional Symbols of Longevity” features Koreans’ longstanding philosophical conventions of nature love, for example, deer. “Good Luck ― The Ten Traditional Symbols of Longevity and Books No.1” joins the conventional “Chaekgado” (researcher’s accessories) painting with life span images, subbing them with current things, for example, filtered water and a paper crane.
Kim Bum-su presents a progression of movies named “Shrouded Emotion,” roused by Korean customary interwoven “jogakbo” and shading designs “dancheong,” while Kim Chang-kyum’s “Water Shadow and Flower 3” ventures pictures of common view and Korean conventional themes on a white plate, obscuring the limit among dream and reality.
Lee Gil-rae’s pine tree models resound with the well known subject of Korean workmanship. He made a metal pine tree by associating oval copper pipe rings, stressing the harsh surface of the trees.
Media craftsman Lee-nam’s “New Geumgang jeondo” is a cutting edge translation of Joseon craftsman Jeong Seon’s “Geumgang jeondo.” In Lee’s creation, the scene painting becomes animated, changing once in a while, in contrast to the static unique artwork. Lee additionally digitized famous compositions including “Mongyudowondo” by A Gyeon and “Mukjukdo” by Kim Hong-do.
Nam Kyung-min resuscitates the studios of Joseon-period craftsmen Jeong Seon and Shin Yun-bok in her dreamlike style, while Sung Dong-hun’s models include representative and strict items past existence.
Kang Un, known for his “Cloud” arrangement, tries different things with Korean conventional mulberry paper “hanji.” He portrays mists by superimposing bits of hanji on canvas, boosting the paper’s solidness and non-abrasiveness.
Yang Dae-won’s “Munjado,” converted into pictorial ideographs, is a consequence of the craftsman finding unique feel looking like consonants and vowels of “Hangeul,” or the Korean letter set.