- 2024 -
From February 2 to March 17
์ต๋ช ์, acrylic on canvas, 181.8ร227.3cm, 2009
Conditional Planes 09-15์ต๋ช ์, acrylic on canvas, 181.8ร227.3cm, 2009
์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2017
Conditional Planes 1780์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2017
์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2018
Conditional Planes 1831์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2018
์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2018
Conditional Planes 1851์ต๋ช ์, acrylic on canvas, 162.2ร227.3cm, 2018
์ฌ๋ฌธ์ญ, Acrylic on canvas, 91 x 91 cm, 2019
The Presentation์ฌ๋ฌธ์ญ, Acrylic on canvas, 91 x 91 cm, 2019
์ฌ๋ฌธ์ญ, Acrylic on canvas, 91 x 91 cm, 2019
The Presentation์ฌ๋ฌธ์ญ, Acrylic on canvas, 91 x 91 cm, 2019
์ฌ๋ฌธ์ญ, Acrylic on canvas, 112 x 162 cm, 2019
The Presentation์ฌ๋ฌธ์ญ, Acrylic on canvas, 112 x 162 cm, 2019
์ฌ๋ฌธ์ญ, Acrylic on canvas, 160 x 300 cm, 2019
The Presentation์ฌ๋ฌธ์ญ, Acrylic on canvas, 160 x 300 cm, 2019
๊น์ถ์, 130.3x89.4cm, oil on canvas, 2020
ULTRA-MARINE 2004๊น์ถ์, 130.3x89.4cm, oil on canvas, 2020
๊น์ถ์, 152.4x152.4cm, oil on canvas, 2023
ULTRA-MARINE 2316๊น์ถ์, 152.4x152.4cm, oil on canvas, 2023
๊น์ถ์, 72.7x60.6cm each, oil on canvas, 202
ULTRA-MARINE 2376, 2389, 2390, 2377๊น์ถ์, 72.7x60.6cm each, oil on canvas, 202
๊น์ถ์ 72.7x60.6cm, oil on canvas, 2023
ULTRA-MARINE 2376๊น์ถ์ 72.7x60.6cm, oil on canvas, 2023
์ฅ์นํ, 145x112cm, acrylic on Canvas, 2023
Layered Painting 80-16์ฅ์นํ, 145x112cm, acrylic on Canvas, 2023
์ฅ์นํ, 160x130cm, acrylic on Canvas, 2023
Layered Painting 100-92์ฅ์นํ, 160x130cm, acrylic on Canvas, 2023
์ฅ์นํ, 160x130cm, acrylic on Canvas, 2023
Layered Painting 100-98์ฅ์นํ, 160x130cm, acrylic on Canvas, 2023
์ฅ์นํ, 200x150cm, acrylic on Canvas, 2023
Layered Painting 130-41์ฅ์นํ, 200x150cm, acrylic on Canvas, 2023
2024. 02. 02 - 03. 17
์ํธ์คํ์ด์ค ํธํ๋ 2์ 2์ผ๋ถํฐ 3์17์ผ๊น์ง ํ๊ตญ ํ๋ ์ถ์๋ฏธ์ ์ ๊ถค์ ์ ์ด๋์ด์จ ์จ 4์ธ์ ์๊ฐ ์ต๋ช ์, ์ฌ๋ฌธ์ญ, ๊น์ถ์, ์ฅ์นํ๊ณผ ํจ๊ป ใ์๋๊ณต๋ช ใ์ ๊ฐ์ตํ๋ค. ์ด๋ฒ ์ ์๋ ๊ฐ ์๊ฐ์ ์์ ์ฃผ์ , ๋ฏธํ์ ์์ดํ๋, ๊ทธ๋ค์ ์ํ์ ํ ๋ฐ ์กฐ๋งํ์ฌ ํ๊ตญ ํ๋๋ฏธ์ ์ฌ์ ์ฃผ์ํ ๊ฒฝํฅ์ธ ๋จ์์กฐ ํํ๋ถํฐ ์ด์ ์ํฅ์ ๋ฐ์ ํ๊ตญ ์ถ์๋ฏธ์ ์ ์ ์ฒด์ฑ๊ณผ ํ๋ฆ์ ๋์ง์ด๋ณด๊ณ , ์๋๋ฅผ ๊ดํตํ๋ 4์ธ์ ์ํ์์ ๊ณตํต์ ์ผ๋ก ๋๋ฌ๋๋ ์๊ฐ์ ์ค์ฒฉ, ํ์์ ๋ฐ๋ณต๊ณผ ๊ฒน๊ฒน์ด ์์ ์ฌ๋ฆฐ ์ธต์๋ฅผ ํตํด ๋ด์๋ธ ๊น์ ๊ณต๋ช ์ ์ ์ฌํ๊ณ ์ ํ๋ค.
๋จ์์กฐ ํํ๋ ํ๊ตญ ๊ณ ์ ์ ๋ฏธ์ ์ ์์ ์ ์ ์ฑ์ ํ์ํ์ฌ, ๋ฐฑ์, ํ์, ๋ฌด์ฑ์ ๋ฑ ํน์ ํ ์์ ์ค์ฌ์ผ๋ก ๋ํ๋ ๋ํ์ ์ธ ์์์ด์ ํ๊ตญ ํ๋ ๋ฏธ์ ์ง๋จ์ ํ์์ด๋ค. ์ด ๊ฒฝํฅ์ ํ๋์ ๋ ์ฐฝ์ ์ฅ๋ฅด์ด๋ฉฐ ์ด๋์ด์์ผ๋, ๊ทธ ์์ ๋ค์ํ ์์์ด ์กด์ฌํ๋ค. ์๋ก, ์ต๋ช ์๊ณผ ๊ฐ์ด ๊ทธ๋ฆฌ๋ ์์ฒด์ ํํ์ฑ์ ์ง์ฐ๋ ํ์์ด๋ ํ์์ ๊ฒฐ๊ณผ๋ฌผ์ ์ง์ง์ฒด์ ์ผ์ฒดํ ์ํค๋ ์ฌ๋ฌธ์ญ๊ณผ ๊ฐ์ ๊ฒฝํฅ ๋ฑ์ผ๋ก ๋ถ๋ฆฌ๋๋ค. ์ด๋ ๊ฒ ์ด๊ธฐ๋ฅผ ์ด๋์๋ ์ธ๋๋ฅผ ์ด์ด ์ด๋ฅผ ๋ฐํ์ผ๋ก ํ๊ธฐ ์๊ฐ๋ค์ ์์ ์ ํ๊ตญ ์ถ์๋ฏธ์ ์ ์๋ก์ด ๋ณ์ฃผ๋ฅผ ๋ชจ์ํ๋ฉฐ ํ๊ตญ ๋ฏธ์ ์ ์ ์ฒด์ฑ์ ๋ฐ์ ์์ผ ๊ทธ ๊ณ๋ณด๋ฅผ ์ด์ด ๋๊ฐ๊ณ ์๋ค.
์ ์์ ์๋๋ฅผ ์ฌ๋ ์ต๋ช ์(1941-)์ ๋จ์์กฐ ํํ๋ฅผ 1์ธ๋๋ฅผ ๋ํํ๋ ์๊ฐ๋ก, ํ๊ตญ ๊ทผ·ํ๋ ๋ฏธ์ ์ฌ์์ ์ค์ํ ๋ฏธ์ ๋จ์ฒด์ธ ์ค๋ฆฌ์ง(Origin)๊ณผ ์๋ฐฉ๊ฐ๋ฅด๋ํํ(AG)์ ์ฐฝ๋ฆฝ๋ฉค๋ฒ๋ก ํ์ฝํ๋ฉฐ ํ๊ตญ ํ๋จ์ ํ๋ฆ์ ์ด๋์๋ค. ๊ทธ๋ ์ค๋์ ๋ถํฐ ํ๋ฉด์ ํ๊ณ์ ํํ์ ์ค์กด์ ๋ํด ํ๊ตฌํด์๋ค. 1970๋ ๋ ์ดํ๋ถํฐ ์ง์ํด์ค๊ณ ์๋ ‘ํ๋ฉด์กฐ๊ฑด(ๅนณ้ขๆขไปถ)’ ์ฐ์์ ํ๋ฉด์์ ํ์ฅ๊ณผ ํ์์ ๊ฐ๋ ๊ณผ ์์ ์ ํต์ฐฐ์ ๋ด์ ์ ํ๊ณผ ๋ฌดํ์ ๊ณต๊ฐ์ ๋ด์ฌํํ๋ค. ์บ๋ฒ์ค๋ฅผ ๋ฐํ์ผ๋ก ํฉ์, ๊ฒ์ ์, ํฐ์ ๋ฑ์ ๋จ์์ ์ฌ๋ฆฌ๊ณ ์ง๋ฃ๋ฅผ ๊ท ๋ฑํ๋ฉด์๋ ํํํ๊ฒ ๋ฐ๋ณตํด ๋ํฌํ์ฌ ๋ธ๋ฌ์๋ฅผ ์ฌ์ฉํด ์ผ๋ จ์ ํ์ฒ๋ผ ๋ณด์ด๊ธฐ๋ ํ๋ฉฐ ์์ง๊ณผ ์ํ์ ์ ์ด ๊ต์ฐจํ๋ ์ํ์ ํ์์ ์ถ์ ์ผ๋ก ์ ์ ํ์ ๊ณต๊ฐ์ ๊ตฌ์ถํ๋ค.
์ฌ๋ฌธ์ญ(1943-)์ ํ๊ตญ ๋ชจ๋๋์ฆ์ ์กฐ๊ฐ์ ์ ๊ตฌ์๋ก AG ์ด๋์ ํจ๊ป ์ด๋์๋ค. 1970๋ ๋๋ถํฐ ๊ตญ์ ์ ์ผ๋ก ์ํ์ฑ์ ์กฐ๋ช ๋ฐ์ผ๋ฉฐ ์ ํต ์กฐ๊ฐ ๊ฐ๋ ์ ๋ฐํ๋ ๋ฐ(ๅ)์กฐ๊ฐ์ ์ฃผ์ฐฝํ๋ฉฐ ์ ์์ ์ธ ํ๋ณด๋ฅผ ์ด์ด์จ ๊ทธ๋ ์กฐ๊ฐ, ์ค์น, ์ฌ์ง, ํํ์ ์ด๋ฅด๊ธฐ๊น์ง ๋ค์ํ ๋งค์ฒด์ ์ฅ๋ฅด๋ฅผ ์์ฐ๋ฅด๋ฉฐ ๋ฌผ์ฑ๊ณผ ์๊ฐ์ฑ์ ๊ดํ ์์ ์ฃผ์ ์ ์ฒ์ฐฉํ๋ค. ํนํ, ์กฐ๊ฐ ์์ ์์ ํ, ๋, ์ฒ , ๋๋ฌด์ ๊ฐ์ ์์ฐ์ ๋ฟ๋ฆฌ๋ฅผ ๋ ์ฌ๋ฃ๋ค์ ์ฌ์ฉํด ์๊ฐ์ ์ธ์์ ์ธ ๊ฐ์ ์ ์ต์ํํ์ฌ, ์ธ๊ฐ๊ณผ ์์ฐ๊ฐ์ ์ํธ์์ฉ์ ์ถ๊ตฌํ๋ ํ๋๋ฅผ ์งํฅํด์๋ค. 2000๋ ๋ ์ดํ ๋ชฐ์ ์ค์ธ ์ถ์ํํ ์ฐ์ ‘์ ์(The Presentation)’์์๋ ์ผ๊ด๋ ํ๋๋ก ๋์์์ด ์๋ํ๋ ์์ฐ์ ๊ทผ๊ฐ์ผ๋ก ์์ ์ ์ง์ํด ์ค๊ณ ์๋ค. ์ ์ฑ๋ฌผ๊ฐ์ ๋ฐํ์ผ๋ก ์น ํ ํ ๊ทธ ์์ ์์ฑ ๋ฌผ๊ฐ์ ๋ฐ๋ณต์ ์ผ๋ก ๋ถ์งํ์ฌ ๋ฌผ์ฑ ๊ฐ์ ์ฐจ์ด๊ฐ ๊ทน๋ํ๋๋ค. ๋ฌดํํ ์์ฑ๊ณผ ์๋ฉธ์ ์ํํ๋ ๋ฐ๋ค์ ๋ชจ์ต์ ์ง์ ํด ์กฐ๊ฐ์ ์ฌ๊ณ ์ ํํ์ ํํ์ ์ตํฉ์ผ๋ก ๊ทธ์ ๋ ์ฐฝ์ ์กฐํ ์ธ๊ณ๋ฅผ ํ์ฅํ๋ค.
์ด์ด์ 1970๋ ๋ ๋จ์์กฐ ํํ์ ์ ์ ์ฑ์ ๋ฐ๋ฅด๋ฉด์๋ ์๋ก์ด ํด์๊ณผ ์์์ผ๋ก ๊ณ์นํ๋ ์๊ฐ๋ค์ ๋ง๋๋ณธ๋ค. ๊น์ถ์๋(1957-)๋ ‘ํํ๋ ๋ฌด์์ธ๊ฐ’๋ผ๋ ๊ทผ๋ณธ์ ์ธ ์ง๋ฌธ์์๋ถํฐ ์์ ์ ํํ ์ธ๊ณ๋ฅผ ํผ์ณ๋๊ฐ๋ค. ํธ๋ฅธ ๋น์ ๋จธ๊ธ์ ‘์ธํธ๋ผ-๋ง๋ฆฐ(Ultra-marine)’ ์ฐ์์ผ๋ก ์์ฐ์ ๋น์ ๋จธ๊ธ์ ์ฒญ์์ ๊ฒน๊ฒน์ด ์์ ํ๋ฉด์ ๊ฐ๋ ์ฑ์๋ด ๊ทธ ์๊ฐ๊ณผ ์ ์ฒด์ ํ์๋ฅผ ๊ณ ์ค๋ํ ๋ด์๋ธ๋ค. ๋ถ์ด๋ ๋์ดํ ๋ฑ ๋๊ตฌ๋ฅผ ์ผ์ฒด ์ฌ์ฉํ์ง ์๊ณ , ๋ฌผ๊ฐ์ ์ง์ ์๊ฐ๋ฝ์ ๋ฌปํ ๊ทธ๋ฆฌ๊ณ ์ง์๋๊ฐ๋ ๋ฐฉ์์์ ํ์ฑ๋ ๊ทธ์ ๋ฌ๋ฒ์ ์ ์ฒด์ ํ์๋ฅผ ํตํด ํ๋ฉด ์์์ ์์์ ์ธ๊ณ, ๊ทธ๋ฆผ์ ํ๋๋ก ๋ชจ์๋ค. ์ด๋ฌํ ์ํ์ ํ์๋ฅผ ๊ฑธ์ณ ์์ฑ๋ ์ํ์ ์๊ธฐ ์ด์์ ์ด๋ฉด์๋ ์์ฐ์ ํ์ฅ๊ณผ ๋ฆฌ๋ฌ์ ๋ด์ ๋ชธ์ ์ธ์ด๋ก ํผ์ด๋๋ค.
์ฅ์นํ(1959-)์ ์๊ฐ์ ๋น๊ณผ ์์ฑ๋ก ๋ฌผ์งํ์์ผ ๊ฒน์ ํํ๋ก ์ด์์ฑ์ ์์ ํ๋ค. ๊ทธ๋ ์ ํต์ ์ธ ํํ๊ฐ ์๋ ์์ด์คํ๋ ์ด, ๋ ์ง, ์ ๋ฆฌ๋ฑ ๋น์ ํต์ ์ธ ์ฌ๋ฃ๋ฅผ ํ์ฉํด ์คํ์ ์ธ ์๋ฉด ์ถ์ ํํ์์ ์ ์ ๊ฐํด์๋ค. 1M๊ฐ ๋๋ ๊ฑฐ๋ํ ํ๋ถ์ ์ผ์๋ก ๊ฑฐ์นจ์์ด ๋ด๋ ค๊ธ๊ณ , ๊ทธ ์์ ์ฌ๋ฌ ์์ ๋ฌด์ํ ์์๋ธ๋ค. ๋ถํฌ๋ช ํ ์๊ณผ ์ ์ด ์ฌ๋ฌ ๋ฒ ๊ฒน์ณ ์ค์ฌ๋ถ์ ๊น๊ณ ์ด๋์ด ์์ฑ์ ๋จ์ธต์ ๋ง๋ค์ด๋ด๊ณ , ์๋ฉด์ ๋ชจํธํ์ ์๊ณผ ์ ์ ํ์ ๋ค์ ๊ฒฝ๊ณ๊ฐ ๋ง๋ ์บ๋ฒ์ค๋ฅผ ๋์ด ์๋ก์ด ๊ณต๊ฐ๊ฐ์ ๋ง๋ค์ด๋ธ๋ค. ์๊ฐ์ ๋ฐ๋ณต์ ์ธ ์์ง์์ด ์ผ๊ถ๋ธ ๋ถ์ง์ ๊ถค์ ์ด ์์ฌ ์์ ์ฐ์ฐ์ฑ๊ณผ ์๊ฐ์ฑ์ ๊ธฐ๋กํ๊ณ , ๊ทธ์ ๋ด๋ฉด์ธ๊ณ์์ ๋น๋กฏ๋ ๊ฐ๊ฐ๊ณผ ์ ์ ์ ์ค์ฒด๋ฅผ ์์ฑ๋ก ๊ฐ๊ดํํ๋ค.
์ ์์ ์ฐธ์ฌํ๋ ์๊ฐ๋ค์๊ฒ ์ํ์์ ์ธํ์ ์ผ๋ก ๋ณด์ด๋ ๊ฒ๋ฟ๋ง ์๋๋ผ ์์ ๊ณผ์ ์ ํตํด ๋ณด์ด์ง ์๋ ๋ฐ๋ณต์ ํ์์ ์ค์ฒฉ๊ณผ ์๊ฐ์ ์ถ์ , ์ค์กด๊ณผ ๊ทธ ์ํ ๋๋จธ์ ํ๋ฅด๋ ์ฐฐ๋๋ฅผ ๊ฒฝํํ๊ฒ ํ๋ค. ํ๋ฉด ์์ ์ง๋์จ ์ค๋ ์ํ์ ๊ณผ์ ์ ๋จ๋จํ ์ธต์๋ก ์กด์ฌํ๋ฉฐ, ๊ทธ ์์์ ๋์์๋ ๋ณ์ฃผ๋ฅผ ํตํด ์๊ฐ์ ์์ฌ๋ฅผ ๊ตฌ์ถํ๋ค. ๋ณธ ์ ์๋ฅผ ํตํด ํ๊ตญ ์ถ์๋ฏธ์ ์ ๊ณผ๊ฑฐ, ํ์ฌ, ๊ทธ๋ฆฌ๊ณ ๋ฏธ๋์ ์๊ฐ์ ๊ดํตํ ์ ๊ธฐ์ ์ธ ํ๋ฆ์ ๋ฐ๊ฒฌํ๊ณ , ๋์๋ ์ถ์๋ฏธ์ ์ ์ด๋ฅด๊ธฐ๊น์ง์ ๋ณ์ฒ์ ๋๊ปด๋ณด๋ฉฐ ํํ์ ์ธ๋ฆผ๊ณผ ๋จ๋ฆผ์ ๊ฒฝํํ ์ ์๋ ๊ณ๊ธฐ๊ฐ ๋๊ธฐ๋ฅผ ๋ฐ๋๋ค.
Art Space Hohwa will hold “Resonance of the times” from February 2nd to March 17th, featuring four artists who have led the trajectory of Korean contemporary abstract art: Choi Myoung-young, Sim Moon-seup, Kim Tschoon-su, and Jang Seung-taik. While the themes and aesthetics of each participating artist vary, by viewing their works together, the exhibition aims to revisit the identity and flow of Korean abstract art influenced by monochrome painting, a major trend in Korean contemporary art history. Through the overlapping of time, the repetition of actions, and the layers built upon each other evident in the works of these four artists spanning generations, the exhibition seeks to present a profound resonance embedded within them that transcends eras.
Monochrome painting is a representative form of Korean contemporary art, symbolizing the indigenous aesthetic sensibility and spirituality. It revolves around specific colors such as white, black, and achromatic tones, embodying a collective phenomenon in Korean modern art. While this trend constitutes a unique genre and movement, it encompasses diverse forms. For instance, there are tendencies like Choi Myoung-young’s inclination to erase the expressiveness inherent in drawing itself, and Sim Moon-seup’s tendency to integrate the results of actions with the support medium. These tendencies distinguish themselves within this movement. Later artists, building upon the foundation laid by the pioneering generation, seek new variations in Korean abstract art and further develop the identity of Korean art, thereby continuing its lineage.
Opening the prelude to the exhibition, Choi Myoung-young (1941-), representing the first generation of monochrome artists, played a significant role in the flow of Korean contemporary and modern art history. As a founding member of important art groups in Korea such as Origin and Avant-Garde (AG), he led the direction of the Korean art scene. He has long been exploring the limits of the flat surface and the existential aspect of painting. His ongoing series since the 1970s, known as “Conditional Planes,” encapsulates concepts of expansion and reduction on the canvas, containing artistic insights into finite and infinite spaces. By applying monochromatic colors such as yellow, black, and white onto the canvas and evenly distributing the material while repetitively coating it, sometimes resembling a series of strokes with a brush, he constructs a spiritual space through the accumulation of performative acts where vertical and horizontal lines intersect.
Sim Moon-seup (1943-), a pioneer of sculpture in Korean modernism, co-led the AG movement. Since the 1970s, he has gained international recognition for his artistic talent and has been advocating for anti-sculpture, opposing traditional sculptural concepts. Continuing his avant-garde trajectory, he has explored various media and genres including sculpture, installation, photography, and painting, focusing on themes related to materiality and temporality. Particularly in his sculpture work, he has utilized natural materials such as clay, stone, iron, and wood, minimizing the artist’s intervention to emphasize the interaction between humans and nature. This attitude reflects his pursuit of harmony between humanity and nature. Notably, in his ongoing series of abstract paintings titled “The Presentation” since the 2000s, he consistently draws inspiration from the dynamic and ever-changing nature. After painting with oil colors as a base, the application of watercolor on top, repeated with brushing, maximizes the contrast between the properties. He integrates the cyclical nature of the infinite creation and destruction of the sea, expanding his unique formative world through the fusion of sculptural thinking and painterly expression.
Continuing, we encounter artists in the 1970s who inherit the spirituality of monochrome painting while offering new interpretations and forms. Kim Tschoon-su (1957-) unfolds his world of painting starting from the fundamental question, “What is painting?” In his series “Ultra-marine,” imbued with a blue hue, he layers the blue color of nature onto the canvas, filling it with the essence of light, capturing both time and physical actions. Without using any tools such as brushes or knives, he directly applies and wipes away paint with his fingers, forming his unique technique. Through this performative act, his completed works transcend the self and merge the body’s language with the rhythms and vibrations of nature, transcending the ego.
Jang Seung-taik (1959-) metaphorically transcends transcendence through layered painting, materializing time into light and color. He has been developing experimental color field abstract painting using unconventional materials such as air spray, resin, and glass. Using a giant flat brush over a meter long, he applies multiple layers of various colors onto the canvas. By layering opaque colors and lines multiple times, he creates a stratification of deep and dark hues at the center, while the boundaries of ambiguous colors and lines on the sides meet, extending beyond the canvas to create a new sense of space. The traces of brushstrokes formed by the artist’s repetitive movements record the randomness and temporality of color, objectifying the essence of sensation and spirit originating from his inner world into color.
The participating artists are invited to experience not only what is visually apparent in their works but also the overlapping of repetitive actions unseen through the process, the accumulation of time, existence, and the fleeting moments beyond their artworks. The long-performed processes on the canvas exist as solid layers, constantly building a visual narrative through endless variations. Through this exhibition, we hope viewers will discover the organic flow traversing the past, present, and future of Korean abstract art and experience the evolution leading to contemporary abstract art. May it serve as an opportunity to feel the resonance and excitement of painting.