From August 3 to October 25, Buk-Seoul Museum of Art (Buk-SeMA) will present Anthología: Ten Enchanting Spells. Ten artists are participating: Gijeong Goo, Hyewon Kwon, Seulki Ki, Sangjin Kim, Rho Eunjoo, Park Kyung Ryul, PARK, Seong Jun, Bahc Yiso, Byungkoo Jeon, Jaewon Che.
The exhibition, organized for the 10th anniversary of the Buk-SeMA, focuses on the formal and thematic essence of imagination. The exhibition views imagination as an infinite source of value creation and an extension of space and time and seeks to explore imagination through the structure of language. According to the preface, the works visually embody the linguistic structures, such as “resetting of conditions”, “questions as signs,” and “rhetorical strategy.” The exhibition begins with Gijeong Goo’s < Exceeded Scenes > (2021/2023), which reconstructs the surrounding landscape of soil, leaves, and moss with digital images and videos composited in a 3D space. This is followed by Bach Yiso’ < Your Bright Future > (2002), a series of lamps that illuminate the walls, and Seulki Ki’s chronological arrangement of poster which held since the opening of the Buk-SeMA, with most of the text information removed. A standout is < Under the Magnolia Tree > (2023), a video of the poet Jaewon Che’s eleven new poems written for the exhibition. The poems, which are shown in white letters on a black screen, function as a third space that, according to the description, adds to the richness of the exhibition.
The root word of the exhibition’s name, ‘anthología’, etymologically means “gathering of flowers”, and in this way, the exhibition aims to bring together and unfold the past, present, and future of the museum’s 10th anniversary.
From August 4 to October 3, Daecheong ho Museum of Art will hold the 2023 CMOA DAECHEONGHO COMPETITION EXHIBITION.
The ‘CMOA DAECHEONGHO COMPETITION’ is now in its eighth year. For the 2023 exhibition competition, exhibitions or works that address the site-specific nature of Daecheongho and contemporary issues of the natural environment were important criteria for selection. The three selected artists (teams), Euyoung Hong, Kimbak Hyunjeong x Son Yuhwa, and Rayeon Kim, will each present an exhibition of projects based on their respective themes.
Euyoung Hong has been utilizing the context of space through three-dimensional works such as installation and sculpture, and focusing on the transformation of urban space. In The Hydrology Project, the artist focuses on the circulating nature of water, which has no beginning or end, and observes the continuity of disparate relationships that occur in water. In Your Face Was Wet, Kimbak Hyunjeong and Son Yuhwa explore their respective mediums by focusing on the surface of water. Kimbak Hyunjeong uses waste fibers as a support to create photographic installations and videos of the Daecheong Lake and its surrounding ecological environment, while Son Yuhwa experiments with her medium by submerging her canvas in water and overlapping the processes of painting in and out of water. In Textual Ecology, Rayeon Kim focuses on the time and memory of Daecheong Lake, drawing landscapes of it and using images, names, and scientific names of plants and animals living in the area. The exhibition features several works set in the natural environment of Daecheong Lake.
From July 21 to November 26, Gwangju Museum of Art will present A Retrospective of Abstraction, part of the Gwangju Art Archive exhibition. The exhibition will feature works by Kim Whanki, Po Kim, Kang Yongun, Yang Sooa, Kim Yongbok, Jung Yungyul, Choi Jongsup, Kim Youngjung, and Tak Yeonha.
The exhibition explores the pioneers of abstract art in the Korea’s southern provinces. It highlights works by artists who demonstrated the movement of abstraction at a time when abstract art was not readily accepted in modern Korea. The exhibition is divided into three sections. Each section of the exhibition is organized according to the generational division of abstract art. Part 1 covers the work of the first generation of abstract art, who were active from the 1950s, and includes works by Kim Whanki, Po Kim, Kang Youngun, Yang Sooa. Pat 2 features works by Kim Yongbok, Jung Yungyul, and Choi Jongsup, the second generation of abstract artists who either took art lessons from the first generation or showed new possibilities, starting in the 1960s. The third and final part features works by the first generation of abstract sculptors, including Kim Youngjung and Tak Yeonha. Along with this flow, the exhibition is organized in a format that sheds light on each artist’s works by adding detailed individual descriptions.
A Retrospective of Abstraction continues the afterglow of the 2023 Gwangju Biennale, which concluded on July 9, offering a glimpse into the trajectory of abstraction that has sprouted in Gwangju.