On July 26, pioneering first-generation Korean experimental artist Kwak Duck-Jun passed away at the age of 88. Kwak Duck-Jun (1937-2025) holds a pivotal position in the history of artistic exchange between Korea and Japan. He has served as a key bridge between the two countries’ contemporary art scenes, particularly in the development of experimental art, while devising his distinctive artistic language.
 
His ‘Weight-scale’ series, created in 1970, earned high praise from Edward F. Fry (1935–1992), curator at the Solomon R. Guggenheim Museum, New York during his visit to Japan. Indeed, Kwak drew attention from both Korean and Japanese scenes as one of the earliest Korean artists to pursue conceptual art.
 
Since 1969, he actively participated in cross-cultural exhibitions, fostering exchanges with fellow artists Chung Sang-Hwa anundefinedd Park Seo-Bo. By challenging the fixity of normative concept sand exposing the absurdities of our perception of the world, Kwak has gained international recognition for the distinct formal quality of his works.

Unbound by a single style, Kwak has established an expansive body of work spanning painting, installation, performance, video, photography, and printmaking, demonstrating diverse approaches even within each field.
 
As seen in his artist notes, key elements of Kwak’s work include not only his commitment to experimentation but also his perspective on history and society as a Zainichi Korean (a Korean person residing in Japan).

In 1974, he gained recognition with his ‘President and Kwak’ series (1974–2008), a bold and provocative work in which he juxtaposed halves of his face with those of U.S. presidents featured on the covers of Time magazine—this series simultaneously ignited significant controversy and attention.
 
The series extended over thirty years, from President Gerald Ford to President Barack Obama, contributing to Kwak’s reputation as an internationally recognized artist.

Kwak Duck-Jun consistently explored issues concerning the relationship between society and the individual, reality and consciousness, and the distance between media and personal thought, employing his own brand of ironic humor and cynicism to paradoxically question the duality of the world and expose the fictitious nature of truth.
 
“An alien in Korea, and an alien in Japan—caught between these two worlds, I formed my worldview, which became the foundation of my work.” — Kwak Duck-Jun

References

• 갤러리현대, [뉴스] Gallery Hyundai mourns the passing of Kwak Duck-Jun (1937-2025) (Gallery Hyundai, [News] Gallery Hyundai mourns the passing of Kwak Duck-Jun (1937-2025))