Installation view of 《Blanc Black Panorama》 ©Suwon Museum of Art
Suwon Museum of Art presents its 2026
collection exhibition 《Blanc Black Panorama》 on view through March 1, 2027.
《Blanc Black Panorama》 takes the dual axes of black and white as its point of departure.
Some etymological research into the French word blanc (white) and the English
word black suggests that, at a deep level, both words are related to a sense of
light, fire, and burning.
This brings to mind light and darkness as
concepts that diverge from the same source rather than lying in opposition.
Shining and charring, revelation and concealment, do not oppose each other but
rather exist as a chain of interlinked processes, each of which can only emerge
by presupposing the other. Aligned with the philosophical notion of nonduality
in which what transcends contradiction reveals itself within interdependence,
this stance privileges a sense of connection over clear boundaries and categorical
judgment.
Installation view of 《Blanc Black Panorama》 ©Suwon Museum of Art
Moving through this philological landscape,
the exhibition reexamines conventional perspectives shaped by a fragmented
understanding of the world. White does not signify an absence of burning, but
rather a state of not-yet-singed; black is not to be taken for dissolution, but
the lingering imprints of moving light.
As such, the two do not negate each other,
instead uncovering their respective properties through a process of
relationality. The approximately 20 works on view, selected from the SUMA
collection, embody this approach in form and method.
Rather than focusing on the representation
of “what” in terms of essence, the artists explore “how” relationships are
expressed, leaving on the surface processual practices such as repetition and
layering, inscription and accumulation, or marking and erasure.
In this approach, seemingly oppositional
elements such as black and white, light and shadow, gesture and void, as well
as revelation and remainder operate simultaneously—not by exclusion but by
mutual mediation. Here, darkness and brightness intersect at points of contact,
crossing from fullness into emptiness, and again from emptiness into fullness,
thereby entering into relation.
Installation view of 《Blanc Black Panorama》 ©Suwon Museum of Art
This exhibition’s use of “panorama” does
not imply a singular perspective. As individual works are juxtaposed, they
create sequential scenes, the total effect emerging from the subtle differences
and interstices perceived while moving between them. Amid the continual
shifting of black and white, light and darkness, and fullness and emptiness,
the exhibition leaves space for thought over drawing definitive conclusions.
Rather than delivering a clear-cut message,
the works are presented as conditions that allow viewers to linger at their own
pace and attend to relations as they unfold.
Participating Artists: Chang
Hae Hong, Choi Byungso, Choi Pil Kyu, Choi Soowhan, Kim Dujin, Kim Sucheol, Kim
Yujung, Koh San Keum, Lee Bae, Lee Dongjae, Lee Soonjong, Lee Yuwoon, Park
Mira, Suk Chul-joo, Yee Sookyung, Yoo Hye-sook, Yoo Seung Ho, Yoon Seyeul
