10 2012 Vol. 37 l Varition of Dexterous Line: Encounter of Reality and Ideal Kyung Mo Lee, art critic Unbound by space, form or color, Sohan Sam Young Lee has endeavored in applying a new method for Ko- rean painting on canvas by defining objects with line. His line is rendered as an element of life that defines an object through the process of connecting dots and planes and that exists by itself. He brings in a new life to the object and air to the space with the variation of line that stems from one stroke. His art suggests a possibil- ity for true communication between reality and ideal without too much techniques or ostentatious rhetorics. Early in his career, Sohan condensed nature with brush stroke so that the canvas was infused with lib- eral modernist logic and traditional Korean aesthetic. The young artist who attempted to probe the object’s construction and cubist composition that swayed from traditional spatial concept, or the concept of margin, provided a basic form of the figure and defined the space additionally but very naturally. Regardless of the subject - whether it is the figure or landscape - the artist represented the objects with mystical line that was me- dium of expression as opposed to a boundary defining the object, and took its role as line, form and color. The line in his works is more of a vehicle that defines the object’s materiality and carries out the artist’s feelings than a simple boundary. His perspective is mirrored in his experimental fig- ure drawings during the 1970’s. In particular, the Girl painted in 1970 boasts lively usage of ink that suggests colors and modern sensibility. The women in his oth- er drawings of this period, Bathing, Beach, and Model, appeared in the utopia and reflected the young artist’s view on the economically and politically dark reality. He evoked humanity that reflected the history and sig- nificance of our land by representing our life and land truthfully as the period’s record keeper. In the zenith of his career during 1980’s, he raised a static scenary to a lively movement with rough vertical lines. His paintings of the time represented an energetic and raw world that broke from the conceptual conven- tion of Korean painting. His fast drawings that captured the exotic landscape and impression from travels under limited time were free but carefully condensed the ob- jects. The works of 80’s were modern reinterpretation of the impression and landscape from travel, his drawings after 1990’s were based on the Korean tradition and his effort to redefine it in his own way. In this way, he enhanced the quality of painting by adding the dignity of literati painting to the construc- tive space founded on dexterity. Sohan’s landscape that inherits the traditional Korean realistic landscape and represents modern perspective and expression, pri- marily consists of marine scenary. The ocean seems to be the most familiar subject to the artist who spent his entire life in Incheon and is realized in his own unique way. The figures in nature and city in Lee’s recent works are not merely supporting element but an experiment of form and material through the variation of line. His figures convey mystical air with truthful represen- tation, exotic atmosphere and modernist formal exper- iment. His perspective is lively and appealing while the figures are rendered in an unconventional manner. The contrast between figures and background evokes del- icate tension. His focus is revealed in the contradiction of truthful representation and abstract expression and in his effort to capture the subject’s psychological sta- tus as well as characteristics. It is his artistic desire that extends the sensuality of female nude to realistic life and the inner depth of the character. The aesthetic characteristics of Soohan’s painting re- vealed in the energy represented in the wave of line, the formless space created by the subject’s perspective, tangible and intangible forms that appear in the space. These forms take an important role as being contra- puntal with the subject. They are the epitome of pure and absolute beauty proclaimed by abstract painting, but at the same time define the aesthetic elements in the canvas such as line, form, color and harmony. The abstract is a major part of the artist’s recent works that attempt a reinterpretation of subject through sensa- tional line. Unruled by the conventional method of ink painting, the artist is headed to a new experiment which focuses more on defining and reinterpreting the subject than on its representation. Additionally Lee prefers the de- scription rendered with the traditional materials and tools with confidence and belief in the outcome no in- ferior to Western painting. Therefore, his works typically described by the perspective of western painting, nat- uralistic description of watercolor, and lively expression of form with line and expressive mass. This is why Lee’s painting fascinates us; the mixture of contradicting elements, technique and anti-technique, reality and conception, East and West, and tradition and modern. This is not something far away from us but our reality and story as everyone finds special memo- ries in his works. Lee, Sam Young solo Exhibition PLACE Gallery LA MER DURATION 24-30october 2012 ARTIST Lee, Sam Young CONTACT TEL +82.2.730.5454 ‘Adhesion Paradox’ Seung Chul Lee’s Solo Exhibition Seung Chul Lee (born 1964, South Korea) currently serves as a painting professor at the College of Arts at Dongduk Women’s University. He earned a BFA and an MFA in Asian Painting from Seoul National University. For the past two decades, Lee has been investigating hanji at Gansong Art Museum. Hanji literally means ‘Korean paper,’ symbolizing both its geographic origin and the uniquely Korean production techniques and methods used to make it. Founded by Jeon Hyeong- pil in 1938 in order to prevent Japanese imperialists removing Korean cultural properties from the country, the Gansong Art Museum is the first private modern museum in Korea. The museum collection includes many old Korean paintings and objects that have been designated national treasures. After his undergraduate study, Lee began researching hanji in order to produce a strong style in Asian paint- ing, advocating hanji paper as a decisive aesthetic el- ement of Asian painting. Lee raised questions about whether the kind of traditional-styled paper available at that time, which he was using for his painting, was actually produced using authentic traditional methods. These questions led him to his research of hanji, which got fully underway in his MFA thesis paper, The Impacts of Hanji on Painting. While writing the thesis, he dis- covered that knowledge of hanji production methods had been lost to history. Consequently, he set up a workshop and operated it for six months to recover the knowledge of traditional Korean paper production. He began collecting hanji relics with his research at Gansong Art Museum in the early 1990s. Initially he be- gan the collection in order to analyze hanji productions methods, and the collection has grown to 8,000 items over the past 20 years. No longer able to manage or re- search the collection by himself, he donated it to the Historical Museum in Wonjoo, his hometown, in order to share hanji materials with others and to revive hanji culture with a broader audience. When Lee began studying hanji, he was mostly inter- ested in paper in natural colors, but later investigated how to produce a broader range of colors with natural dyes after having been exposed to examples of colored paper from the Joseon Dynasty (1392-1897). Lee is convinced that nature is the fundamental origin of human aesthetic sensibility. Thus, aesthetic objects are found in natural objects, which in his case specifi- cally mean the Korean natural colors he has learned to produce. For Lee, a natural color exists without instru- mental purpose, and is itself an aesthetic element that is distinctive and universal. He challenges himself to present this beauty and share it with others: the ques- tion is how. The exhibition raises the question: In what specific form does an installation have to be construct- ed in order to represent the particular beauty found in Korean natural colors? In other words, the exhibition attempts to represent the natural beauty of Korea found in particular colors by means of a specific form of installation art. This question involves two layers of differences. One is that between a man-made form and the natural beauty found in particular colors. The other is the difference between Western and Far East Asian cultures, considering that installation art is an art form developed in Western countries and considering that the subject matter in question is geographically limited, ‘Korean beauty,’ in the sense of a beauty that is found in the Korean natural environment. By focusing on the beauty of Korean natural colors, Seung Chul Lee identifies Koreans as a people of na- ture. He expresses this through a form of western con- temporary art, in which Korean thoughts and cultural elements exist as a dormant possibility waiting to be explored and realized. The current four experimental pieces by Lee are just a beginning of the exploration of this potential Korean aspect of installation art that I wish the artist to fully unfold in the near future. J.P. Zukauskas contributed reporting from New York. PLACE Gong Art Space DURATION 5-16 october 2012 ARTIST Lee, Seung Chul CONTACT +82.2.735.9938 09 Vol.334SEPTEMBER 2012 ᨖᦝᎃᦎ៛ᤙ ᣝᦜᦉ ᜀ 10.24Wed - 10.30Tue 2012 GALLERY LA MER 3F 월간 미술세계 기획 이삼영 초대전 갤러리 라메르 서울시 종로구 인사동 194 홍익빌딩 02 .730.5454 미술세계 컬쳐오션
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10 2012 Vol. 37l
Varition of Dexterous Line: Encounter of Reality and Ideal Kyung Mo Lee, art critic Unbound by space, form or color, Sohan Sam Young Lee has endeavored in applying a new method for Ko-rean painting on canvas by defining objects with line. His line is rendered as an element of life that defines an object through the process of connecting dots and planes and that exists by itself. He brings in a new life to the object and air to the space with the variation of line that stems from one stroke. His art suggests a possibil-ity for true communication between reality and ideal without too much techniques or ostentatious rhetorics. Early in his career, Sohan condensed nature with brush stroke so that the canvas was infused with lib-eral modernist logic and traditional Korean aesthetic. The young artist who attempted to probe the object’s construction and cubist composition that swayed from traditional spatial concept, or the concept of margin, provided a basic form of the figure and defined the space additionally but very naturally. Regardless of the subject - whether it is the figure or landscape - the artist represented the objects with mystical line that was me-dium of expression as opposed to a boundary defining the object, and took its role as line, form and color. The line in his works is more of a vehicle that defines the object’s materiality and carries out the artist’s feelings than a simple boundary. His perspective is mirrored in his experimental fig-ure drawings during the 1970’s. In particular, the Girl painted in 1970 boasts lively usage of ink that suggests colors and modern sensibility. The women in his oth-er drawings of this period, Bathing, Beach, and Model, appeared in the utopia and reflected the young artist’s view on the economically and politically dark reality. He evoked humanity that reflected the history and sig-nificance of our land by representing our life and land truthfully as the period’s record keeper. In the zenith of his career during 1980’s, he raised a static scenary to a lively movement with rough vertical lines. His paintings of the time represented an energetic and raw world that broke from the conceptual conven-tion of Korean painting. His fast drawings that captured the exotic landscape and impression from travels under limited time were free but carefully condensed the ob-jects. The works of 80’s were modern reinterpretation of the impression and landscape from travel, his drawings after 1990’s were based on the Korean tradition and his effort to redefine it in his own way. In this way, he enhanced the quality of painting by adding the dignity of literati painting to the construc-tive space founded on dexterity. Sohan’s landscape that inherits the traditional Korean realistic landscape and represents modern perspective and expression, pri-marily consists of marine scenary. The ocean seems to be the most familiar subject to the artist who spent his entire life in Incheon and is realized in his own unique way. The figures in nature and city in Lee’s recent works are not merely supporting element but an experiment of form and material through the variation of line.
His figures convey mystical air with truthful represen-tation, exotic atmosphere and modernist formal exper-iment. His perspective is lively and appealing while the figures are rendered in an unconventional manner. The contrast between figures and background evokes del-icate tension. His focus is revealed in the contradiction of truthful representation and abstract expression and in his effort to capture the subject’s psychological sta-tus as well as characteristics. It is his artistic desire that extends the sensuality of female nude to realistic life and the inner depth of the character. The aesthetic characteristics of Soohan’s painting re-vealed in the energy represented in the wave of line, the formless space created by the subject’s perspective, tangible and intangible forms that appear in the space. These forms take an important role as being contra-puntal with the subject. They are the epitome of pure and absolute beauty proclaimed by abstract painting, but at the same time define the aesthetic elements in the canvas such as line, form, color and harmony. The abstract is a major part of the artist’s recent works that attempt a reinterpretation of subject through sensa-tional line. Unruled by the conventional method of ink painting, the artist is headed to a new experiment which focuses more on defining and reinterpreting the subject than on its representation. Additionally Lee prefers the de-scription rendered with the traditional materials and tools with confidence and belief in the outcome no in-ferior to Western painting. Therefore, his works typically described by the perspective of western painting, nat-uralistic description of watercolor, and lively expression of form with line and expressive mass. This is why Lee’s painting fascinates us; the mixture of contradicting elements, technique and anti-technique, reality and conception, East and West, and tradition and modern. This is not something far away from us but our reality and story as everyone finds special memo-ries in his works.
Lee, Sam Young solo Exhibition
PLACE Gallery LA MER DURATION 24-30 october 2012 ARTIST Lee, Sam YoungCONTACT TEL +82.2.730.5454
‘Adhesion Paradox’Seung Chul Lee’s Solo Exhibition
Seung Chul Lee (born 1964, South Korea) currently serves as a painting professor at the College of Arts at Dongduk Women’s University. He earned a BFA and an MFA in Asian Painting from Seoul National University. For the past two decades, Lee has been investigating hanji at Gansong Art Museum. Hanji literally means ‘Korean paper,’ symbolizing both its geographic origin and the uniquely Korean production techniques and methods used to make it. Founded by Jeon Hyeong-pil in 1938 in order to prevent Japanese imperialists removing Korean cultural properties from the country, the Gansong Art Museum is the first private modern museum in Korea. The museum collection includes many old Korean paintings and objects that have been designated national treasures. After his undergraduate study, Lee began researching hanji in order to produce a strong style in Asian paint-ing, advocating hanji paper as a decisive aesthetic el-ement of Asian painting. Lee raised questions about whether the kind of traditional-styled paper available at that time, which he was using for his painting, was actually produced using authentic traditional methods. These questions led him to his research of hanji, which got fully underway in his MFA thesis paper, The Impacts of Hanji on Painting. While writing the thesis, he dis-covered that knowledge of hanji production methods had been lost to history. Consequently, he set up a workshop and operated it for six months to recover the knowledge of traditional Korean paper production. He began collecting hanji relics with his research at Gansong Art Museum in the early 1990s. Initially he be-gan the collection in order to analyze hanji productions methods, and the collection has grown to 8,000 items over the past 20 years. No longer able to manage or re-search the collection by himself, he donated it to the Historical Museum in Wonjoo, his hometown, in order to share hanji materials with others and to revive hanji culture with a broader audience.
When Lee began studying hanji, he was mostly inter-ested in paper in natural colors, but later investigated how to produce a broader range of colors with natural dyes after having been exposed to examples of colored paper from the Joseon Dynasty (1392-1897).Lee is convinced that nature is the fundamental origin of human aesthetic sensibility. Thus, aesthetic objects are found in natural objects, which in his case specifi-cally mean the Korean natural colors he has learned to produce. For Lee, a natural color exists without instru-mental purpose, and is itself an aesthetic element that is distinctive and universal. He challenges himself to present this beauty and share it with others: the ques-tion is how. The exhibition raises the question: In what specific form does an installation have to be construct-ed in order to represent the particular beauty found in Korean natural colors? In other words, the exhibition attempts to represent the natural beauty of Korea found in particular colors by means of a specific form of installation art. This question involves two layers of differences. One is that between a man-made form and the natural beauty found in particular colors. The other is the difference between Western and Far East Asian cultures, considering that installation art is an art form developed in Western countries and considering that the subject matter in question is geographically limited, ‘Korean beauty,’ in the sense of a beauty that is found in the Korean natural environment. By focusing on the beauty of Korean natural colors, Seung Chul Lee identifies Koreans as a people of na-ture. He expresses this through a form of western con-temporary art, in which Korean thoughts and cultural elements exist as a dormant possibility waiting to be explored and realized. The current four experimental pieces by Lee are just a beginning of the exploration of this potential Korean aspect of installation art that I wish the artist to fully unfold in the near future. J.P. Zukauskas contributed reporting from New York.
PLACE Gong Art Space DURATION 5-16 october 2012 ARTIST Lee, Seung Chul CONTACT +82.2.735.9938
09 Vol.334 SEPTEMBER 2012SINCE 1984 · Monthly Art Magazinewww.mise1984.com
10.24Wed - 10.30Tue 2012 GALLERY LA MER 3F
월간 미술세계 기획 이삼영 초대전
갤러리 라메르 서울시 종로구 인사동 194 홍익빌딩 02 .730.5454
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박현진
GALLERYIS 갤러리 이즈+82.2.720.2235
10 03 - 10 09 20121) 아버지의 옹기,
아들의 옹기 첫 번째 전 (제1전시장)2) 김명수 전 (제2전시장)3) 난타 15주년 기념전 (제3전시장)4) 주나(Juna) 전 (제4전시장)
10 10 - 10 16 20121) 이정훈 도예전 (제1전시장)2) 이진아 전 (제2전시장)3) 손태선 전 (제3전시장)
10 17 - 10 23 20121) 왕광현 조각전 (제1전시장)2) 성민우 전 (제2전시장)3) Concert 전 (제3전시장)4) 홍선아 목조형가구 전 (제4전시장)
10 24 - 10 30 20121) 이운갑 전 (제1전시장)2) 김문정 판화전 (제2전시장)3) 송계영 전 (제3전시장)4) 더미처 전 (제4전시장)
GALLERY DONGDUK동덕아트갤러리+82.2.732.6458
1) 순천대 사진예술학과 졸업전시 10 03 - 10 09 2012 (전관)2) 건국대 금속공예과 졸업전시 10 10 - 10 16 2012 (A실)3) 28th 경원대 섬유미술과 졸업전시 10 17 - 10 23 2012 (B실)4) 경기대 한국화학과 25회 졸업전시 10 24 - 10 30 2012 (A실)5) 경기대 장신구금속디자인과 졸업전시 10 24 - 10 30 2012 (B실)6) 용인대 회화과 졸업전시 10 31 - 11 06 2012
MOKIN MUSEUM & GALLERY 목인 갤러리+82.2.722.5055
10 03 - 10 09 20121) 고아빈 개인전 (본관)2) 김승규 개인전 (신관)
10 10 - 10 16 2012윤희남 개인전 (본관,신관)
10 17 - 10 23 2012한성대 회화과 졸업전 (본관,신관)
10 24 - 10 29 2012조정현·홍순정 도예2인전
10 31 - 11 06 2012옷칠화협회전-이종헌 (본관,신관)
bONGALLERY 본화랑+82.2.732.2367
정택영 전 │ 10 19 - 10 28 2012
GALLERY NOW 갤러리 나우+82.2.725.2930
1) 김효성 개인전 <내안의 바다> 10 03 - 10 09 20122) 박수길기획 시선 12인전 10 10 - 10 16 20123) 민병길 사진전 <질료들의 재배치> 10 17 - 10 23 2012
민병길,물 100x100cm,Pigment print
강형구
GALLERY SOO 갤러리 수+82.2.733.5454
1) 김융기 개인전 10 03 - 10 09 20122) 선백회 그룹전 10 10 - 10 16 20122) 김갑식 개인전 10 17 - 10 23 20122) 오정식 개인전 10 24 - 10 30 20122) 윤인자 개인전 10 31 - 11 06 2012
정택영The Seed of Hope861x50cm, 2012
TOPOHAUS 토포하우스+82..2.734.7555
10 03 - 10 09 20121) 제4회 상지대학교 시각.영상디자인 졸업전 (제1,2전시실)2) 이우정 개인전 (제3전시실)
10 10 - 10 16 20121) 이숙희 개인전 (제1전시실)2) 문제도 개인전 (제2전시실)3) 강진교 개인전 (제3전시실)
10 17 - 10 23 20121) 김용민 조각전 (제1전시실)2) 피아정 개인전 (제2전시실)3) 한국폴리텍 여자대학 귀금속
공예과 20회 졸업작품전 (제3전시실)
10 24 - 10 30 20121) 청주대학교 공예디자인과
졸업 전시회 (제1전시실)2) 이면 전 (제2전시실)3) 권영석 개인전 (제3전시실)
배 인 숙 개 인 전
Bae In Sook Solo Exhibition
2012. 10. 23 - 11. 3
127-3 Hwa-dong, Jongno-gu, Seoul, Korea 110-210t+82(0)2 732 1273 f+82(0)2 732 1274 e [email protected] www.gallerybeone.kr
Samcheong Gallery
Artpark
Gallery Young
Mongin Art Center
Leec Gallery
Gallery 공근혜
Gallery DosKHJ Gallery
Gallery Doll Gallery Fifteen
HBW Gallery
Sun Art Space
Gallery Biim
Rothem GalleryRam GalleryJunsun Gallery
ICAM Gallery
The National Folk Museum of Korea
Gallert In
Kukje Gallery
Gallery Sun Contemporary
Hakgojae Gallery
Vit Gallery
Trunk Gallery
Gallery Chosun
Artsonje Center
Arario Seoul
Leehwaik Gallery
Woonbo Gallery
Africa Gallery
Simyo Gallery
Bandee Gallery
Kumho Museum
Gallery HYUNDAI
UNC Gallery
Gallery Artrink
PMK Gallery
Gallery b’ONEGallery Dam
Gallery All Gallery gabi
Cyart Gallery
Dream Gallery
Savina Museum
Gallery Space
Gallery Eye
Baum Art Gallery
Seoul Metropolitan Government
Art Space H
Ga Gallery
Gallery SonamuGate Gallery
Digital Analog Gallery
Limm Gallery
One & J Gallery
Gahoedong60
Gallery Scape
Bukchon Art Museum Myungin Museum
Museum of Korean Buddhist Art
Insa Art Museum
Gahoe-dong가회동
Samcheong-dongpost office삼청동 우체국
samchung-dong office삼청동 주민센터
Joongang high school중앙고교
hyoja street
Kyeongbok Palace Jungdok library 정독도서관
LG-sangnam library
Gwangwhamun intersection광화문 교차로
HanKook publishing company
pungmoon woman's high school풍문여고
Jongno police station종로 경찰서
Ducksung woman's high school덕성여고
Constitutional Court헌법 재판소
Hyundai Engineering and Construction
Bukchon-changwoo theater
Insa-dong street
samchung-dong street
Anguk station 안국역
16bungee
EON Gallery
Gallery Dongduk
Gallery Epoque
Yeemock Gallery
57th(2F)
Gallery On Gallery Songadang
Sagandong Area / Exhibition Info Korea
KUKJE GALLERY 국제 갤러리+82.2.735.8449
김수자 08 29 - 10 10 2012
GALLERYKONG 공근혜 갤러리+82.2.738.7776
1) 어윈 울라프 09 27 - 10 21 20122) 정강 사진전 10 22 - 10 29 2012
GALLERY DOLL 갤러리 도올+82.2.734.1036
1) 이성계 조형가구 초대전 10 10 - 10 21 20122) 마이클 리 개인전 10 24 - 11 11 2012
ARTSONJE CENTER 아트선재+82.2.733.8945
1) 이불 개인전 09 09 - 11 04 20122) 2012 Artsonje Lounge Project #4 08 29 - 10 12 2012
EPOQUE GALLERY 갤러리에뽀끄+82.2.3674.7722
1) 시각적 플라세보 09 12 - 10 09 20122) 풍경담기 10 10 - 11 06 2012
CYARTGALLERY 사이아트갤러리+82.2.3141.8841
1) 이창남 개인전 09 26 - 10 08 20122) 권혜원 개인전 10 09 - 10 22 20123) 고병성 개인전 10 23 - 10 29 2012
GALLERY DAM 갤러리담+82.2.738.2745
1) 홍지 전<Big Moment> 09 25 - 10 06 2012 2) 구레모토 토시마츠 조각전 10 09 - 10 18 20123) 이광택 전 10 19 - 10 30 2012
GALLERYON 갤러리 온+82.2.733.8295
1) 이승신 <한번은, 모든 것을 토해내고 싶다> 09 20 - 10 06 20122) 다산을 품은 현대예술 10 11 - 10 23 2012
HAKGOJAE 학고재+82.2.675.3057
1) 이세현<Plastic Garden> 08 29 - 10 14 20122) 2012 설화문화전 10 15 - 11 03 2012
GALLERY GAbI 갤러리 가비+82.2.734.1036
1) 박성란 전 │ 09 27 - 10 14 20122) 김민호 전 │ 10 17 - 11 04 2012
어윈 올라프 keyhole184x113cm,chromogenic print
GALLERY SONGADANG 갤러리 송아당+82.2.725.6713
김신혜 개인전 10 17 - 11 02 2012
김신혜 뱃놀이 66×130cm,2012
SAvINA MUSEIM 사비나 미술관+82.2.736.4371
BRAIN-뇌안의 나07 25 - 10 19 2012 이불 Theatrum Orbis Terrarum,2003
이승신 Pietà 130x162, Acrylic and oil on canvas, 2012
권혜원 Untitled #1, 연작’8명의 남자가 사는 방’ 중에서 video projection, 2010
고병성 Dream Explorer 120x120x210cm, CPU보드,서보모터,스테인레스,나무,아크릴,프레넬 렌즈, 2010
INSA ART SPACE 인사미술공간+82.2.760.4722
박광수 <Man on pillow>10 16 - 11 02 2012
ARTSPACE H 아트스페이스 H82.2.766.5000
최현석 개인전10 04 - 10 17 2012
GALLERY CHOSUN 갤러리 조선+82.2.723.7133
김진욱 전 <Where the story ends>09 26 - 10 17 2012
Inside and outside-Islet3 30x30x10cm,혼합재료,2011
vIT GALLERY 빛갤러리+82.2.720.2250
서수영 개인전10 03 - 10 20 2012
GALLERY GAHOEDONG60 가회동 60+82.2.3673.0585
1) CODE_環生圖 환생도 09 18 - 10 08 20122) 김다슬전 <결혼> 10 10 - 10 19 20123) 조재익전 <옛길-빛의 정원> 10 22 - 10 28 20124) 정경화전 <그릇·그릇들> 10 30 - 11 08 2012
10.10Wed10.16Tue 2012
정관호_숲속물고기여행_130.3x97.0cm_oil on canvas_ 2012허병훈_밤바다_53.0x45.5cm_Aclylic on Canvas_2012
10.17Wed 10.23Tue 2012
정 관 호 Jeong, kwanho
갤러리기획전
허 병 훈 Heo, Byunhoon
가가
Exhibition Info Korea / Chungdam, Gwanghwamun, Daehang-no
Gallery Artga
Caf Goghi
Gallery Zein XenoNext Door Gallery
Space15th
Gallery Kunstdoc
Brain Factory
Jean Art GalleryDaelim Contemporary
Art Museum
Gallery Cha National Palace Museum of Korea
Sungkok MuseumGallery Jung
Gallery Lumiere
Seoul Museum of History
Sejong Center for the Performing Arts
Munhwailbo Gallery
Deoksugung Museum
Seoul Museum of Art
Ilwoo Space
Korean Foundation Cultural Center
Alpha Gallery
Sejong Gallery
Myungdong Gallery
Pyunghwa Gallery
Gallery Lotte
Shinhan MuseumGallery CHosun
Ilmin Museum of Art
Gallery FactoryGahjin Gallery
Seoul Metropolitan Government서울시청
SEOUL PLAZA HOTEL서울프라자호텔
Shinsegye Dept.Store신세계백화점
Lotte Dept.Store롯데백화점
Migliore밀리오레
Myeong-dong station명동역
Euljiro 3-ga station을지로3가역
Euljiro 1-ga station을지로입구역
Gwanghwamun station광화문역
City Hall station시청역
Wooribank
Gyeongbokgung station경복궁역
Gyeongbokgung경복궁
Anguk station안국역
Joggak station종각역
Gyeongheegung경희궁
Deoksugung덕수궁
Gallery ARTSIDE
서대문역
Gwanghwamun
Korea Premier AuctionDo Art Seoul
Art Forum New Gate
Gallery In the Box
Space C
Atelier HerresIm Art
Gallery Woong
Gallery 4 Walls
Watergate Gallery
Gallery Parisienne Gallery EVE
Juliana Gallery
PMK Gallery
Galleria SoonsooGallery Won
K&Gallery
oroom Gallery
Yoo Art Apace Gallery A Atory
Wellside Gallery
Gallery SeoMi
Gallery BHAKGallery PIG
Gallery JuYoung
Cais Gallery
Gallery PICI123 Gallery
Seoul CT Gallery
PYO Gallery
Park Ryu Sook GalleryMichael Schultz GalleryMessanine Gallery
Gallery GOdong
Gallery IsangOpera Gallery
Janet Oh Gallery
Jungsoyoung Gallery
Gallery RmChung Gallery
Gallery the Space
EM Art Gallery
CheongDham Gallery
The Columns Gallery Daily
Project
Sungsu Grand Bridge
Cheongdam Park청담공원
Cha hospital
Young-dong telephone company
hak-dong station학동역
Prima hotel
Coex
Asem Tower
Bongeun Temple봉은사
Gyuounggi high school
Cheongdam intersecti
on
Gangnamgu-office station강남구청역
Cheongdam station청담역
Sunreung station
Young-dong high school영동고
Samsung station
Galleria 갤러리아
Lamada Hotel
Sunreung Park선릉공원
Chengdam-dong
GALLERY HYUNDAI GANGNAM SPACE
Able Fine Art Gallery
Chungdamn Art CenterRumian Gallery
SongeunArt Center
Gallery D'or
Gallery Palais de seoul
MayJune Gallery
Chengdam-dong Daehang-no
GwanghwamunMOONfINEARTS 문화랑 +82.2.554.6106
안윤모개인전│09 19 - 10 13 2012
TELEVISION 12 GALLERY텔레비전12 갤러리+82.2.3446.0070
하지훈 <요새 Fort>10 11 - 11 02 2012
GALLERYIANG 갤러리 이앙남서울대학교 아트센터+82.2.3672.0201
1) 세명대 시각디자인과 졸업전 10 03 - 10 09 20122) 남서울대 환경조형학과 졸업전 10 10 - 10 23 20123) 남서울대 시각정보디자인학과 졸업전 10 24 - 10 29 20124) 남서울대 애니메이션학과 졸업전 10 31 - 11 05 2012
SEMA 서울시립미술관+82.2.4473.8858
너에게 주문을 건다09 11 - 11 04 2012
DOOSAN GALLERY 두산갤러리+82.2.-1020
구동희 개인전10 11 - 11 08 2012
ARTSIDE 갤러리 아트사이드+82.2-725-1020
다시보는 대륙의 아방가르드10 05 - 10 25 2012
RYUGAHEON 사진위주 류가헌+82.2.725.2010
이한구 개인전<군용>10 09 - 10 28 2012
CHUNG ART GALLERY 청화랑+82.2.3446.0070
1) 이혜민 개인전 10 04 - 10 13 20122) 나란히, 나란히 전 10 25 - 11 04 2012YOOARTSPACE 유아트스페이스
+82.2.544.8585
강인구 개인전10 11 - 10 21 2012
이혜민
happysquare, PlanB (김태윤 류한길 윤지현)We Cloud, 2012
하지훈individual landscapeOil on Paper25x25cm, 2011
GALLERY HYUNDAIGANGNAM SPACE 갤러리현대 강남+82.2.519.0800
피터 슈라이어 <INSIDE OUT>09 22 - 11 02 2012
THREE MEN 165x205cmAcrylic and wallpaint on Cnavas,2012
강인구 Energy-FireRose Crystal on Wood, 100x130cm, 2EA, 2012
Vanishing PointInstallation Dimension Variable 2012
ART CENTER NAbI 아트센터나비+82.2.2121.1031
만인예술가09 04 - 10 06 2012
이한구 군용(military use) 21
SEJONG CENTER fOR THE PER-fORMING ARTS 세종문화회관 +82.2.3210.4555
스테판 사그마이스터09 22 - 11 25 2012
Stefan Sagmeister, 리바이스 전광판, Levi’s Billboard, 2010
SEJONG GALLERY 세종갤러리+82.2.3705.9021
1) 홍정희 초대전 10 04 - 10 21 20122) 박인숙 초대전 10 23 - 11 04 2012
a i r - collageCh o i j i hun
서울시 종로구 원서동 157-1, 157-1 Wonseo-dong, Jongno-gu, Seoul 110-280 Korea
아트스페이스H
10.19. FRI -10.30 TUE 2012
Shinsa, Seocho, Itaewon, Yeoksam- dong / Exhibition Info Korea
Gallery Art School in Deco
K Auction
ChungJark Gallery
Gallery YEH Gallery ERL
Gallery SPPhilipKang Gallery
Jazzy M.A.S
Dado Art Gallery
Urban ArtMK Collection
GALLERY UM
Art’n Dream Gallery
Gallery SoYeonGallery LVSGallery Yeil
June Art GalleryEuro Gallery Gallery Eugene
Gallery Simon
Gallery Route
Gallery Joo
Gallery Royal
Gallery Wooduck
Yemac Gallery
Gallery Prior’s
Ehyundai Department store현대 백화점
Apgujeong station압구정역
Ehyundai high school현대고교
Sinsa middle school신사중
Kwangrim Church광림교회
Dosan park도산공원
Gangnam Eulji Hospital강남을지병원
Hakdong station학동역
Nonhyeon station논현역
Singu elementary school
Hakdong Park학동공원
Shinsa station신사역
J-Tower
Hannam Bridge
Hannam IC
Shinsa-dong
Kimchongyung Museum
Gallery Seju Gallery GrowrichKimi Art
Pyungchang ArtGana Art
Seoul AuctionTotal Museum
Sangwom Museum of Art Jungsong Gallery
Gain Gallery
The Siuter Art Group
Gallery Pool
Hwajeong Museum
Gallery Ejoque
Duroo Art Space
Whanki Museum
Spoon Artspace
Zaha Museum
Hongjecheo홍제천
Jinheungro
Segeomjeong Intersection
Sinyoung-dong Intersectio신영동 삼거리
Segumjung Cathedral세검정 성당
Pyeongchang-dong office평창동 사무소
Kookmin BankSeoul Arts High School
Inner Circulation Road내부순환로
Jahamun street
Hongjimoon tunnel홍지문터널
SK Gas station Bukhansan Fortress Wall북한산성
Bugak Mountain Highway북악스카이웨이
Jungreung tunnel
정릉터널Hana bank
21century wedding hall21세기 웨딩홀
Olympia hotel올림피아 호텔
Bugak tunnel북악터널
Buam-dong부암동
Bukaksan street Pyeongchang-dong
SPACE HONGJEE
Seocho-dong
Pyeongchang-dong Yeoksam-dong
Itae-won
MANO GALLERY 갤러리 마노+82.2.741-6030
김찬일 드로잉 전10 11 - 11 08 2012
SEO JEONG WOOK GALLERY서정욱 갤러리+82.2.582.4876
최철<The trace of being>08 03 - 09 02 2012
GALLERY bATON 갤러리 바톤+82.2.597.5701-2
Belgium contemporary now10 18 - 11 20 2012
GALLERY JHAK 갤러리 작+82.2.2155.2351
김영철09 29 - 10 11 2012
TOTAL MUSEUM 토탈미술관+82.2.397.3994
The Vertical Village06 21 - 10 07 2012
SONG EUN 송은아트스페이스+82.2.391.7703
한국작가 소장품전10 08 - 11 03 2012
GALLERY GOLMOK 갤러리 골목+82.2.792.2960
이은경 전<눈으로 맛보다>10 16 - 10 30 2012
KIMI ART 키미아트+82.2.394.6411
이세준 전10 12 - 10 26 2012
이세준, 불현듯 떠오른 생각들, 112.1x145.5cm, Oil on Canvas, 2012
OH!ZEMIDONG GALLERY오!재미동 갤러리+82.2.777.0421
정나래 전 <서울블루스>09 17 - 10 13 2012
싱싱슈퍼 80.3x100cm,장지에 혼합재료,2011
GALLERY YEH 예화랑+82.2.542.5543
곽훈 전 10 12 - 10 31 2012 GALLERY SKAPE
갤러리 스케이프+82.2.747.4675
이형구 전 │10 11 - 11 23 2012
이형구 Face Trace 001 Mixed Media,2012
GALLERY A-CUBE 갤러리 에이큐브+82.2.793.1115
임지혜 전│09 18 - 11 03 2012
New Discourse2 0 1 3 5th
2013년 제5회 New Discourse 작가 공모요강
공모내용
-작가공모: 2013년도 개인전 발표 예정인 담론적 작업, 독창적 작업을 해나가는 작가.(연령제한없음)
-공모분야: 미술관련 전 장르
-제출서류: 작가이력(학력,경력사항)/작업이미지(최근작품10점 및 작품캡션)/작업노트/전시계획서
-주의사항: 1.작업노트(A4 1-2page내외 요약) 2.전시계획서(개인전계획-전시공간은 홈페이지 참조)
-공모기간: 제5회 2012년(공모접수:2012.10.1-2012.10.25)
(지원서는 웹하드에서 내려받기)
-공모접수: 웹하드(webhard.co.kr ID: artwebhard PW:1234)
-접수방법: 폴더 내에 작가 이름폴더를 만든 후 폴더 내에 접수
-참고사항: 작품과 함께 내용(작업 개념, 작업 논리)에 대한 작가의 글을 중요한 선정자료로 합니다.
-공모발표: 대상작가, 최우수작가, 우수작가 선정발표는 홈페이지 (발표일: 2012.11.1 예정)
(www.cyartgallery.com/ http://www.newdiscourse.org/에 공고하고 개별 통보합니다)
-문의사항: [email protected] (이메일 문의만 받습니다-웹하드 접수 불가시 메일로 받을 수 있습니다)
뉴디스코스는 개인전과 평론지원을 통해 한국의 현대미술에서 새로운 담론을 만들어 나가고자 하는
하나의 움직임입니다. 그러므로 심사는 작가의 담론을 심도있게 점검할 수 있는 권위있는 미술평론가
및 미술인을 심사위원으로 모시고 있습니다.
제1회 심사위원 서성록(한국미술평론가협회 회장)
심상용(동덕여자대학교 교수)
제2회 심사위원 김형숙(서울대학교 교수)
박영택(경기대학교 교수)
제3회 심사위원 최태만(국민대학교 교수)
이선영(미술평론가)
제4회 심사위원 김복영(서울예대 석좌교수)
백기영(경기도미술관 학예실장)
지원내용
뉴디스코스 공모를 통해 선정된 작가는 개인전을 지원하여 진행하게 되며 이를 통해 역량을
보여준 작가들중 선정하여 국내외 기획전, 아트페어 등에 참가할 수 있는 기회를 드립니다
『New Discourse』 대상 작가선정 개인전 지원 (1명 선정)
-전시공간지원: 본 갤러리 대관료 100%지원(140만원 지원)
-전시평론지원: 본 연구소 전시 서문 및 국내 권위 평론가 평론지원/평론 영문번역지원
-전시도록지원: 작품집 도록 지원(24P내외)/전시엽서 지원
-전시홍보지원: 아트앤맵 지면광고(大)/아트앤맵 메인배너(大) 온라인광고지원/도록메일 발송지원
-전시오픈지원: 플래카드,패널프린트지원/오픈 다과음료 및 오픈준비지원
『New Discourse』 최우수 작가선정 개인전 지원 (3명 분야별 선정)
-전시공간지원: 본 갤러리 대관료 70%지원(98만원 지원)
-전시평론지원: 본 연구소 전시 서문 평론지원
-전시도록지원: 3단접지 리플렛 지원
-전시홍보지원: 아트앤맵 지면광고(小)/아트앤맵 배너(小) 및 온라인광고지원/전시메일 발송지원
-전시오픈지원: 플래카드,패널프린트지원, 오픈 다과,음료 지원
『New Discourse』 우수작가선정 개인전 지원 (10명 내외 선정)
-전시공간지원: 본 갤러리 대관료 50%지원(70만원 지원)
-전시평론지원: 본 연구소 전시 서문 평론지원
-전시엽서지원: 2단접지 리플렛 지원
-전시홍보지원: 아트앤맵 배너광고(小) 및 온라인홍보지원/전시메일 발송지원
-전시오픈지원: 플래카드,패널프린트지원, 오픈 다과,음료 지원
사이미술연구소/사이아트갤러리우)110-240 서울시 종로구 안국동63-1 T.02.3141.8842 www.newdiscourse.org
" 뉴 디스코스(New Discourse) "
사이미술연구소/사이아트갤러리는 한국미술의 담론적 구조를 성숙시켜 나가고 새로운 활력을 가져오게
할 의식있는 작가를 지원하는데 일조하고자 개인전과 평문을 지원하는 작가지원 프로그램을 실시하고
있습니다. 사이아트 갤러리는 일정한 주제에 대한 프로젝트성 개인전을 개최하기 적합한 공간으로
지난 4년간 뉴디스코스 프로그램을 진행해오는 과정에서 미술 평론가들과 여러 대학의 교수님들로부터
좋은 평가를 받아왔습니다. 전시와 평문을 지원하는 본 뉴디스코스 프로그램은 작가의 길을 가고 있는
이들에게 한 차원 높은 작업으로의 진보에 도움을 드리는 협력자가 되고자 합니다. 새로운 작업 새로운
담론을 만들어낼 작가 여러분들의 많은 지원을 바랍니다.