For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...
Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...
In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Kim Ku-lim, Yin and Yang 15 S 45 (2015). Image via The Korea Herald.
A strong lineup of art shows are being offered this fall, more so than other seasons.
With two big biennale events – the Gwangju Biennale and Busan Biennale – kicking off last week, major Korean museums and galleries have opened a plethora of exhibitions to attract the influx of international art professionals and local art lovers.
Working since the 1980s, Korean artist Kim Eull is known for his complex and highly personal paintings, drawings and installations concerned with identity and tradition.
Kim began painting self-portraits to explore identity as early as 1994, eventually completing thousands of such works. Often rendered in earthy palettes, the self-portraits take on heavy themes. In the mixed-media image Untitled (1995) Kim painted himself holding his heart, blood splattered all over his dress shirt. Similarly, in one of his Me paintings from 1995, Kim depicts himself with a black eye; the aggressive, palpable brushstrokes in the work match the violent tone of the artist's face.
Particularly known for its exploration of ancestry and identity is Kim's 'Blood Map' (1997-2002), a series of paintings that range from portraits and family trees to landscapes and maps. In a 1999 painting sharing the series' title, a root is painted over Korean paper in red to mimic blood, while in Copy of Mountain Map (2001), tiny red dots, made to look like blood splatters, are sprawled over the middle area of a map. Perhaps the most literal work from the series is Arilang Hill (1997), in which faces are depicted hovering above luscious green hills. Equated with trees, family ties and blood relations become as natural as the landscape.
Towards the end of the 1990s, Kim shifted from painting to drawing. While in 1998 a fire broke out in his studio and destroyed almost 400 artworks, Kim had also long been debating the legitimacy of painting as a medium. After the fire, the artist nearly exclusively devoted himself to drawing and dedicated years to various projects. From 2001, his monumental 'Miscellaneous Drawings' series, for example, saw Kim commit to making 1,000 drawings every three years. The work was theme-less so it could be more organic and free the artist from the constraints of thematic work. A random mélange of landscapes, found-object and collage-like works, as well as text-based and figurative drawings, the series reads like a free-form journal.
Through this continued emphasis on personal histories, introspection and self-reflection, Kim's drawings can be seen as an extension of his early self-portrait paintings. What distinguishes his later works from his early series, however, is the latter's more spontaneous and honest—or as Kim states, 'natural'—representation of himself.
Kim playfully refers to his current-day studio as the Twilight Zone, and created two life-size models of the space for My Twilight Zone Studio, his 2018 exhibition at Kunsträume Michael Horbach in Cologne. By inserting themselves into replicas of his space (which were adorned with drawings and toys), viewers were given insight into the artist's process.
Kim was a jewellery designer, carpenter and pastor before becoming an artist. He studied metal craft at Wonkwang University, receiving his degree in 1982. He then earned his MFA in jewellery design at Hongik University in 1989. He was awarded the Korea Artist Prize in 2016 by Korea's National Museum of Modern and Contemporary Art. He has exhibited internationally at several art institutions and galleries such as Space Mom Museum, Cheong Ju; O Museum, Tokyo; and the Nam June Paik Art Center, Yongin, amongst others.
Anish Kapoor’s large-scale artworks are among the most recognisable on the planet. A tenacious affinity for drama, form and curvature characterise his sculptures, which hold court in public spaces, collections and public art institutions around the globe. Born in Mumbai in 1954, the artist is best known for his works which use curved metal,...
‘You don’t have to paint a fist to challenge authority; it is only natural that the mode of fighting was to devote oneself to the abstract, to deny the unreal reality.’ –Lee UfanAt first glance, Kyungah Ham’s embroidered canvases are beautifully seductive. From afar the works seem to be brightly coloured...
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