Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...
In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...
'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...
On the occassion of Kwong Young-Woo's solo exhibition at Kukje Gallery K2, Seoul, as well as his participation in the Kabinett sector of Art Basel Hong Kong 2017, take a look at historical footage of the artist discussing his groundbreaking practice and process in a new video released by Kukje Gallery:
Kwon Young-Woo (권영우) was considered a pioneering figure in the development of Dansaekhwa (or the modern monochrome movement), a Korean painting tradition where artists work predominantly with paper. Born in Korea in 1926, Kwon graduated from Seoul National University’s first art school class in 1951 alongside his contemporaries Park No-Soo, Suh Se Ok, Chang Un-Sang, and Park Sae-Won. He died in 2013.
Throughout his career, Kwon explored the textural abilities of his chosen medium by scratching, tearing, and layering sheets of hanji (traditional Korean mulberry paper) onto canvas and manipulating the material into three-dimensional relief sculptures which were then decorated with ink painting. Later in his career, Kwon removed any trace of representation and worked solely with white paper.
Kwon’s skill in altering a traditional material to reflect themes of Abstract Expressionism has led to him being recognised as one of Korea’s most groundbreaking artists. Recently, the artist’s works have been exposed to new audiences due to a resurgence in interest of the Dansaekhwa movement.
Kwon Young-Woo has been included in recent exhibitions such as From All Sides: Tansaekhwa on Abstraction at Blum & Poe, Los Angeles (2014); Dansaekhwa at Kukje Gallery, Seoul (2015); When Process Becomes Form: Dansaekhwa and Korean Abstraction at the Boghossian Foundation, Brussels (2016); and Dansaekhwa and Minimalism at Blum & Poe, New York (2016).
In 2007, six years before his death in 2013, Kwon donated 70 of his most important works to the Seoul Museum of Art.
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