Posts Tagged ‘Korean art’
Posted by artradar on September 20, 2010
SOUTH KOREA CONTEMPORARY ART INTERVIEW CURATOR
Art Radar Asia recently spoke with German-born curator Tobias Berger, who currently holds the position of Chief Curator at the Nam June Paik Art Center, about the Center’s exhibition “The Penguin that goes to the Mountain“. During this interview, Berger also revealed a few of his observations on living and working in the Korean art environment.
Korean art has always been in the shadow of Japanese and Chinese artistic success, often “dismissed as a mere conduit between the two mega cultures.” This may be because few of the local magazines, exhibition catalogues and other art texts produced on Korean contemporary art are available in English. As Berger states, “There are none. They’re all in Korean. There’s nothing really good in English.” And while the local art scene is perhaps not on par with what can be experienced in these neighbouring countries, Berger notes that the art that is being produced in Korea is of a very high quality, due to good art schools, a diversity of art spaces, talented pioneers and governmental support.
'Shamoralta Shamoratha' (2007) by Inbai Kim was shown at "Korean Eye: Moon Generation" in 2009. Korean Eye was founded in 2009 as a way to support emerging Korean artists by providing international exhibition opportunities.
As a European who formerly lived and worked in the Hong Kong art scene, how do you find the South Korean art scene compares?
“The Seoul art scene is probably the most sophisticated art scene in Asia. It has really good independent spaces, good commercial galleries, interesting art schools and good museums. It has this whole pyramid of different art spaces, exhibition possibilities, and it has a lot of really good and wonderful artists. That level of depth and the level of different kinds of art spaces is incomparable. Certainly in Beijing [you] have galleries, but you don’t have any independent spaces, and in Tokyo it’s also very different.”
How do you keep up to date with the Korean art scene?
That is a problem because it’s all in Korean and it’s very difficult to keep up [with]. I mean, you just go to the 10-15 [art] spaces once a month … and you talk to your friends and your colleagues that go to the big exhibitions…. You just have to look at how it is. There was a [recent] survey show called “Bright Future” but it only had twelve artists.
Tell us about the art school system in Korea? How does it differ from other places?
It’s the most sophisticated [system] because it had some good pioneers [and] a lot of governmental help. [South Korea] has some good art schools and it has a lot of good artists that have studied overseas and come back. This allowed a lot of critical discourse and [there were] a lot of magazines. That allowed the art scene to grow well and in the right way.
Korean art is becoming popular with international collectors. “Korean Eye“, for example, was shown at The Saatchi Gallery in London earlier this year. Can you tell us why you think this is happening now?
“Here in South Korea you don’t feel that there’s much happening. The Korean scene is nothing compared to what’s happening in China…. On the one side, these shows, where this is popular or that is popular, don’t really mean a thing. There is a lot of good art in South Korea and the quality of the art is really on a high level, because art education has been good for 15-20 years. A lot of people are educated in Europe and America and have very good support and certainly output good quality art…. I mean, you don’t want to buy or you don’t want to show an artist because he’s Korean, you want to show an artist because he’s a good artist.”
Related topics: Korean artists, interviews, Tobias Berger, curators
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Posted in Art spaces, Artist-run, Asia expands, Curators, From Art Radar, Generation art, Globalization of art, Interviews, Korean, Museums, Tobias Berger | Tagged: America, art dealers, art exhibitions, art history, art magazines, art market, art museums, art school, art schools, art space, art spaces, art trends, artist-run spaces, artistic expression, Beijing, Bright Future, Chinese contemporary art, Collectors, commercial galleries, critical discourse, cultures, curators, dealers as curators, Emerging artists, emerging Korean artists, Europe, European, gallery art, Globalisation, Hong Kong art scene, independent art spaces, international art, international collectors, international visual language, Julie Anne Sjaastad, Korea, Korean art, Korean art scene, Korean artist, Korean artists, Korean contemporary art, Korean Eye, Lee Ufan, Nam June Paik, Nam June Paik Art Center, publications, Saatchi Gallery, Seoul, South Korea, South Korean art scene, Suh Se-ok, The Saatchi Gallery, Tobias Berger, Tokyo, traditional painting, Transition, urbanism | Leave a Comment »
Posted by artradar on August 24, 2010
KOREAN CONTEMPORARY ART MUSEUM EXHIBITIONS EMERGING ARTISTS
“The Penguin that goes to the Mountain“, an exhibition of contemporary art by young and emerging Korean artists, recently finished up this month at the Nam June Paik Art Center (NJPAC). It took the viewer on a journey from the ordered and well-known to the broken-up and disastrous. Embracing works beyond the visual arts, the exhibition presented practitioners that produced critical and demanding work often relating to the surreal and fictional. Below, Art Radar presents you with images from the exhibition and an interview with NJPAC curator Tobias Berger.
The Nam June Paik Art Center, established to celebrate and illuminate Nam June Paik‘s avant-garde spirit, finished running “The Penguin that goes to the Mountain” last week. The exhibition displayed various methods of expression, including the visual arts, stage productions, media, theatre and animated films from 23 emerging and relatively unknown artists and artist groups. These include:
Mano AHN, Sungeun CHANG, Eunphil CHO, Yeoja DDAN, Subin HEO, Intergate, Jaechoul JEOUNG, Dokyun KIM, Kimoon KIM, Minkyu KOH, Jihoi LEE, Jinwook MOON, Moowang MOON, Sohyun MOON, Adjong PARK, Seungwon PARK, post-EAT, Jinwoo RYU, Rhee SEI, Joonghyup SEO, Mongjoo SON, Hojun SONG, Vaemo, Donhwi YOUN
"The Penguin that goes to the Mountain", an exhibition held at Korea's Nam June Paik Art Center this year. Image courtesy of NJPAC.
Focusing on the concept of “intermedia”, the exhibition proposed imaginative alternative ways to look at artistic production. Deconstructing the art center’s existing space and previously defined exhibition criteria this exhibition pushed the boundaries of the working methodologies of all those involved in its preparation and reception – from the artists and curatorial and technical staff, to the gallery assistants, and even the audience.
The title comes from Werner Herzog‘s 2007 documentary film made in Antarctica called “Encounter at the End of the World“. The film chronicles the story of a penguin that leaves its normal habitat for the unknown world of a mountain. The idea for the exhibition came from the fact that pioneering artists such as the late Nam June Paik dared to explore new territories, combining many often unrelated genres.
Art Radar Asia spoke to Tobias Berger, Chief Curator of Nam June Paik Art Center, to find out more about the exhibition.
What prompted “The Penguin that goes to the Mountain”? What is the mission of NJPAC and how does this show fit with that mission?
It was the need to show some young, edgy new work by professionals from different disciplines; the try out of new curatorial concepts by using some ideas from theater productions; to blur borders between the different disciplines. These are all the parts of the misson of what the Nam June Paik Art Center is showing. Paik wanted this to be ‘the house where his spirit lives on for a very long time’ and showing interdisciplinary young works is certainly Paik’s spirit.
Moowang MOON, 'Neurogenic Plything', 2010. Image courtesy of NJPAC.
Can you tell us about how “The Penguin that goes to the Mountain” is organised? What are the themes?
We took a very strong curatorial approach to the exhibition and it’s basically a voyage from the rather clean and not minimal. The further you go through the exhibition, the more chaotic it becomes and the more difficult it becomes to navigate. There’s a chaotic room, where two walls in the middle are falling down and the works are very tied together … We tried to put in a more kind of theatric setting.
Are there styles or mediums which predominate in “The Penguin that goes to the Mountain”? Why do you think that is?
… we have sculpture to video to photography to big installations. As usual in contemporary art you do have quite a lot of videos.
Sohyun MOON, 'Poisoning of Light', 2007. Image courtesy of NJPAC.
How did you select the artists for “The Penguin that goes to the Mountain”? What characteristics were you looking for?
I think we looked for artists that really went to the edge or over the edge. That is the idea of this penguin that goes to the mountain. It’s a penguin that leaves the others and just goes this way. We more collected different works. It was not a show where we selected ten artists and asked them to do new works. It was more a show where we saw certain works that fitted into the idea of ‘The Penguin’ or into our curatorial context.
Which of your artists has drawn the most interest at “The Penguin that goes to the Mountain”?
There are some controversial video works that are quite challenging. One is talking about the subject of sex, which is a little bit of an interesting subject in South Korea. The other one is an animated video, where [the subject] kind of begins to cut off her fingernails and then her fingertips and then her fingers. It’s an animation, but it’s also quite visual. I think these works are quite controversial, but also in a good way controversial.
Mongjoo SON, 'The Animals Were Gone', 2008. Image courtesy of NJPAC.
The artists in “The Penguin that goes to the Mountain” are all emerging or young artists. What problems do you see for young artists compared with older generation artists working today? In what ways are young artists fortunate, as compared with older artists?
They all have problems and challenges. It’s going to be interesting, how do we justify and how do we not justify them? How do we relate to the art of the older generation? How do we look at it and how do we look at the artist in their mid-career. How do we judge them? You need curators, writers and critics that can evaluate different types of art. Museums can be stiff and kick out the most avant-garde. Maybe because they’re not commercial, maybe they’re a bit too challenging, maybe they’re too critical. So it is the question of the entry into the galleries or the museums or the institutions. A lot of times, the most interesting artists don’t find galleries because if you’re a media artist or performance artist your work doesn’t sell as easily as a painter. But you’re still certainly a much more interesting artist than a certain painter. How do we find a way to deal with that problem? So it has nothing to do with older or younger. It has more to do with genres.
How do you find dealing or working with young artists as opposed to established artists?
They are certainly much more involved in the process and much more interested in what’s going on, more than the established artists that have done big shows in museums many times. For [the young artists], it’s the first time to do an institutional exhibition and that brings a certain tension, but it’s basically good tension that brings out new works and quite interesting work.
Does NJPAC intend to feature other works from students, graduates or emerging artists?
In [“The Penguin that goes to the Mountain”], we cared if the work fitted into the context of the exhibition. Certainly we didn’t care if it was a young artist or an established artist, or if he’s Asian or European. But sure, we will in the future invite students or just-freshly-graduated artists again.
Hojun SONG, 'G.O.D.', 2009. Image courtesy of NJPAC.
Have there been any unusual, unexpected or interesting responses to “The Penguin that goes to the Mountain” from the viewers and critics?
It’s Paik Art Center. People expect tough or different art…. I think the people who come here know what they can expect. There was nothing surprising or unusual, because people expect the surprising and unusual at Nam June Paik Art.
“The Penguin that Goes to the Mountain” ran from 5 June until 22 August this year at South Korea’s Nam June Paik Art Center.
Tobias Berger also spoke with us about the Korean contemporary art scene: how accessible it is to non-Korean speakers; the current worldwide popularity of Korean art; the innovative non-profit art spaces in Korea. We will present this interview on Art Radar in the coming weeks.
Related Topics: Korean artists, museum shows, interviews, installations
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Posted in Artist Nationality, Computer animation software, Curators, Emerging artists, Events, Generation art, Installation, Interviews, Korea, Korean, Medium, Museum shows, Museums, Photography, Professionals, Sculpture, Styles, Tobias Berger, Venues, Video, Virtual | Tagged: Adjong PARK, animation, art school, art students, controversial art, Dokyun KIM, Donhwi YOUN, Encounter at the end of the world, Eunphil CHO, Hojun SONG, Intergate, Intermedia, Jaechoul JEOUNG, Jihoi LEE, Jinwoo RYU, Jinwook MOON, Joonghyup SEO, Julie Anne Sjaastad, Kimoon KIM, Korean art, Korean art scene, Korean artists, Korean contemporary art, Korean emerging artists, Mano AHN, Minkyu KOH, Mongjoo SON, Moon Moowang, Moon Sohyun, Moowang MOON, Nam June Paik, Nam June Paik Art Center, post-EAT, provocative art, Rhee SEI, Seoul, Seungwon PARK, Sohyun MOON, Son Mongjoo, Song Hojun, Subin HEO, Sungeun CHANG, The Penguin that goes to the mountain, Tobias Berger, Vaemo, visual arts, Werner Herzog, Yeoja DDAN | Leave a Comment »
Posted by artradar on August 10, 2010
KOREAN ARTISTS WESTERN EXPOSURE
The Saatchi Gallery in London once again hosted the popular exhibition “Korean Eye“, which showcases emerging Korean artists to the West. This year the exhibition will travel; in October and November it will travel to Singapore and Seoul with the aim of reaching a wider audience.
“Korean Eye,” founded by curator David Ciclitira, specialises in introducing Korean artists to the international market, giving them recognition outside the Asian region. The first exhibition, “Korean Eye: Moon Generation” in 2009, was extended due to its popularity, reaching 40,000 visitors in two weeks, and ultimately drawing a total 250,000 visitors.
The 2010 exhibition “Korean Eye: Fantastic Ordinary” hosts over thirty works by twelve talented Korean artists with little prior exposure to the Western market. This year the show started off at the Saatchi Gallery in London, and will move to Singapore in October and Seoul in November, to coincide with the G20 Summit.
Bae Joon Sung, 'The Costume of Painter - Drawing of Museum R, J. L. David lie down Dress Inn', 2009, oil and lenticular on canvas, 181.8 x 259.1 cm.
The ten artists participating in this years exhibit are: Bae Chan Hyo, Bae Joon Sung, Gwon Osang, Young In Hong, Jeon Joonho, Ji Yong Ho, Kim Dong Yoo, Kim Hyun Soo, Park Eun Young, and Shin Meekyoung. In addition, 2009 Joong Ang Fine Art Prize winner Jeon Chae Gang and Perrier-Jouet nominated artist Lee Rim will join the list of members.
The success of the franchise clearly shows a rise in interest towards Korean art, but may also have something to do with shrewd management. In a 2009 Art Radar interview, “Korean Eye” founder David Ciclitira revealed his views on the future of the art industry and his unique take on the management of art exhibitions, both of which should involve not only collector and auction house input but also government support and bank sponsorship.
What I’ve found interesting in this whole learning process is how unsophisticated the art world is, because when you work in major sports events, there are more dates, so much more research, everything is television linked to media values, and art feels amateur when you look at how they do things, and it’s no small wonder that when they need to raise massive money, they find it quite hard.
“Korean Eye” is funded by Standard Chartered, one of Britain’s largest banks, and features each of its artists along with a catalogue of their work to create an international selling environment for the brand new Korean works. It has opened up a window of awareness for Korean art in the West and suggests a rise in Korean contemporary art sales in future.
Plans for the 2011 and 2012 exhibitions have already been made and involve further expansion. “Korean Eye” will continue at Saatchi Gallery in 2011 and in 2012, and in 2012, plans have been made to expand “Korean Eye” over the entire gallery, where works will be selected and curated by Charles Saatchi and the gallery’s team.
Related Topics: David Ciclitira, gallery shows, Korean artists, venues – London
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Posted in Asia expands, Business of art, David Ciclitira, Gallery shows, Korean, London, Promoting art, Trends | Tagged: art curators, art exhibitions, art management, art market, art professional interviews, art professionals, Asian art market, Bae Chan Hyo, Bae Joon Sung, banks and art, British bank, business of art, Charles Saatchi, contemporary art in Korea, curators, David Ciclitira, emerging Korean artists, G20 summit, gallery shows, government funding, Gwon Osang, Hong Young In, interviews with art professionals, J. L. David lie down Dress Inn, Jeon Chae-gang, Jeon Joon Ho, Ji Yong Ho, Joong Ang Fine Art Prize, Kim Dong Yoo, Kim Hyunsoo, Korean art, Korean art exhibitions, Korean art in international market, Korean art market, Korean artists, Korean contemporary artists, Korean emerging artists, Korean Eye, Korean Eye: Fantastic Ordinary, Korean Eye: Moon Generation, Lee Rim, London, Maya McOmie, Park Eun Young, Perrier-Jouet, Promoting art, Saatchi Gallery, Seoul, Shin Meekyoung, singapore, Standard Chartered, The Costume of Painter - Drawing of Museum R | Leave a Comment »
Posted by artradar on May 16, 2010
It is now 30 years since the National Museum of Contemporary Art in Gwacheon, Korea, held its first Young Korean Artists exhibition. The exhibition, founded in 1981, quickly became a fundamental one within Korea and around the world, renowned for recognizing and exposing local artistic talent.
Kim, Ho-Suk, (Hwang, Hee), 1988
An instrumental exhibition
The Young Korean Artists exhibition (renamed New Talent Exhibition in 1990) is the museum’s oldest and most representative show, known for recognizing many of Korea’s most internationally renowned artists. This year’s exhibition, the 30th Anniversary of the Young Artists exhibition, will showcase original works by participants in the first 1981 show, as well as works spanning the following thirty years. There are 327 invited participants, many of them still “young” while others, particularly artists from the first shows, are now in their 50s and 60s.
Suh, Do-Ho, Staircase, 2009
Thirty years of contemporary Korean artists
200 works from a variety of mediums – painting, photography, sculpture, video and installation – will be represented here. The space has been divided into two sections: Young Korean Artists, spanning the 1980s to 1990s, and New Talent Exhibition, focusing on works produced in the 1990s to now.
Among the artists represented in the exhibition Bohn-Chang Koo, Do-Ho Suh, Bul Lee and Choi-Jeong Hwa enjoy international recognition, while five others, Ho-Suk Kim, Sang-Kyoon Noh, Yeong-Bae Lee, Hyun Chung and Yong-Sun Suh, have been named Artist of the Year by the National Museum of Contemporary Arts.
Koo, Bohn-Chang, In the Beginning, 1994
Exhibition a gateway for the new
While primarily a retrospective historical art event, this exhibition is also being used by the museum as a launching pad for New Tides, a future exhibition aimed at discovering and exposing up and coming artists.
The 30th Anniversary of the Young Korean Artists Exhibition at the National Museum of Contemporary Art, Korea, closes on 6 June, 2010.
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Posted in Art spaces, Emerging artists, Events, Korea, Korean, Museum shows, Museums, Venues | Tagged: 30th Anniversary of the Young Artists exhibition, Bohn-Chang Koo, Bul Lee, Choi-Jeong Hwa, Do-Ho Suh, emerging Korean artists, Hee), Ho-Suk Kim, Hyun Chung, In the Beginning, installation, Kate Nicholson, Korean art, Korean contemporary art, Korean emerging artists, museum retrospective exhibitions, National Museum of Contemporary Art Korea, New Talent Exhibition, New Tides, Painting, photography, Sang-Kyoon Noh, sculpture, Staircase, Video, Yeong-Bae Lee, Yong-Sun Suh, young Asian artists, Young Korean Artists exhibition | Leave a Comment »
Posted by artradar on May 10, 2010
KOREAN ART ASIAN ART PRIZE
Art Radar Asia is pleased to bring you an article by guest contributor, Kate Bryan. Her article, Hybrid Graces, presents an in depth insight into the work of Debbie Han, the first Korean artist to be awarded the Sovereign Asian Art Prize. Han’s work is a useful starting point for exploring the status of contemporary art and culture in Korea today.
A Sovereign Winner
Earlier this year Debbie Han became the first Korean artist to be awarded the Sovereign Asian Art Prize, the biggest accolade of its kind in the region. The presentation of the award to Han can be seen in the context of a shift away from Korean art as an enigmatic, closed world to a thriving, open and accessible contemporary art market. That said, Korean artists are yet to penetrate mainstream consciousness, but if the quality of the work being produced by Han is anything to go by, it will not be long until they do.
Seated Three Graces
Han was awarded the Sovereign Asian Art Prize for Seated Three Graces, which subsequently entered the hallowed Sovereign Art Collection. The work is part of the Graces series which combine the typical body of a Korean woman with the face of an idealised Greek sculpture.
Debbie Han, Seated Three Graces
The composite form is painstakingly digitally rendered to look like marble, pixel by pixel for optimum realism. Subverting the practice of figurative sculpture and portrait photography, Han navigates the boundaries between illusion and reality and between western standards of ideal beauty and the reality of contemporary Asian women. Beyond the scrupulous technique and unexpected crossbreed form, the viewer is quickly drawn into the debate which Han instigates. “Beauty is a cultural conception and has long pervaded art history, what can be a better of way of understanding a given culture than through navigating this phenomenon?” Central to Han’s work is an enduring interest in how human experience is shaped and conditioned by contemporary culture, and as such the Graces series provides a sharp insight into the specifics of the world in which they were created.
A Korean artist?
Han’s interest in culturalisation makes her practice a useful starting point for a look at the developing status of both the contemporary Korean art market and Korean culture in the twenty first century more widely. That said, Han is actually an atypical Korean artist; in fact she resists the generalised label strongly. Han emigrated to the U.S. with her family as a child and went on to complete her art major at the University of California and her MA at the Pratt Institute in New York. Having begun her career in the U.S., she returned to Korea only in 2003 for an artist residency programme. Han was a stranger to Seoul and her unique perspective as a culturally disembodied artist propelled her to document what was happening in Korea and in Asia more widely. “I had a strong desire to interrogate what my Asian identity was and became overwhelmed by the inherent westernisation at all levels in both society and art.” Despite the ‘identity crisis’ that sparked her profound creative journey of the last decade, Han could not be described as an unsure woman. She is a strong intellect with a mind that constantly questions the world around her.
The Beauty Myth
Han was effectively an ‘outsider’ to the art world when she returned to Seoul and it is this objectivity that lends her work such strength. As an American-Korean woman navigating the city, Han was immediately struck by the forcefulness of the western beauty mantra. Korean women were spending billions on cosmetics and plastic surgery to conform to an ‘ideal’ type of beauty, specifically a eurocentric beauty. “The perversity of the situation became clear to me when I learnt that women would have cosmetic surgery to make their eyes more western before their first job interview, it was a new rite of passage.” More than 60% of women in Korea have undergone cosmetic surgery and the numbers are on the increase. The act is no longer a choice made by a liberated individual, but a survival tactic. A telling indication of the seriousness of the situation is found in language – the term for having your face done in Korea is literally ‘face correction.’
Sensation with Content
Navigating what the polemic feminist author Naomi Wolf described as ‘beauty myths’, is characteristic of an artist whose raison d’être is to understand the world around her and present complex issues to the viewer in order to raise debate. Han’s work has always been characterised by the dual forces of painstaking, diverse craftsmanship and pieces which demand attention, cause shock or surprise the viewer. These tactics are combined to address questions of personal identity and larger social patterns. An early example is the Hard Condom Series (2001-2003) where small bronzes take the form of soiled condoms, an object which arouses great discomfort. Han therefore interrogates the complexities of society’s reaction to something as innate as sex.
Debbie Han, Hard Condom Series (2001-2003)
Han’s work is certainly conceptual, but is in many ways a direct rebuttal of the earlier conceptual artists she encountered as a student. “For me, ideas will always be important and central to my work. You cannot create things just to cause a sensation, they have to have content. But on the other hand when I first saw conceptual pieces at college I was disappointed that they were not visually compelling or creatively unique.” Han bridges this gap between ideas and form, producing works that make us stop in our tracks for one reason or another, marvel at the craftsmanship and then engage with the issue at hand.
Beauty as Sport
In 2008 the artist created a departure in her practice by beginning to employ Korean lacquer on wood inlaid with mother of pearl, a technique which demands over 20 processes to produce one work. Employing a medium which dates back thousands of years, Han’s challenge was to incorporate Korean inlaid lacquer into the contemporary arena, not only lending it a new relevance but having it underscore her subject matter. Sports Venus I is testament to the great success of the project. The life size lacquer bust is a rich dark brown, completely at odds with the classical white Venus.
Debbie Han, Sports Venus I, lacquer on wood inlaid with mother of pearl
As she puts it, “the reference to ancient Asian culture almost takes over, preventing a traditional appreciation of the classical Venus.” More startling still is the mother of pearl inlay which forms the pattern of a modern football, like an aggressive tattoo, across the face. Venus has entered the arena of sports, making explicit reference to the notion of ideal beauty as a new form of sports entertainment. Han draws attention to the futility of the ideal beauty dogma, “it is just a game – in reality no one can conform to something which is a fabrication, an illusion.”
Food and Sensuality
The illusory nature of ideal beauty is deconstructed in a global series which Han has been working on since 2005. In Food and Sensuality Han collaborates with a regular woman from a given country, refashioning her into a model garnished with food from the culture in which she lives.
Debbie Han, Food and Sensuality (since 2005)
In choosing non-professional models, Han unravels the myths about unattainable beauty by arguing that “any woman can look like a beautiful seductress given the right tools. As an artist I work to bring out to the outmost degree the unique beauty and style in each woman.” Her point is not about the benefits of a good makeover, but more about the breaking down persuasive myths and presenting a new reality. The combination of food – which is often draped over the woman to resemble clothing or jewellery – and female beauty makes explicit reference to the long held advertising mandate that sex sells. Further, in the face of a globalised world, Han rejects the homogeny of culture by identifying its distinctiveness, “food is like language, every culture has their own version and proudly supports it. This is at odds with our notions of beauty. The photographs aim to readdress the balance.”
A New Era
In all of her work Han champions the re-unification of concept and technique. Her philosophy and quest to understand the constructs of the human condition are deeply entrenched in her practice, but she does not allow herself to fall victim to her intellect. Moving between mediums – and never choosing a simple process – Han’s work demands attention not just for its subject matter but for its craftsmanship and distinct visual appeal. Han believes we are entering a new era, a movement without a name, “art must not any longer end with a concept. When I returned to Seoul I saw very thought provoking work in the context of a rapidly changing city, but I wanted to know where the form had gone.” The gravity of the themes in her work coupled with her exquisite dedication to mastering mediums makes Han a worthy prize winner, and for an audience new to Korean contemporary art, a fascinating starting point.
Kate Bryan is a contributing Editor for Asian art News, World Sculptures News and her work has been published in Kee Magazine, The Sentinel, Essence and West East. She received her BA in Fine Art from Warwick University and subsequently worked at the British Museum in London for four years. She recently completed her master’s degree at the University of Hong Kong and is the Deputy Director of The Cat Street Gallery.
Editorial disclaimer – The opinions and views expressed by guest writers do not necessarily reflect those of Art Radar Asia, staff, sponsors and partners.
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Posted in American, Body, Debbie Han, Eyes, Female form, Food, Human Body, Kate Bryan, Korean, Lacquer, Mythical figures, Photography, Prizes, Sculpture, Sport | Tagged: art prizes, Asian identity art, beauty myth, contemporary lacquer art, cultural identity art, Debbie Han, digital art, female figure in art, Food and Sensuality, Greek sculpture, Hard Condom Series, Identity art, inlaid lacquer, Kate Bryan, Korean, Korean art, Korean conceptual art, Korean photography, Korean sculpture, Naomi Wolf, Seated Three Graces, Sovereign Art Collection, Sovereign Art Prize, sport in art, Sports Venus I, women in art | Leave a Comment »
Posted by artradar on April 13, 2010
- “Out of Frame” video still
Courtesy the Artsonje Centre
KOREAN CONTEMPORARY ART
Netherlands-based Korean artist Yang Ah Ham turns her focus on the art world itself.
In her work “‘Chocolate Head” , a series of head sculptures of famous curators around the world, the art world becomes an unusual subject in her multimedia solo show “Adjective Life in the Nonsense Factory” at Art Sonje Center in Korea in March – April 2010.
Her works which focus on the individual are defined, she says, by adjectives, rather than verbs or nouns.
As a companion piece to Ham’s melted chocolate sculptures, she has also produced a video called “Out of Frame” which captures performance art based around the chocolate heads. This series of works examines power and the tension it creates.
Another piece “Collected Anonymous 2006-2007,” features a collection of elastic hair bands that Ham found in the streets of Amsterdam. She brought them back to Korea and conducted DNA tests, even though there was little way of finding out whom the hair bands belonged to.
Read more: KoreaTimes.co.kr
Get info: Artsonje.org
See videos: InsaArtSpace.or.kr
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Posted in Events, Food, Fragile art, Human Body, Identity art, Korea, Korean, Performance, Sculpture, Video | Tagged: Adjective Life in the Nonsense Factory, Arabella Devine, art, art about art, art about curators, art exhibition, art news, art show, artist, Artsonje Centre, Asian art, chocolate sculpture, contemporary art, exhibition, Holland, Korea, Korean, Korean art, Korean contemporary art, Korean contemporary sculpture, Korean contemporary video, Netherlands, Nonprofit, Out of Frame, sculpture, Seoul, show, Video, Video art, Yang Ah Ham | Leave a Comment »
Posted by artradar on November 17, 2009
It may be of some surprise that Asian artists have outperformed their Western counterparts in “first time auction results” during the height of the art market boom. According to ArtPrice’s 2008/2009 contemporary art market report, buyers are giving Asian artists new to the auction market stronger backing than new Western artists.
This support is evident in the high proportion of Asian artists achieving the top hammer prices: 64% of the “top 50 best hammer price for new auctioned artists in 2008” were given to Asian artists predominantly from China, Japan and Korea.
Of the top 10 best first-timer hammer prices, half were given to Chinese artists born between 1949 and the early 1960s. The top price of Euro 347,510 was given for a work by the artist You Jindong (b 1949) known for his works created with gunpowder.
© ArtPrice, TOP 50 Best hammer price for new auctioned artists in 2008
Out of the three main Asian countries (China-24, Korea-4, Japan-3) represented in the list, Chinese artists’ prices have had the most dramatic reduction from the high point in 2008. Although times are different now, the price correction within the contemporary Chinese art market has significantly lowered the price barriers for collectors. It is considerably more economical to purchase “new auction artists” in 2009.
So Hing Keung's photograph titled "Central, Hong Kong, 1998" sold for USD 4,515 at Sothebys in Hong Kong on October 6th, 2009
In recent Sotheby’s auction in Hong Kong on October 6th, the average price for a Chinese “new auction artists” was drastically lower at USD 12,000 compared to USD 130,000 during the previous year. In addition to Chinese contemporary art, the price barriers for contemporary Japanese and Korean art remains accessible in the current market.
Korean artist Lee Kyoung Mi's painting titled "San Francisco on the Table" sold for USD 12,255 at Sothebys in Hong Kong on October 6th, 2009
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Posted in Auctions, Chinese, Japanese, Korean, Market watch | Tagged: art auctions, art market, art prices, artists new at auction, Asian art, Asian art market, Chinese contemporary art, contemporary art, first-time at auction, Japanese art, Korean art, You Jindong | Leave a Comment »
Posted by artradar on October 16, 2009
SOTHEBY’S AUCTIONS HONG KONG CONTEMPORARY ASIAN ART
Although called a Contemporary Asian Art auction, this sale was dominated by Chinese artists which was a canny move by Sotheby’s given that mainland liquidity is driving prices of property in Hong Kong to record high prices of US$1,000 per square foot and sending Chinese stock markets soaring. According to Bloomberg, Chinese money supply has grown by 55% since the beginning of 2007 compared with 20% in the UK and US.
Some of this liquidity has found its way into the art market at this auction. Mainland buyers were active and revealed some surprising preferences.
Hong Kong artists back in a second showcase
Sotheby’s followed up its inaugural and successful showcase of 8 Hong Kong artists in the ‘Spring auction earlier this year with an expanded selection of works by 10 artists. Affordable prices meant that all but two of the works found buyers with successful bids mostly coming in around estimates.
Simon Go, Hong Kong Old Shops, Inkjet on Bamboo Paper
Works by two artists, sculptor Danny Lee and photographer Simon Go who were both new to the auction this year, did better than estimates. Danny Lee produces stainless steel sculptures which are reminiscent – though in a more organic liquid form – of the stainless steel scholar rocks made by the world-renowned sculptor Zhan Wang whose works have been collected by institutions such as the British Museum . Danny Lee’s Mountain and Stream IV sold for HK$170,000 against a top estimate of HK$160,000 (before premium). (US$1 = HK$7.7)
Danny Lee, Mountain and Stream IV, Steel wood
Simon Go’s set of 2 photographic works called Hong Kong Old Shops: Wing Wo Grocery and Keng Ming Mirror Shop achieved a price of HK$80,000 against an estimate of HK$30-50,000 (before premium). This lot points to several collector trends. According to Larry Warsh, a New York-based dealer, there is a growing interest in Chinese photography and Wing Wo Grocery ( an image of a family clan in an old-style grocery shop from the colonial era recently shut down in preparation for urban renewal) embodies trends identified at an ArtInsight seminar last month called ‘Trends and Opportunities in Photography” . The panelists identified documentary photography and ‘slice of lif’e’ photography as hot areas for collectors now.
The biggest story of the Hong Kong part of the sale was Tsang Tsou Choi’s calligraphy which saw excited bidding between several bidders in the room and on the phone resulting in a price (before premium) of HK$400,000 which was 8 times the lower estimate of HK$50,000. Work by this artist now deceased was also a surprising success in the Spring 2009 auction perhaps because of local media and public interest in the eccentric behaviour he displayed in his long art career.
Tsang Tsou Choi, Calligraphy, Acrylic on Canvas
In our Sotheby’s Spring 2009 auction post we wrote:
Tsang, Tsou Chin aka The Kowloon Emperor is a Hong Kong legend, famous for his calligraphy graffiti which he painted on public furniture. Undeterred by numerous warnings he roamed the streets for 50 years laying down his family genealogy and his personal history as an emperor in exile in blatant defiance of the Queen and English colonial rule. Deemed a lunatic by some, he was nevertheless recognised when in 2003 he became the very first Hong Kong artist to exhibit at the Venice Biennale.
Cynical Realist artists are back
In the next section of the sale a series of Chinese sixties-born artists, many from the Cynical Realist and Political Pop movements (Yue Minjun, Feng Zhenghjie, Zeng Fanzhi, Fang Lijun, Zhang Xiaogang) came under the hammer with hefty estimates of several hundred thousand and up to around $5 million per lot.
Yue Minjun, Hats Series - The Lovers, Oil on Canvas
On a visit to London last month Art Radar heard several Western commentators describing Chinese art as ‘old’, ‘tired’ and ‘done’. This auction showed clearly that there are keen buyers for Chinese artists of this era who are willing to pay robust prices. Room bidders were mainly middle-aged Chinese men, who are perhaps collectors or more likely dealers for a growing middle class market in the mainland. Most lots in this section sold at estimate and some well above. Yue Minjun’s ‘Hats Series – The Lovers’ attracted several room bidders and a phone bidder eventually selling for HK$5.3m against a top estimate of HK$3.5m.
Institution-endorsed Chinese artists of the fifties and sixties meet price resistance
Wang Keping, Untitled, Wood
It is no secret that Western critics regard some of the Cynical Realist artists as lightweight and lacking in intellectual rigour. Instead major institutions such as the Royal Academy and British Museum in London have favoured and endorsed other mid-century born artists such as gunpowder artist Cai Guo-Qiang and Xu Bing, famous for his invented calligraphy . These artists sold well at lower price levels but lots with high estimates met resistance and failed. Cai Guo-Qiang’s Money Net No 2, part of Royal Academy of Art Project (estimate HK$4.7m – 5.5m) and Xu Bing’s Silkwom Series – The Foolish Old Man Who Tried to Remove the Mountain (estimate HK$5m – 5.5m) were bought in.
Frowns for part-increment bids
What we did see at this auction was a much stronger resistance by the two auctioneers in this marathon four-and-a-half hour sale to partial bids. In recent auctions we have seen bidders make counter-offer bids at increments lower than standard. In the recent past these were accepted with alacrity by genial auctioneers. At this auction bidders were left waiting, frowned at and as often as not turned down.
Zhang Huan upset
Zhang Huan, My New York, Chromogenic Print
, formerly a performance artist and more recently a sculptor and installation artist known for his works in ash and animal skins had 5 lots in the sale. Despite backing by big-boy galleries in London and New York (Zhang Huan currently has an installation at White Cube in Picadilly London) four of his works including two sculptures and two chromogenic prints were bought in. The only work which was successful was a chromogenic print (numbered 3/8) recording his early endurance performance art which sees him running barefoot along the streets covered in raw meat. This work exemplifies another trend identified at the Artinsight photography seminar: growing interest in photographic documentation of performance art.
Sculpture had a mixed performance. Apart from Zhang Huan’s two failed lots and one by Hong Kong artist Kum Chi Keung, there was a surprise pass on Japanese artist Yayoi Kusama’s pink polyester mannequin Self-Obliteration (estimate $550-650,000). Most of the rest of the ten or so sculptures including Wang Keping’s wooden female forms, Zhang Wan’s scholar rocks, kitsch sculptures by the Luo Brothers and Huang Yan and a run of five works featuring sculpted heads and figures (by various artists) sold at or above estimate.
Li Hui, Amber Dragon, Neon and steel
Two lots by neon and steel sculptor Li Hui (1977) were highly sought after and attracted across-the-room bidding. Both pieces were purchased by an Asian family who were active bidders in the preceding sale of South East Asian art. The family also acquired an acrylic on canvas by Japanese artist Hiroyuki Matsuura and another by Ryuki Yamamoto. Traditionally collectors’ interests cluster geographically and more often than not collectors prefer to buy their national artists though there have been signs of changes. Despite the recession there is still momentum behind this trend of pan-Asia buying.
Chinese photography fluid bidding
A handful of photographs were scattered through the sale but the bulk was found in an eleven lot run in the middle. This run featured sixties-born Chinese photographers such as Hai Bo, Hong Hao, Wang Qingsong, Huang Yan, Cang Xin and Sheng Qi who were active in the nineties and many of whom came to international prominence in 2004 with Christopher Phillips’ seminal exhibition Between Past and Future at the International Center of Photography in New York. Since then major US institutions have been collecting the work of this group as we reported in April 2009:
Hai Bo, Red Guard, Chromogenic Print and Gelatin Silver Print
The J. Paul Getty Museum is the latest institution to add works by Chinese contemporary artists to its holdings. Others include New York’s Museum of Modern Art, which recently acquired 28 works for its photography collection, the Museum of Contemporary Art in Los Angeles, and the Brooklyn Museum, as well as global institutions such as the Tate and the Pompidou Center.
“The acquisition of these works (Wang Qingsong, Hai Bo) affirms an important new direction for the Getty,” says noted photography dealer and collector Daniel Wolf, who helped establish the museum’s collection in the 1980s. “It reflects an interest in expanding the collection in this category.”
Prices were affordable and bidding was fluid. While editions were limited to the 8-20 range and many of the lots were made up of multiple images, sales were made at estimates which were surprisingly affordable. Most lots sold for between HK$40-75,000. Wang Qingsong’s triptych photograph Past Present, Future which sold at estimate for HK$260,000 was the exception. One buyer snapped up several lots.
One upset was lot 765 by Cao Fei which was passed in. Her works are inspired by the internet, video games, role-playing and the virtual world and she has received wide coverage in London and beyond after a recent show at Battersea Power Station organised in conjunction with the Serpentine Gallery.
Japanese and Korean art
The sale was dominated by Chinese artists but there was a run of cartoon-style art, many by young Japanese artists, a third of the way through the sale which sold at prices HK$50-150,000. Heavyweight Japanese artists were priced much higher but did not always sell or meet the estimate. Yoshimoto Nara’s It’s Everything sold at HK$3.3m compared with an estimate of HK$3.8-HK$5m. Work by Yoshitaka Amano (described by Time Out as ”the Japanese anime legend behind the Final Fantasy video game” and who attracted spirited phone bidding in the spring sale 2009) was passed in. Takashi Murakami was the exception achieving HK$520,000 for an untitled 1/50 edition screenprint carrying an estimate of just HK$50-70,000. Korean works also achieved mixed results.
Long long auction
The final run of 11 lots saw 6 passes despite affordable prices. This result is probably not worth analysing in depth as it likely had more to do with the numbing length of the 4-5 hour 2 auctioneer sale which saw a packed room of 200 or so dwindle away to 30 or 40 tired stalwarts at what felt like the dog-end of the sale. Perhaps Sotheby’s who charged for coffee and catalogues again this year is still in cost-slashing mode. Let’s hope that by next year there will be enough new money supply for a return to more coffee breaks and free coffee.
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Posted in Auctions, Business of art, Cai Guoqiang, Cao Fei, Cartoon, China, Chinese, Hong Kong, Hong Kong Artists, Japanese, Korean, Li Hui, Market watch, Photography, Sculpture, Takashi Murakami, Xu Bing, Yayoi Kusama, Yoshitaka Amano, Yue Minjun, Zeng Fanzhi, Zhang Huan, Zhang Xiaogang | Tagged: art auction, art auction Hong Kong, art auctions, Asian auction, Asian auction news, Cai Guo Qiang, Cang Xin, Cao Fei, Chinese photography, cynical realism, Danny Lee, Fang Lijun, Feng Zhengjie, Hai Bo, Hong Hao, Hong Kong art, Hong Kong Artists, Huang Yan, Japanese art, Korean art, Li Hui, Luo Brothers, Political pop, Sheng Qi, Simon Go, Sothebys Hong Kong, Sothebys Hong Kong sale, Sotheybs, Takashi Murakami, Tsang Tsou Choi, Wang Keping, Wang Qingsong, Xu Bing, Yayoi Kusama, Yoshimoto Nara, Yoshitaka Amano, Yue Minjun, Zeng Fanzhi, Zhang Huan, Zhang Wan, Zhang Xiaogang | Leave a Comment »
Posted by artradar on October 7, 2009
PHOTOGRAPHY MARKET TRENDS
At a seminar held in London in September 2009 organised by ArtInsight three London-based photography market experts from a fund, a gallery and a major auction house shared their views on the most promising opportunities and interesting trends in photography today.
We attended the seminar and have teased out surprising facts and intriguing assertions for you to mull.
Background to the photography market
- First photography auction was held in 1971 initiated by Sotheby’s.
- Over the past 15 years, this medium has out-performed every other major medium including sculpture, prints, painting and sculpture.
In its early history this sector of the art market encountered resistance with buyers concerned that the works were not unique and therefore were not a viable investment. The development of controlled limited editioning in the seventies helped allay fears and the market saw steady but modest growth.
This all changed in 1989/1990 which marked the 150th anniversary of the introduction of photography and the market experienced a 45% leap in sales. Further steady growth marked the next 15 years until 2005 after which sales took off. 2006 saw the highest price ever paid for a photograph …US$2.6m.
- Today photography accounts for 2% of total auction sales compared with 75% for painting and 11% for drawing and watercolour.
- Photography has proved to be one of the least volatile sectors in the art market.
- 9 photographs have broken the US$1m level including work by Japanese-American Hiroshi Sugimoto.
Why has interest in and sales of photography increased?
Nobody know for sure but various reasons have been offered including relative affordability, the introduction of controlled editioning, a loyal customer base and increased market transparency.
There is growing interest and, arguably, opportunities in the following four subsectors of photography:
- fashion and celebrity photography
- reportage-style photography
- phot0graphs recording ephemeral art forms such as performance art and land art
- “slice of life” photography – a vernacular style dealing the everyday real life as its subject
Brett Rogers of the Photographers Gallery noted the development of a sub-genre she called “constructive fiction” which blurs the boundaries between fact and fiction crossing the techniques of the photo-journalist and fine artist.
In an interesting twist she forsees gains for collectors of photography books and advises buying first editions and examples of rare, early books. Explaining that books usually feature the very best of an artist’s work, photography books can deliver enormous joy as well as potential financial dividends.
Matt Carey-Williams, Director of Christies Post-War and Contemporary Art recommended photographs from the 1930s to 1950s – a seminal period in the development of photography as an art form – and which he believes are “massively undervalued”.
Global opportunities in photography
During question time, the panel was asked where they saw opportunities in emerging countries and the following recommendations were made.
- Visit Sharjah and Biennial and Art Dubai to see interesting work from the Middle East and Iran.
- Explore Central Asian countries.
- Korea has huge potential.
- Female Indian artists are producing some interesting work.
It was agreed that Chinese photography seemed “a little old” though Matt Carey-Williams said that it would look “remarkably fresh again in twenty years”.
Current challenges facing the market
Conservation of photographs– One of the most pressing challenges today is developing guidelines for acceptable conservation work. Colour photographs fade and some artists and galleries will ”refresh” (reprint) the works and some refuse. As museums are beginning to collect contemporary photography on a large scale, panellists felt that it was likely that this issue would be resolved
Is photography a separate genre? – Recognising that artists now work in many media. there are questions about whether it is appropriate or useful to dedicate parts of the market such as galleries or funds exclusively to photography. Matt Carey-Williams explained that as an auctioneer he regards artists as artists first and photographers second. Brett Rogers noted that this trend away from a specialisation in photography is due to a change in the way art schools teach. A consequence of a broadening of focus though is that less attention is given to technique. Image is more important than technique for young photographers today.
(Editor’s note: It is may also be a sign of market maturity – specialist focus marketing and promotion is necessary for an emerging section of the market. Today many if not most contemporary art galleries show photography as a matter of course. Just as photography is integral to and fully-accepted in today’s art world on equal terms with other media we at Art Radar are looking forward to the day Asian art is given equal weight with other geographies in art media and we can drop Asia from our name).
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Posted in Celebrity art, Documentary, Indian, Iranian, Korean, Land art, Market watch, Middle Eastern, Photography | Tagged: blurring fact and fiction in art, Brett Rogers, celebrity photography, conservation of photographs, constructive fiction, contemporary photography, emerging photographers, fashion art, fashion photography, Hiroshi Sugimoto, Korean art, Matt Carey-Williams, Photographers Gallery, photographs of land art, photography market, photography of performance, photography opportunities, photography trends, reportage photography, slice of life art, slice of life photography | 1 Comment »