Umbisam
Fraudsters' Hunter
ogni tanto mi diverto a provare quanto siamo provinciali, ed incapaci, in questo paese
abbiamo artisti che hanno fatto la storia, ma i benefici li raccolgono altri, più furbi ed organizzati
la vicenda che prendo ad esempio è quella di un artista coreano, fra i più importanti di quel paese, che passò un anno circa in europa negli anni '60 e scopiazzò alcune idee ... che lo hanno reso famosissimo in patria ed all'estero
l'artista si chiama PARK SEO-BO
questa, in breve, la storia:
Park’s work can be largely divided into four periods. Primordialis period from 1957 to the mid 60s, Hereditarius period from the mid 60s to the 70s, Ecriture period from the early 70s to the late 80s, and Post-Ecriture period from the late 80s to the present. Ecriture (猫法) refers to drawing a line as if one were writing, and in French, écriture means “writing.” As the title suggests, Ecriture (猫法) is a product of drawing a line. In his work, he covers a canvas with paint and draws lines with a pencil on the still-wet surfaces. Then he erases the lines with paint and draws lines again. His work is the process and the result of such act that is repeated over time. In the 1980s, there was a major change in abandoning other types of paper and choosing to use hanji, traditional Korean paper. Fixing multiple layers of wet hanji on a canvas with gel medium, he draws lines using his hand or a stick after soaking the surface with water-based pigments. In his own expression, he repeatedly draws lines in silence like “a monk who endlessly reiterates his chants.” In the 2000s, Park’s Ecriture series evolved from neutral monochromes to colored monochromes. Along with the change in colors, the height of the carved lines became more pronounced, which is particularly more evident from the side view. When looked closely, Park’s hanji piece, where he draws lines countless times, spontaneously and incidentally reveals the unique texture of hanji. It gives a surprising look that is different from how the piece appears from a distance – one intense, solid color. In particular, the Ecriture paintings well embody the Eastern notion of how a painting reaches its completion only after it goes through the process of change over time, the concept beyond the Western methodology of painting where a work is completed when the act of painting itself is ended.
Post-Ecriture series featured in this exhibition has undergone work processes developed through strict analysis and meticulous controls. Fifteen small works in various colors inspired by the nature greet the entrance of the exhibition space, while ten large works installed in the main exhibition hall engage the viewers with their weight and grand presence. In Park’s work, we can appreciate his affection towards paint, surface and materials such as hanji. The importance of materials stems from Korean history and culture. The artist focuses on drawing by creating lines, and these lines form rhythmic energies as they get tied with each other in repeated, parallel motions. Through such repeated movements, he becomes aware of himself and pursues his structural, conceptual, and aesthetic objectives, deepening the psychological and transcendental states within his works.
Late art critic Lee Il pointed at Park and said he is an artist you see once a hundred years, as well as Kim Whanki saw Park to be the most important artist to be recorded in the history of modern and contemporary Korean art.
Park came to be considered as the living history of contemporary Korean art, which was possible because of the passion of the artist who still devotes eight hours of a day in painting, and ceaseless challenges he throws to himself. Park introduced abstract art to Korea during the 1950s in the midst of the culturally barren time, and led the life and path of contemporary Korean art over the past sixty years. He creatively realized what was never experienced, or imagined of, by the early contemporary art. The solo exhibition of Park at Johyun Gallery gives a unique experience to the audience to experience the trajectory of the aesthetic changes pursued by the artist, who has been pioneering contemporary Korean art over a long time with the unique work method of his Ecriture series.
insomma .... lui negli anni '70, inoltrati, ha cominciato a fare il Griffa ... o il La Pietra (della seconda metà anni '60), se preferite
altri suo colleghi hanno fatto il Guarneri, il Cacciola, l'Olivieri
o forse ciascuno ha preso un pò di ciascuno e ne ha fatta la sintesi
tutti, comunque, in qualche misura ispirati da Twombly ...
ed oggi costano centinaia di migliaia di euro, qualche volta anche il milione
sabato sera sono in asta ad HK ... e sono fra le star dell'asta
PARK SEO-BO (KOREAN, B.1931) | Ecriture No. 65-75 (Writing No. 65-75) | 20th Century, Paintings | Christie's
CHUNG SANG-HWA (KOREAN, B. 1932) | Untitled | Paintings, acrylic | Christie's
CHUNG SANG-HWA (KOREAN, B. 1932) | Untitled 80-2-B | Paintings, oil | Christie's
YUN HYONG-KEUN (KOREAN, 1928 - 2007) | Umber-Blue | Paintings, oil | Christie's
sono reputati i "pittori analitici" dell'asia ... e solo in questi lavori costano un botto
siamo bravi qui da noi ...
abbiamo artisti che hanno fatto la storia, ma i benefici li raccolgono altri, più furbi ed organizzati
la vicenda che prendo ad esempio è quella di un artista coreano, fra i più importanti di quel paese, che passò un anno circa in europa negli anni '60 e scopiazzò alcune idee ... che lo hanno reso famosissimo in patria ed all'estero
l'artista si chiama PARK SEO-BO
questa, in breve, la storia:
Park’s work can be largely divided into four periods. Primordialis period from 1957 to the mid 60s, Hereditarius period from the mid 60s to the 70s, Ecriture period from the early 70s to the late 80s, and Post-Ecriture period from the late 80s to the present. Ecriture (猫法) refers to drawing a line as if one were writing, and in French, écriture means “writing.” As the title suggests, Ecriture (猫法) is a product of drawing a line. In his work, he covers a canvas with paint and draws lines with a pencil on the still-wet surfaces. Then he erases the lines with paint and draws lines again. His work is the process and the result of such act that is repeated over time. In the 1980s, there was a major change in abandoning other types of paper and choosing to use hanji, traditional Korean paper. Fixing multiple layers of wet hanji on a canvas with gel medium, he draws lines using his hand or a stick after soaking the surface with water-based pigments. In his own expression, he repeatedly draws lines in silence like “a monk who endlessly reiterates his chants.” In the 2000s, Park’s Ecriture series evolved from neutral monochromes to colored monochromes. Along with the change in colors, the height of the carved lines became more pronounced, which is particularly more evident from the side view. When looked closely, Park’s hanji piece, where he draws lines countless times, spontaneously and incidentally reveals the unique texture of hanji. It gives a surprising look that is different from how the piece appears from a distance – one intense, solid color. In particular, the Ecriture paintings well embody the Eastern notion of how a painting reaches its completion only after it goes through the process of change over time, the concept beyond the Western methodology of painting where a work is completed when the act of painting itself is ended.
Post-Ecriture series featured in this exhibition has undergone work processes developed through strict analysis and meticulous controls. Fifteen small works in various colors inspired by the nature greet the entrance of the exhibition space, while ten large works installed in the main exhibition hall engage the viewers with their weight and grand presence. In Park’s work, we can appreciate his affection towards paint, surface and materials such as hanji. The importance of materials stems from Korean history and culture. The artist focuses on drawing by creating lines, and these lines form rhythmic energies as they get tied with each other in repeated, parallel motions. Through such repeated movements, he becomes aware of himself and pursues his structural, conceptual, and aesthetic objectives, deepening the psychological and transcendental states within his works.
Late art critic Lee Il pointed at Park and said he is an artist you see once a hundred years, as well as Kim Whanki saw Park to be the most important artist to be recorded in the history of modern and contemporary Korean art.
Park came to be considered as the living history of contemporary Korean art, which was possible because of the passion of the artist who still devotes eight hours of a day in painting, and ceaseless challenges he throws to himself. Park introduced abstract art to Korea during the 1950s in the midst of the culturally barren time, and led the life and path of contemporary Korean art over the past sixty years. He creatively realized what was never experienced, or imagined of, by the early contemporary art. The solo exhibition of Park at Johyun Gallery gives a unique experience to the audience to experience the trajectory of the aesthetic changes pursued by the artist, who has been pioneering contemporary Korean art over a long time with the unique work method of his Ecriture series.
insomma .... lui negli anni '70, inoltrati, ha cominciato a fare il Griffa ... o il La Pietra (della seconda metà anni '60), se preferite
altri suo colleghi hanno fatto il Guarneri, il Cacciola, l'Olivieri
o forse ciascuno ha preso un pò di ciascuno e ne ha fatta la sintesi
tutti, comunque, in qualche misura ispirati da Twombly ...
ed oggi costano centinaia di migliaia di euro, qualche volta anche il milione
sabato sera sono in asta ad HK ... e sono fra le star dell'asta
PARK SEO-BO (KOREAN, B.1931) | Ecriture No. 65-75 (Writing No. 65-75) | 20th Century, Paintings | Christie's
CHUNG SANG-HWA (KOREAN, B. 1932) | Untitled | Paintings, acrylic | Christie's
CHUNG SANG-HWA (KOREAN, B. 1932) | Untitled 80-2-B | Paintings, oil | Christie's
YUN HYONG-KEUN (KOREAN, 1928 - 2007) | Umber-Blue | Paintings, oil | Christie's
sono reputati i "pittori analitici" dell'asia ... e solo in questi lavori costano un botto
siamo bravi qui da noi ...
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