상단 네비게이션

Current Exhibition

LIST
GMA Collection Exhibition

GMA Collection Exhibition "The Place the Wind Passes Through"

Period
2019.10.22 ~ 2020.02.09
Admission Fee
Venue
Gwangju Museum of Art, 5,6 Gallery
Sponsorship
Gwangju Museum of Art
Number of Works

44 art works(Korean Painting, Oil Painting, Sculpture, Video art, crafts)

Design

○ Serves as an opportunity to study and share the Gwangju Museum of Art’s highly individual and idiosyncratic collections with citizens

Contents

The Place the Wind Passes Through is the Gwangju Museum of Art’s collection exhibition designed as an opportunity for contemporary people who stay afloat, trapped in the social system, to meditate on themselves and look into their inner worlds.

Gaze at (Consciousness and Unconsciousness)
The works on display in this space stress the need for time dedicated to habitual thinking in an extension of everyday life through one’s gaze into the inner self so that one’s life will not be superfluous. Kim Jayi is curious about “me” and poses questions concerning how depression, obsession, apprehension, and twists arise from her inner self in her video An Attack from Questions (2016). Le seuil du regard (2009) by Park Ja-young is a structuralization of the window of meaning which is a channel of communication between the interior and the exterior through a rearrangement of images to create a new effect on perception in the real world. Bodyscape 76-1 (2017) by Lee Kun-yong has the artist gaze at his own world more directly through a body drawing using his own body governed by ideas and consciousness. His body drawing is the result of his own performance and begins from the idea that “there are contents to think about at the sources of human activities.”

Put One’s Heart into (Joy, Anger, Sorrow, and Pleasure)
He can face himself by gaining insight into the feelings of joy, anger, sorrow, and pleasure arising inside him. Kang Sook-ja’s Dream (1991) and Our Joyful Young Days (2003) featuring women who were in a dream, Jung Song-kyu’s Love Story (2014) in which images are completed with a myriad of dots, and Yang Kye-nam’s I Know Why Autumn Is in Red (1992) demonstrate worlds pervaded by love and joy. Lee Dong-hwan’s Rapture and Despair (2013), Lee In-sung’s Different World (2015), and Lee Song’s Waiting (2012) draw out a variety of feelings from viewers, arousing emotions such as loneliness, isolation, sorriness, throbbing feelings, and frustration along with Kim Seong-soo’s Melancholy (2008) that represents humanity’s spiritual deficiency, absence, and depression caused by these things.

Pass by (Daily Space, Memory)
Kim Seola’s Blind Ashes (2015) is a visualization of small beings’ movements using the artist’s keen senses, and it enables viewers to look back on repetitive lives that pass by inexpressively. Cho Hae-young captures scenes left behind after collecting everyday scenes. Her Vittesse-Wood 1 (2013) focuses on the process of perceiving an unknown object while creating an insubstantial distant view. Shin Yang-sob’s White Reminiscences (1992), Ku Ja-seung’s Still Life (1997), Yang Jeong-ran’s Memory Space (2004), and Cho Keun-ho’s Everyday Life (1995) demonstrate the space of life that we remember through memories. Park Su-man’s work is a metaphor for the lives of contemporary people that are fraught with purpose. His Wearing Life (2006) and Or, Any Dream (2013) are an evocation of pure human existence concealed under superficial desires.

Fathom out (I in a Relationship)
Park Gye-hoon’s Candle Moving (2012), Back Young-su’s Face (2012), Shin Ho-yoon’s Archipelago: Island 001-1 (2016), and Kim In-sook’s Tell the Whole with the Part (2016) draw out thoughts to explore the self. Hong Seung-pyo’s Barefoot Man (2009) depicting a biological link to technology and Yoon Il-kweon’s The Myth of Oblivion-Phoenix (2005) are a portrayal of human existence that is transforming in contemporary society. Lee Jo-heum’s Social-Bambi (2013), Byn Ung-pil’s Rank Insignia (2012), Aranya Khunchonwuttichai’s Twin (2013), and Cho Eun-sol’s Disguise (2014) demonstrate images that seem like self-portrait of contemporary people overlaid with severance, absence, and ambiguity whose origin is unknown, regarding each individual as a member of a society.

Artist

Kim Yusub & 37 artists

TagCloud

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