Byung Ki Kim: Segmentation of Senses, National Museum of Modern and Contemporary Art Gwacheon

National Museum of Modern Art is a “logical and intelligent as an art theorist, charging by nature (大戰) after a while sensitive to trends information on Western art gadadeumeo modern formative consciousness and logic advocated strongly abstract aesthetic in the early Korea contemporary art form.” (Lee Gu-yeol, 1990) The works of Kim Byung-ki (1916-), which was used for the past 60 years, are presented. Born in Pyongyang, Kim Byung-ki internalized his modern life from early on and went to Japan to encounter emerging arts such as abstraction and surrealism. He left Vietnam before the Korean War broke out and played a pivotal role in establishing the foundation of Korean contemporary art as a painter, critic, educator and administrator. The meaning and value of abstraction is the society facing Korean art. Culturally specific context and Kim Byung-ki who closely examines the historical evolution of the abstract art form the early Western art from the discussion in terms of the specificity and universality of acceptance of Western art was constantly asked about a contemporary abstract visual language. He was 1965After attending the Sao Paulo Biennale as a commissioner, he settled in the United States without returning home and worked on his career as a painter. Frontline and met with the Asian civilizations of Western civilization LA works he sent in their abstract and concrete, East and West, nature and culture, spirit and substance, tradition and current, including customary two minutes (II. Min) across the boundaries of not johwaropji the opposing forces It is tied up in unsettled tension. Despite the age of 100, he still empties himself and stops humanistic insights into art and life.

Experiment of Abstract: Mid 1950s to Early 1970s
The charge current is produced when the work (1950 mid’s) from the Dominican (1965 years) after 1970 characterized the work until the early ‘s will be able to call it aggressive experiments with Abstract he was attracted from abroad in Japan in time. Since the mid- fifties, when Informel began to swept through Korean paintings, Kim Byeong-gi, who was more sensitive to trends in the international art world than anyone else in Korea, studied French theory and practice and selectively accepted them in his works. The content and substance rather than of the Informalism of expression of human existence after he noticed, was ever calligraphy beauty and surreal as a double image also evokes mystery and seosaseong found in the format. In the New York state (Saratoga), the artist’s interest naturally extended to abstract expressionism. For him, abstraction was not an opposition to literary or realism but to include and surpass it.

Coexistence of shapes and non-forms: Early 1970s to late 1980s
1970 CM’s from the early beginning to reveal a strong presence and, this material is still life and landscapes that he will cheonchak throughout his life take root on the canvas. While the gaze of the artist stayed in everyday life art tools in the workshop, pottery, broken by the roadside on Wild Grass, such as minor landscape around the house is Saratoga fills the screen. The appearance of concrete forms was not the frontal confrontation of abstraction or self-contradiction as an artist, but the way of fate that he stepped deeper into the dead end of abstraction. In fact, his abstract paintings have never been favored in life, so the appearance of images is not sudden. His work is not about the types of targets, relates to a dual reproduce this reason and sense of activity that is a reality. This change will not be related to the various concepts and attitudes to art that reappeared in the art world after abstract expressionism. During this period, and not susceptible than anything, drawings and even a zen-likeThe experiment on the expression and the space of (線) is outstanding.

Segmentation of the senses: late 1980s-early 2000s
After returning to his first solo exhibition after the sea bream in the late 1980s, he visited several times until his last solo exhibition in 2000. If the work can be called a political not simply because the landscape of Korea to the material, divided by pictorial language that evokes the heterogeneity in the division manner of the customary sense, a while to reproduce the contradictory reality of tradition and such disconnected modernity double It created a sense of heterogeneity. In this period, his paintings make history and reality appear on the screen as a mystery, invalidating the dichotomous structure of space and time, visible and invisible, surface and depth, thought and action. In form, the line became more bold and rough. Nongmuk (濃墨) crosses the black line screen so thrilling like, and sharply divides the screen long, straight seen from the previous period seemed reveal the absurdity of moderation as too much of an artist bursting emotion or fragmented reality.

Unfinished (未完) aesthetics: 2000 seconds’s – Current
Later years are usually times of compliance. It is time to reconcile with the dissonance of last time, compromise with the time remaining, or tolerate, harmonize and synthesize through contemplation of life. However, Kim Byung-ki, who has survived for a century, is still wary of compromises and compromises, and attempts to create new ones in the ‘gap’. His work reoccurs once again in mid- 2000, ending his 40 -year career in the eastern United States and moving to Los Angeles. As the canvas is filled with California scenery, the strong primaries of previous periods disappear and the sunny skies of Los Angeles and the colors of the yellow earth are cast. The lines that dominate the screen with more advanced handwriting are the scenery of Hollywood Mountain, where the artist’s studio is located, the mountain stream of the homeland, the body of all human beings that will ultimately endure, that is, an infinitely changing but eventually one nature. It is an expression of. His work during this period was ‘ non finito ‘,In other words, it implements ‘unfinished as completion’. The colorful colors and investigations are reduced to the maximum, the layer of pigment is minimized as much as possible, and the background of the canvas and the traces of the work are displayed intact, and the empty space is full in itself. This in jyeotgi mainly drawn as a line rather than fill the screen is displayed, that is the stroke (劃) is made possible by the jyeotgi. The author recognizes the world to the line more than ever a key parameter and, connect the individual mind and external destinations. Baekmyo (白描) near the work cause the spectator layers a transition to another world (轉移) makes repeated.

National Museum of Contemporary Art, Gwacheon, South Korea

The National Museum of Contemporary Art, Gwacheon was designed in 1986 by architect Kim Tae-soo.

It is a family-friendly museum that harmonizes tradition and modernity by applying the Korean traditional space composition method to modern functions.

Gwacheon is a visitor-centered art museum composed of eight exhibition halls utilizing the expertise of each field such as architecture, crafts, photography, painting, sculpture, media, and children’s art museum for children’s education and experience.

You can meet the artworks of nature in the outdoor sculpture hall, and make precious memories at the National Museum of Contemporary Art, Gwacheon, where you can meet Korean modern art living in the indoor exhibition hall.