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ART BUSAN 2018

INTERNATIONAL ART FAIR BEXCO EXHIBITION CENTER 1 APRIL 20 22

www.artbusankorea.com


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GREETINGS 8

GENERAL INFORMATION 14

2018 ART BUSAN 2018 COMMITTEE 10

CELEBRITY MESSAGES 15

& SPONSORS & PARTNERS 12

SPECIAL FEATURE ARTICLE: 1 22 SPECIAL FEATURE ARTICLE: 2 52 SPECIAL FEATURE ARTICLE: 3 62

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EXHIBITOR LIST 78

SPECIAL EXHIBITIONS 264

FLOOR PLAN 82

CONVERSATIONS 282

GALLERIES 86

SATELLITE PROGRAMS 290

S– S–BOOTH 242 DESIGN ART BUSAN 250

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2018

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GREETINGS President, Artshow Busan Association, Inc. Young Hee SOHN

I am very proud to introduce this year the 7th edition of ART BUSAN. It was first introduced in 2012, with collective desire of transforming this beautiful coastal city of Busan into a refined artistic and cultural hub. And today ART BUSAN has successfully grown as a leading contemporary art fair in Korea, thanks to mayor of Busan SEO Byung–soo, with his grand ambition for cultural prosperity, collective effort and support from the members of ART BUSAN organizing committee, and many art collectors and fans in Korea and overseas. ART BUSAN 2018 will be presenting around 4,000 artworks by carefully–selected 161 galleries from 15 countries. This year collectors and visitors should also note on the special exhibition programs. PARK Eun–sun s renowned marble sculptors from Pietrasata, Italy, will be exhibited at BEXCO Square, and large media art project by collaboration of Korean, Chinese and Japanese artists will attract the audience to a new level of artistic sophistication. Art Accent is our first collaboration with Busan Cultural Foundation that hosts local artists of Busan, which highlights the artistic colors of the city. This year ART BUSAN will be introducing book–talk styled lectures in cooperation with Ananti Cove s Eternal Journey Bookstore, one of the latest summer landmarks in Busan. We will also be offering Art in Spring special film programs at Busan Cinema Center, a main venue of Busan International Film Festival. Finally, this year s VIP opening party is sponsored by Cartier and Busan Museum of Art. With such collective efforts, ART BUSAN strives to turn the entire city into an international art festival, namely, our dream to come true. It is my wish that our programs at ART BUSAN will let you make the most special memories during your stay in Busan. Thank you and happy Spring!

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2018 2018

, ( )

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ART BUSAN 2018 COMMITTEE Organizing Committee

Operating Committee

ART BUSAN 2018

Chairman

Chairman

Office

Byung Soo SUH

Young Hee SOHN

Young Hee SOHN

Busan Metropolitan Mayor

President, Artshow Busan Association, Inc.

Founder, President Mirim LEE Managing Director Youn Young CHO Fair Manager Yoon Kyoung KWAK Finance Manager Seong Min KIM Operations & Communications Manager Kyung Min LEE Media & Public Relations Manager Hyun Joo KIM Domestic & Japan Gallery Liaison Jay Jungyun LEE International Gallery Liaison Min Ji JANG Designer Seong Min KANG Staff Tae Hyung KIM Staff Su Mi IM Staff Da Sol CHO Staff

Members Jae Jin YOO

Chairman of Honor

Chairman, Star Motor Co., Ltd. Jeong Ho BAEK Chairman, Dongsung Group Sung Soo SHIN Chairman, Koryo Industrial Co., Ltd. Moon Ho JANG President, Cheon Young Steel Co., Ltd. Sam Seob CHOI Chairman, Daewon Plus Group Young Suk CHOI Vice Chairman, Golden Blue Co., Ltd. Byoung Mun LIM Chairman, Sung Shin New Material Co., Ltd. Kang Ho CHOI Chairman, Jin young Food Co., Ltd. Jong Ho PARK Director, Busan Centum Hospital Tae Gyeong MOON President, Namhung Construction Co., Ltd. Hyung Khun OH Vice Chairman, Daehan Steel Co., Ltd.

Young Gull KWON

President, Kaywon University of Art & Design Advisor Won Bum PARK

Chairman, Korea Garment Industry Cooperative Auditor Chung Young JO

Partner Lawyer, Law Firm Kukje Members Youn Sik JU

President, WE MEDIA Co., Ltd. Kwang Il KIM CEO, Koworld Holdings Co., Ltd. Mi Young IM Director, Centum Joeun Clinic Gun Hee LEE Visiting professor, Silla University Jin Kyu BACK Lawyer, Law Firm JEONGIN Kate Hyun Sook SUNG CEO, Busan Global Village Kwang Hee MOON Chairman, Busan Federation of Textile & Fashion Industry Association Tiffany Sook Yee PARK Director, Muine Busan Branch Office Jung Woo YOO Project inspection Team/Director, Busan Tourism Organization Maurice C. Y. KIM CEO, Han–mi Supply Co., Ltd. Veronica Kyung Sub LEE Team Leader, Location Support Team of Busan Film Commission Geum Chae SON Director, Keohwa Tech Co., Ltd.

External Cooperation Team Dong Hyun KIM

Exbihition & Project Manager Jackline BYUN Communication External Relations

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& & Organized By

Host Broadcaster

Supported By

Leading Sponsor

Title Sponsors

Partner Sponsors

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SPONSORS & PARTNERS

Managing Partners

Design Partner

Program Partners

Main Media Partner

Media Partners

Lounge Partners

Partner Hotels

Official Freight Forwarder

Supporters

내일은 맑음 법무법인

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GENERAL INFORMATION Event Overview Dates

2018

20 ( )~22 ( )

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Friday, April 20~Sunday, April 22, 2018 Venue

BEXCO

BEXCO Exhibition Center 1

1

VIP & Press Preview

VIP &

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19 ( ) 15:00–21:00

*VIP

Thursday, April 19, 15:00–21:00 *VIP card or Press pass holders only Opening Hours

4

20 ( )~21 ( ) 11:00–20:00

4

22 ( ) 11:00–18:00

*

1

Friday, April 20~Saturday, April 21, 11:00–20:00 Sunday, April 22, 11:00–18:00 *Last admission an hour before closing time Participating Galleries

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161 galleries from 15 countries

161

Website

www.artbusankorea.com Facebook

www.facebook.com/artbusankorea Instagram

www.instagram.com/artbusankorea Blog

blog.naver.com/art–busan

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CELEBRITY MESSAGES

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Director, Busan Museum of Art

Sunhee KIM

. . .

. . ,

!

Living in a city can be very delighhtful when there are fine museums present. And so would be a city that hosts international art fairs regularly. We should be proud of ART BUSAN, as its name attracts firm attention in the international art scene. Not only has the fair become the largest in Korea, but also provides various interesting special exhibitions and programs to visitors. I wish as many people can visit and enjoy full measure of art during ART BUSAN.

Executive Director, Busan Biennale Organizing Committee

Tae Man CHOI 2018

.

, . . ART BUSAN 2018 s opening and its remarkable growth every year is definitely something to celebrate. Art has the energy to stand forth and move beyond ideology and values. I wish ART BUSAN and Busan Biennale can together contribute to art and cultural development of Busan.

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, President of LEEHWAIK GALLERY, Chairman of Galleries Association of Korea

Hwaik LEE

. KIAF ART SEOUL . 7

,

!

I am very grateful for the opening of ART BUSAN; a global art fair held in a beautiful coastal city of Busan. I hope that ART BUSAN, together with KIAF in upcoming fall, continues to grow and stands firmly as Korea s representing art fair. I wish all the best to the 7th edition of ART BUSAN!

Artist

KIM Chong Hak . . . . . . There is an old Korean saying that eyes are the most valuable part of an entire body. We cannot imagine ourselves not being able to see. When you can see an artwork and enjoy, there will not be anything more needed. It is unrealistic to go visit various galleires individually, and thus it is such a good opportunity to enjoy contemporary art collections at one spot. Let your eyes prove themselves why they are so important in your body. I also wish that this beautiful city of Busan will grow as an internationally renowned art city.

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Artist

PARK Eun Sun 7

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2018

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,

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Congratulations on ART BUSAN 2018. I believe in ART BUSAN s potential and role to present diversity and excellence in the global stage. Having successfully grown as one of the most influential art & cultural events in Korea, ART BUSAN shall function a s a new bridge in the international art market. I would like to express my gratitude for its effort in developing Busan s art scene, introducing Korean contemporary artists and discovering new artists.

Collector

Uli SIGG , . I wish the best success to ART BUSAN 2018 – it is making a name now beyond asia!

Collector

MIYATSU Daisuke .

2018 2012

. . . Congratulations ART BUSAN 2018!! I can fondly remember my collection exhibited at the very first edition of ART BUSAN. Now, only after 6 years, ART BUSAN stands at the very top of cultural events with Busan Biennale and Busan International Film Festival. I cannot wait to discover new and young Korean artistic talents.

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, Actor, Artist

Shinyang PARK 2018,

. . . . . . .

.

Congratulations to ART BUSAN 2018! My life was transformed in Russia, after I felt a deep impression from a painting. I am well aware of the value of a good painting and also how much happiness it can bring in our lives. The same experience has led me to start painting as well. I m already excited, simply imaginging about countless artworks from different artists being gathered together. I wish all visitors can feel impressed by art during ART BUSAN. I would like to thank the organizers for making this event possible. , TCK TV Personality Partner at TCK Investment Management

Mark TETTO .

2018

. As someone who loves Korean art and culture and enjoys sharing it with the world, I m extremely excited for the success of ART BUSAN. I believe it can be the premiere gateway for people around the globe to discover the beauty of Korean art and culture.

Architect

Hyunjoon YOO . .

.

2018

. What we really need in our time is a platform or a space, where different people with their diverse thoughts can meet up. Namely it is a space with tolerance for differences. And I believe ART BUSAN has grown into such a space. I am very excited for the opening of ART BUSAN 2018!

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, TV Personality President of bien works

BYEN Jeong Min . .

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15

160

2018

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,

2018

. As I was travelling few years back, I fell in love with a painting at a gallery that I accidently stopped by. After a short moment of hesitation, I decided to come back here after visiting few other places. Was I able to go back? Nope. And it remains as a regret for not being able to see the work that nevertheless remained so vividly in my memory. At an international art fair such as ART BUSAN, audience can fully enjoy and appreciate from diverse pool of artworks and programs. More importantly, audience can have the possibility falling in love with their own artwork. I sincerely thank ART BUSAN 2018 for their passionate effort, and at the same time wish for its another successful fair.

UTG President of UTG

KANG Hee Jae . . ! Not only has art become part of our natural lifestyles, but it is also the most beautiful tool and mode of expression that we can use. As an art collector I have seen numerous artworks and supported various artworks and artists, I am very excited to visit ART BUSAN 2018. Congratulations!

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President of Glamorous Penguin

Min Joo YOO .

.

. .

As a part of my profession I like to communicate with others through my specialties: dessert and food. And in doing so, I am often inspired by art. Many artists collaborate with professionals from different areas, to express and promote their brands and their products. Art can surely broaden our imagination spectrum and stimulate inspiration. I extend my heartiest congratulations for the opening of ART BUSAN 2018, and I wish that every audience can dream and imagine freely without any barriers.

YG PLUS Artist

KRUNK .

2018

YG

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,

. . Congratulations on the opening of ART BUSAN 2018! From the beginning I could grow as an artist and a YG celebrity bear only with the support by fans. That is the power pop culture holds. I believe it is no different in the field of arts. That is why I firmly root for the 7th edition of ART BUSAN. I, KRUNK, will also do my best so that more people can experience and feel closer to art, through various collaboration works of art and pop culture. Once again I sincerely hope ART BUSAN have another record– breaking success this year.

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SPECIAL FEATURE ARTICLE: 1

Contributed by


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| | | | | Prologue | Bringing the pleasure of Art into everyday Collector | Alain Servais Collector | Jongkuk Lee Art Lover | Artist Shinyang Park Focus | The era of smart viewing Keyword | Art Censorship


, Bringing the pleasure of Art into everyday

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( Prologue

When I first heard the news in 2012 about an art fair called ARTSHOW BUSAN launching in Busan, I simply thought it would not be so much different from any other existing fairs. So, the thought of taking a day off to travel to Busan was never realized to myself. Although the distance from Seoul to Busan is not far, it can be felt relatively far depending on what awaits you at your destination. It was also a time when small and medium art fairs were springing up everywhere. Yet not having attended the opening year of ARTSHOW BUSAN leaves me with considerable regret. I missed myself a chance to witness the beginning of a young, competent art fair that achieved significant growth every year since. The news about the noteworthy scale and achievement of ARTSHOW BUSAN, now ART BUSAN, and satisfactory comments from gallerists and collectors quickly reached the editorial department of artnow in Seoul. Our feature team and I have all witnessed the party vibe with ever growing excitement and anticipation in every edition of ART BUSAN. And the year 2015 marked a significant change with its name change from ARTSHOW BUSAN to ART BUSAN, and with more globalized and diverse galleries and visitors. As the organizers accumulated more experience and carried out various measures that particularly concerned with art specialists and collectors, ART BUSAN has firmly taken the title of Korea s representing art fair in only few years with most

)

Written by Eshin KIM ( artnow Editor in chief)

satisfying results reported by participating galleries. It is therefore our great pleasure to share some of key columns of artnow as part of ART BUSAN 2018 s main catalogue. artnow is a quarterly high–end art & lifestyle magazine launched in 2012 by Noblesse . Since then it serves to relieve major galleries, art museums, art professionals and collectors from their growing longing and interest for contemporary art. This edition introduces art collectors Alain Servais from Brussel, Belgium, and Jongkuk LEE, who s collection includes royal artifacts, antique furniture, Dansaekhwa, and installation arts, as examples of originality and variation in art collections. Last September actor Shinyang Park conveyed his earnest and yet fresh approach to art, at a group exhibition held in Jeju Island by Korean and Chinese artists. An interview with PARK explains how acting and art are each revealed differently, regardless of their expressional commonality. Special article Art in hands predicts the future growth prospective for mobile and online art platform system, by defining contemporary art s position in today s digital era. And certainly, ART BUSAN catalogue will be a helpful guide for every visitor to ART BUSAN, with detailed information about every exhibiting gallery and their key works. I can only recommend you to visit ART BUSAN 2018 and experience another level of pleasure in art.

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(youngkyoon@noblesse.com)

Collector

(

Alain Servais

)

Mathieu Bauwens(

)

Editor Youngkyoon LEE(youngkyoon@noblesse.com) Written by Sunhee CHOI (Director, CHOI&LAGER GALLERY) Photo by Mathieu Bauwens (portrait)

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, . Alain Servais collects to express himself and for self–realization.

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Alain Servais lives in an elegant three–story house in Uccle, one of the finest neighborhoods in Brussels. Upon entering his house, I was temporarily dismayed at the sight of artworks placed nonchalantly in the living room and the hallways, in the bedroom and in the restroom. To add a bit of exaggeration, they were displayed in a dizzying arrangement. As I was trying to gather my thoughts, Alain Servais said in a calm voice, We insist that this remain a place to live in. Art is part of life.

(Before beginning the interview, Alain Servais asked me what was my first impression of his house.) Frankly, I am a little surprised that the house is not very tidy. I understand why you would react that way. You have probably come expecting a neat, well–organized place, like a museum. But the art collecting that I do is not about primping the house for others to see. It is about living in harmony with art. It is not easy to choose where to put artworks. Do you have your own criteria

Of course, the artworks in this house were in fact curated by a curator. I bring in a curator once a year to make an exhibition. I just give him the keys and do not intervene in the decisions. He studies my collection for a long time, selects the pieces to go on display and decides on their placement. When I open the door of the space to discover what exhibition he made, it is a little bit like rediscovering what you already have. It is a fantastic experience. It also helped me to realize that the same piece of art can have different meaning in a different context, which is a valuable insight. I have another place to show my collection in Brussles (call it Loft and It is located in Northeast of Brussels). for deciding which goes where?

1

To do that kind of work, you have to trust the curator. What is most important for

The only thing I ask is that they take the time to do research and try to understand the collection. I also stress that the works of art are not mine. Sometimes people give religious sacredness to artworks, but art is not a religion at all. The works of art that I own do not belong to me, either. I am happy to live with them, but they have a life of their own. Everyone should be able to enjoy them.

you when you work with a curator?

Still, it takes money to acquire a collection and through it, you create additional

2 1

(Allora & Calzadilla) Petrified Petrol Pump. Artist duo Allora & Calzadilla, Petrified Petrol Pump, experimenting between human mentality and social coordination. 2

(Ali Khadim) Transition / Evacuation 3. Transition / Evacuation 3 by Ali Khadim from Pakistan, inspired by history and traditions in both East and West.

30

value financially. What do you think about that? That is correct, but it also comes with a lot of trouble. Let me show you something funny. (Pointing to a giant sculpture by Frank Stella on the wall and then to a plastic bag full of metal parts) After this large sculpture was put in, these metal parts fell off of it. I do not know what to do with them. Besides putting together a piece of art, preserving it is also a big concern. I bought a carpet by an Afghanistan artist which is hard to maintain because it is sensitive to humidity. What I am trying to say is that with artworks comes financial benefits, but also a host of problems. Then, let me ask you a more fundamental question. Why do you collect? I think there is some element in me that compels me to collect. I have been collecting things since I was sixteen. The first thing I collected was photographs. It was interesting that I could collect what I saw in the museum. A lot of people enjoy collecting. I guess that it is because there is an element in all of us that wants to accumulate some things, although I don t know what it is exactly. Also, I have always liked going to museums since I was young. Even when I was working on Wall Street, I felt very serene when I visited a museum. I have the same feeling when I listen to the radio. When you hear other people talk about their problems, your own problems suddenly seem smaller. When you get such a chance to project yourself outside of yourself, it allows you to feel more relaxed and think about different things.


Is there any other reason? When you develop knowledge of art, you need to be a bit particular. When someone sees my collection, they may think: This guy is strange. The pieces in my collection are not standard. When you develop some oddness, you can spot some works of art that the majority of people do not understand. Furthermore, you feel that maybe you have a role in preserving them, thinking If I don t buy them, they will disappear. Take Marcel Duchamp for example. The original version of his famous Fountain is gone because nobody thought it was important when it first came out. It was not until the 1960 s that people realized its importance. This happens with works of art. Some artists get tired of preserving and storing their creation and just throw them away. So, I preserve them not for me, but for the next generations in some way. You live in two different worlds: one as a financier and the other as an art collector. How do you combine them?

The easiest link is money. However, there is another link, which I think is much more important. Let s say we are in the year 2000. If you want to make a good investment, you would buy shares in Apple or Facebook. But at that time, people thought Facebook was only for kids. They would have said, Why don t you buy Samsung or other big industrial companies? Still, there is someone who buys Facebook shares despite what other people are saying. These are people who can see what is going to make a difference in the world before anybody else – people who understand that human life is evolving and becoming more convenient and connected by invisible social networks. If you want to be good in finance, you must understand how the world will evolve before it evolves. You need to see it in advance. It is a little bit the same with art. So not everyone can be a good collector. You are right. A good collector should be able to tell which works of art will represent a new development in the art world. The Internet has changed our culture, our way of thinking and our way of interacting as well as our lives. Some group of artists create only in PDF and sell their works on the Artsy website (www.artsy.net). When people acquire artworks on Artsy, they buy necessary materials according to the instructions attached to the PDF file and create the artwork themselves. This type of art shows how the Internet is transforming our lives. For me, this is art because it is not about a single object, but about how people s perception is changing. Every day I sit in front of a computer and collect financial information. The information collected is turned into investment decisions. Then, what is it to be a good collector? I think that it is about absorbing information from the world to learn what s going to change the world and making decisions.

important to me. Also, I almost always ask the gallerist What is the artist trying to say? If I like the artist s subject of research, then I consider how the piece would match with the rest of my collection. Last comes the price. I am careful about the price I pay not because I want to make money, but because I want to leave something to my children if they decide to sell everything when I die. I want my artworks to be a reward for my children in whatever way is possible. Last year, you visited Korea with sponsorship from the Korea Arts Management Service. You also took part in a talk program. What did you find out about the Korean art scene from that visit? I especially liked the Gwangju Biennale, the Seoul Museum of Art s Media City Biennale, the National Museum of Modern and Contemporary Art, Korea and exhibitions at the Art Sonje Center. I saw high–quality art there and felt quite a passion from the collectors and the artists. I was particularly impressed with YongIk Kim, whom I discovered at a solo show at the Ilmin Museum of Art. The stories about Korean history in his works were fascinating. Important works of art are often related to the country where they come from. That is why I believe that collectors should understand, more than the artist, the society and culture that the artist belongs to. In an interview, you described the Venice Biennale as the biggest art fair in the world. Do you still think that the Venice Biennale is the collectors playground? What is the reason for your criticism of its commercial nature? Whether you are an artist or a gallerist, if you are invited to the Venice Biennale, you would want to bring your best work to the show. However, public funding for art is shrinking and the private sector is getting in to take its place. The Venice Biennale cannot afford to invite artists for the opening, let alone finance their work. Therefore, it is either the galleries or private investors who have the financial wherewithal that fund the artists. This means that the Venice Biennale needs to sell the works to get the money to produce the shows. Since some years ago, the Venice Biennale has become much like an art fair. In some cases, you can even see the gallerist sitting whole day near the works of art made by the gallery s artist. It may sound provocative to say this, but I think that the Venice Biennale has become a selling exhibition. Wouldn t the same thing happen to museums? What do you think about the possibility that a gallery will plan all the exhibitions at a museum and provide financing for the shows to sell similar pieces at the gallery? It is a possibility. But even if that happens, it would not be a fault of the galleries, or the museums. If public authorities give more money to support museums, they would not need to do that.

What do you consider first when you decide to buy an artwork? I consider the purpose of the work. Does it have a context in the world? Does it say anything new? Is there an original language in terms of approaching the problem? So, it is the purpose of the work that is most 31


David Altmejd

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(Ghada Amer) Black Series / Much Again. Black Series / Much Again by Ghada Amer. With needles and threads, familiar material for traditional female roles.

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Untitled 1 (The Watchers). Untitled 1(The Watchers) by David Altmejd, with human body–based sculptors. 3

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1988 God Sends the Meat and the Devil Cooks. Barbara Kruger, God sends the meat and the devil cooks (1988). Photography and language put in a single frame.


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, Tubex. Tubex by Portuguese Artist Joana Vasconcelos, known for her mix & match of materials and bold formation. 3

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(youngkyoon@noblesse.com)

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(Ma Shuqing) Untitled The Memory. Untitled by Chinese artist, Ma

Shuqing and The Memory by Minsoo Lee displayed in Restaurant Baeksa. 3 40

, . Panoramic view of Restaurant Baeksa. The restaurant exhibits Lee s 40 years collection of various antiques, tableware, and artworks.

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Jongkuk Lee

Collector

Editor Youngkyoon LEE(youngkyoon@noblesse.com) Photo by JK

Jongkuk Lee is a culinary researcher and chef for famous people, domestic and international. Having majored in fine art, he adds his own sensitivity to food materials and embodies art on dishes . At the same time, he is also an unknown collector. He has collected hundreds of antiques, royal artifacts, and contemporary art works for decades since his junior high school years, but few people know him as a collector due to his long–term quiet enjoyment of the works. This is also a pity for the Korean art world.

1

A two–star Michelin chef, selected as the Korean representative for the jet–setting Four Seasons world culinary tour. Jongkuk Lee recently opened a restaurant near his home in Seongbuk–dong, named Baeksa, the pen name of his family s Joseon dynasty ancestor Hangbok LEE. Cooking in this kitchen, he does not look like chef, and rather more like an artist. He takes the plate as a canvas and paints, carefully preparing the dishes. When hearing his explanation of the dishes, you cannot help but nod. It reaffirms his unique experience as a fine art major and interior designer. Meanwhile, he is also an unknown collector. He has collected approximately 300 to 400 works over the course of 40 years. His collection includes royal artifacts with hundreds of years of history, hard to find antique furniture, as well as contemporary works by well–known Korean and international artists. One day last winter, we raided his art, stored in his restaurant and home. This is a space that has not been opened officially, yet the works inside feel like they have been here since before. The Buddha statue that penetrates the wall and the 200–year–old wooden shelf and utensils, to the large

2 1

. . Restaurant Baeksa often displays works of galleries in close proximity to Jongkuk Lee. Photo of Nam June Paik s work, possessed by The PAGE Gallery. 2

, . Storage key from middle to latter periods of Chosun Dynasty, personally bought from Japan.

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We are currently temporarily opened and still coordinating with the chefs. There are still a lot of places to work on. Have you had a chance to see the works all around? All the paintings and sculptures in this space reflect my food.

stone that lies in the center of the space

What do you mean specifically in that it reflects your food? I decorated the interior thinking that I would like for my cooking philosophy and comfort of Korean food to be reflected at the same time. The Dansaekhwa works especially, I hung in various places with the desire to express the taste of Korean food, unique among today s foods jumbled in too many meanings and tastes. I have avoided works with too much of a story as much as possible. I only included works where the artists intentions line up with my philosophy.


From the 1st to 3rd floor, approximately how many works

There are probably around 40. Just as my food changes, I plan to change the works from time to time. Did you take good pictures of the small portable dining table over there? As well as the pictures on the second floor?

are here?

The interview ended in less than 10 minutes after sitting down. 3 PM. Even though the entrance to the first floor was locked due to break time, several people came knocking on the door, asking if reservations were possible. As Jonguk Lee glanced, his staff responded to the guests. The conversation continued to stop, but I did not feel bored viewing the works every time. But feeling apologetic, he eventually suggested moving the interview location, and we headed to his house, three minutes away by car. His house is located on a secluded road in Seongbuk– dong. The garden, which you face as soon as you walk through the gate, reminded me of an art gallery in a forest. There were old stone statues and colorful sculptures all over the place. The pine tree over the fence grew in an elegant shape as if it were a work of art. But that was not all. If the garden was at the level of an art gallery, the house was at the museum level. As we walked through the entrance, various antique furniture and décor occupied the spaces. On one side of the wall were works by Dansaekhwa artists Ufan Lee and Guiline Kim, and on the other side were installation works by Namjune Paik and Ikjoong Kang. There were works in sight everywhere you glanced. Soon, he turned on the sounds of the beach and waves through metal speakers by Kukil Yu, which claim to deliver the original sound. Soon thereafter, we were able to begin a calm interview. Is this space the home and food power station I ve only

Yes. But now it hardly has that function. The restaurant is so busy; I haven t had the chance to pay attention here.

show me something interesting. Then he pushed a long bronze key firmly into the lock. When he moved his wrists around, the old parts combined with a snap sound. I bought this key in Japan. It was used during the middle to late Joseon dynasty. Did you go all the way to Japan to buy this? I m curious to know how you acquired something so valuable like this. I got this key through a Japanese antique shop that I often buy from. The rest of the royal artifacts were obtained through overseas historians, local acquaintances, and antique shops. When did you being collecting antiquities and royal artifacts? I began collecting in junior high. I did not have a lot of money back then so I was mostly interested in small furniture and accessories. Later I started cooking and began gathering antiques and royal relics related to food culture. Now that I see, there seem to be lots of items related to food As a chef, I am interested in good quality tableware our ancestors used long ago. When you get your hands on something precious like that, you spend so much time just looking at it. Look at the delicate colors of the relics, bowls and antiquities used in the palace. Hundreds of years ago, someone actually put food on that... I am amazed by just looking at it. I think I can picture that too. But I m wondering – did you collect all the artifacts and works in your restaurant and home by yourself? Sometimes people ask this, but none of these items were inherited from my parents or relatives.

heard of?

My understanding is that you are a direct descendant of Hangbok Lee, Oseong (Baeksa). Did you have anything

I m afraid not. After a long period of searching, I recently paid about 20 million won for the The anthology of Baeksa . I did not want it to keep changing hands. passed down in your family?

I noticed that you made a small room with no door over there. What is it for? There were antique furniture, a nice

It is room to appreciate art. I gathered things that matched the antique furniture as I decorated the place.

folding screen, and pottery.

So, most of the art works in the restaurant and at home

That s right. I started collecting antiques, then royal artifacts and then contemporary art. There was a boom for Dansaekhwa works in Korea and abroad around 4 to 5 years ago, but I had been mesmerized by these works already, and began collecting several decades ago. The same goes for Keith Haring, Andy Warhol, Yayoi Kusama, and Yoshitomo Nara. I bought several of their works before they garnered a lot of attention in Korea. I currently have around 40 Dansaekhwa works. Including paintings and sculptures by foreign artists, antique furniture, royal artifacts and such I probably have around 300–400 works total.

were collected while gathering antiques? Even though I looked quickly, I can see many more works than at the restaurant. Is that white Joseon dynasty

You have a good eye. That is my favorite white porcelain. It is a royal artifact from the 15th century. I very much like white porcelain. Most of the white porcelain in the 15th century is milky white. I ve spent a really long time acquiring it. I was captivated by the embracing power, infinite soul and beauty of white space in the white porcelain. I do not think there is anything more beautiful than royal relics. Oh, and over there, is a table actually used by the queen a long time ago. As soon as he finished speaking, he brought out a large turtle–shaped padlock from somewhere, saying he would porcelain?

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Rather than having an eye , I got deeply immersed in art, and bought art every time I had a chance to. Even now, I buy art spontaneously, rather than following trends or investment value. Someone once asked why I buy so many different works from various artists, seemingly incoherently. I said, what can I do when the works are nice. (laughs)

You re trained your eye for art early on.

Again, I think it is amazing in so many ways that you collected Dansaekhwa works so early on. In fact, even only 20 years ago Dansaekhwa works were turned away

That s right. I feel good that their works are now being appreciated. Rather unexpectedly, Dansaekhwa artists have been gathering at my restaurant recently. As I have been cooking diligently, naturally they began to gather. Among them, Myungyoung Choi, is a big fan of my work. He has said once, How can you call Jongkuk Lee s food just food, it is art . He actually loves my radish soup dish. This dish simply consists of a large chunk of radish inside a clear soup. In a way, I have been continuously interested in Dansaekhwa works as these artists gather in the restaurant. for their Korean unsophistication.

Are there any Dansaekhwa artists you have been eyeing recently? Artists Myungyoung Choi, and Jinsuk Kim. I like the works of Myungyoung Choi, because I become pure like a child when I look at his works, and I have always liked Kim s works since a long time ago. He is a Dansaekhwa artist, but not widely known. I like the energy that I feel in his work, so I have been buying whenever I have an opportunity. What about works by young artists? Their names are on the tip of my tongue, but I remember seeing quite a few

I do not distinguish between young artists, older artists, expensive artists, and investment–worthy artists. Recently I installed a work by artnom in the basement kitchen of my restaurant. It is a folk painting depicting the artist s family, titled Happiness of the Moran family. I bought the large, 150–ho size work so that my kitchen staff can feel happy from looking at it. You have no idea how much the gallery owner tried to stop me, saying the work will get dirty. (laughs) works by young artists in this house.

I know that you majored in fine art in college. But you did not pursue a career as an artist. Since then you worked as an interior designer for 10 years, and afterwards became devoted to Korean food. Why have you never pursued your own career as an artist, when you love collecting art so much? I did not think I had paint back then. Perhaps I am collecting now because I could not really paint. However, I like to think that I paint on plates, instead of canvases, every day. When I was working as an interior designer, I painted on staff s food. Word–of–mouth spread of me as a strange person, and soon I was approached with an offer to write in a cooking column

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for a magazine, which began my journey as a culinary researcher. Afterwards I continued painting even as a culinary researcher and restaurateur. What kind of correlation do you see between art and food? I think food and paintings are the same, just with different ingredients. Paintings and interior spaces continue to give inspiration because they remain, but food is not like that. So, a chef should leave a poem and novel in the heart of the customer who tastes his food. For example, one of my acquaintances at lunch today admired my Shepard s purse dish. All I did was place some dried Shepard s purse nicely on a plate. But that is just to say, and in reality, there were a lot of hardships. The process of finding a Shepard s purse with the most beautiful line, drying it nicely and to present to the customer is not simple or easy. In a way, this is not much different from the way an artist struggles to paint a picture.

Actually, I do not have such a great idea of how I will live my life in the future. Rather, I would like to make people who make Korean food to be proud of me, as a person who makes Korean food. As for collecting art? That is just my life. What more can I say?

What is the driving force behind Jonguk Lee?

If given a choice between two, he will always choose the old one. And as always he will choose white porcelain that highlights the food. He pursues traditional rather than modern styles and sometimes cooks spontaneously. When choosing works, his mood is also important. If he likes it, he buys it. But all the works he hangs are chosen by his own philosophy. He explains his space, taste, and collection, all with passion and cooking.


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, Another view of the Restaurant Baeksa with various antics, tableware, and contemporary artworks on display. 3 15

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. Chosun Baekja(white porcelain) from 15th Century is the most cherished national relic from Jongkuk Lee s collection. 3

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(hjw1070@noblesse.com)

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Artist Shinyang Park

Art Lover

Editor Jewoong HWANG (hjw1070@noblesse.com) Photo by JK

Throughout his 30 year career as an actor, Shinyang Park has never once acted carelessly. The same is true of his paintings.

. Park now spends most of his time in his studio, absorbed in painting everyday.

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Be careful. You won t be able to erase the paint. Shinyang Park s studio in Jayang–dong, Seoul, was littered with paint tools that had been clearly used. There were also splatters of paint all over the floor. Among the line of paintings packed together were incomplete paintings in which the paint was still wet. But even more surprisingly, the paintings in his studio encompass only a small portion of his completed works. More than 130 works are kept in a separate warehouse. I marveled at the intense paintings evoking the likes of Emile Nolan or Ernst Ludwig Kearchner, and the gentle way he handled them. This man, he s a real artist! While studying in Russia more than 20 years ago, Shinyang Park, who at the time was an acting student in his late 20s, was shocked when he saw the work of painter Nikolai Lerich at a small gallery. For the first time in his life, he was overwhelmed by a pleasant emotion through an artwork. Words can t describe exactly, but I think I was hit with an intense emotion. I used to wonder why I didn t feel anything after seeing a work of art. But through the experience, I was able to find somewhat of an answer to what art is, what art can do for people. This fascinating artistic experience lingered on one side of his heart for a long time, and motivated him to begin painting seriously four years ago. It was a time when I felt a thirst for expression while acting. Acting is a form of self–expression, but is confined within a framework promised between other people. I wanted something of my own, and wanted to tell stories I had not been able to express in the past, through painting. At first, his studio was inside his house, but as the number of tools and works increased, he found a separate space for his studio. However, as he works from dawn to dusk, painting almost daily, the space is beginning to feel small and he is now considering moving to an even larger space. An especially eye–catching work was one of a donkey staring straight at me. The donkey s face, emphasized through bold touches, felt like a portrait. But why a donkey? Everyone lives with big and small burdens. So does the donkey. But the donkey is unlike us in that it does not consider a burden burdensome . I was fascinated by this simple honesty. On the one hand, I began to wonder whether I take my burdens well. Portraits are also one of his favorite subjects. He is especially interested in Pina Bausch, a German contemporary dancer and choreographer. The more you learn about him, the more interesting he is. He introduces theatrical performance in dance to elicit human psychology and emotion. This is also something I am always concerned with while painting. I am looking for a way to fully express my feelings in paintings. For Park, painting is a continuous process of questioning. And according to him, it is the most enjoyable and loneliest activity in the world . Last September, Shinyang Park made his debut as an artist by participating as an invited guest artist in the Sino–Korean group exhibition Island of Peace Jeju, Becomes Island of Art at the Jeju World Natural Heritage Center. He had been thinking about the time to debut

his works, but did not realize the time would come so soon. Since it was my first exhibition, I was very nervous and confused. I wasn t sure if my paintings were at a level acceptable to people. But on the other hand, I also thought it was necessary. Why? I realized something while working as an actor. A work holds value only when the public sees and responds to it. I don t think art is any different. Perhaps it was a bit early, but I thought it wouldn t be a bad idea to taste the bitterness of an opponent s punch early, like a novice boxer in a ring. The exhibition became a stimulus for Park. Most importantly, it made him think about the future direction of his work. After the exhibition, I regretted that I didn t paint more boldly before. Doesn t it seem foolish to have hesitated because of a worry no one asked for? When art is something you have to move forward without hesitation. One day before the interview, Park took thousands of pictures of dancers in a studio for half a day. This was so he could begin depicting human body movement, which he became interested in recently. Until now, I mainly painted from pictures taken by others. But in order to capture movement I had to photograph this myself. This shoot is a new challenge for me. I ll have to figure out how to work gradually. It was a moment in which one could feel the passion he expresses through his vivid acting on TV. How does Shinyang Park manage to work so hard and earnestly in everything? Well, before I take any action, I always ask myself for responsibility . Whether I am doing something because I really want to, or if I am doing it against my heart and will. Once I figure out the answer, I take action. This action most certainly includes art. Although he has no future exhibition plans at the moment, Shinyang Park will continue painting. We look forward to his next work as an artist.

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(hyojeong@noblesse.com)

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Art Snapchat . Art x Snapchat by Snapchat allows anyone with a smartphone to view the top representing works of Jeff Koons through augmented reality(AR) space. 2

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Tate 2

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The era of smart viewing

Focus

Editor Hyojeong LEE(Hyojeong@noblesse.com)

Online and mobile art platforms, created through collaborations between art and smartphones, are changing the way we view art. This is literally a computer of the future. It handles vast quantities of data, but it is light enough to carry around. Introduced as the Do–it–all Computer Notepad in Future Stuff published in 1991, this is the smartphone we know today. In less than 20 years since its introduction, smartphones have captured the hands and eyes of all, sparking a boom in online and mobile platforms. We have entered an era where we cannot discuss the modern man without bringing up the online and mobile world. So then, what is the position of the art world in this context? The full–scale launch of art applications (referred to as app henceforth) almost overlaps exactly with the time smartphones became widely adopted in the public, back in 2010. Early apps were simple enough to divide into 2 categories: image gallery types which list large images and museum types released directly by the museum, containing information about the institution. The image gallery types such as Metropolitan HD and Impression HD are databases that collect high resolution images and related information on artworks. Although now it seems like just a simple provider of information, it was quite fresh and shocking to be able to see everything through one app, at the time when one needed to find information one by one in a search engine. The latter are platforms created by institutions such as art galleries and museums. Tate in U.K. launched its first app service in 2010, which provided the contents of the pamphlet, such as exhibition and collection information, opening hours, location, and so forth. The following year, in February 2011, Google Arts & Culture (formerly Google Art Project) came into existence. Google Arts & Culture, born out of an astronomical investment like Iron Man, a hero created by his own capital, changed the landscape of online platforms. The ultra high–resolution images that show even brushstrokes and canvas cracks, and internal installation views of museums went beyond existing art platforms that simply provided 2–dimensional information, allowing observation of time and space viscerally. It was lauded for its vivid visuals that beat even the eye, and became known as the museum in the palm of our hands. Although it was a groundbreaking platform, only 17 institutions, including the Tate, Metropolitan Museum,

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the Museum of Beaux Arts in Austria, and the National Museum of Art in Madrid joined Google in the venture. However, the New York Time s assessment during the launch, which said From where I sit on Google Art Project looks like a bandwagon everyone should jump on, was exactly on point. There are currently more than 1,000 museums on the app, including the Acropolis Museum in Greece, the Long Museum in Shanghai, the Uffizi Gallery in Florence, and the National Museum of Contemporary Art in Seoul. Visitors can see more than 9,000 street views, including museums, tourist attractions, cultural heritage sites, and theaters, as well as information on historical figures and artists from Che Guevara to Hillary Clinton. In addition, it is evolving into a more complex platform providing various services such as my own collection and art news. As such, the position of the mobile and online art platforms is on the rise. LACMA, Pompidou Center, Metropolitan Museum, Frick Collection, BKM, Louvre Museum, etc. are all launching official apps as well as domestic institutions such as Daegu Art Museum, Seoul Museum of Art, Daeondong Museum, Daelim Museum and Gwangju Museum of Art. With audio guides, AR/VR museum tours and education services, the content is no longer on the same level of a pamphlet. Even further, a few international institutions run several apps at once, representative being the MoMa and Tate. MoMa has the MoMA Art Lab which allows you to create art like a famous artist, and MoMA Books (tablet PC only) which is an art book archive. Tate has the Tate Trumps app which allows you to play card games with the museum s collection, and the Magic Tate Ball, which matches today s day with a Tate collection work. The response to these platforms has been generally positive. Now museum visitors do not have to waste time waiting in the long audio guide rental line, and some say that modern art has been made easier thanks to the new platforms. On the other hand, we should also pay attention to the new platform on Snapchat, The world is your canvas. Snapchat released Art Snapchat on October 3rd last year, which allows you to see Jeff Koon s masterpieces such as Balloon Dog and Popeye in augmented reality in major cities such as New York, Sydney, London, Kolkata, and Tokyo. This means that a large number of viewers


Google Art and Culture 3

have moved away from the traditional way of seeing one artwork, and a new way of viewing has been created in which users and works are matched one on one. It is also meaningful that the user can freely select the desired angle and time, thereby extending the role of display and curation from the curator to the general user. Snapchat did not stop here, taking another step further. They created Lens Studio, a program that allows users to create their own augmented reality and share it with other users. As such, the online and mobile platforms now go beyond creative consumption to creative production and communication. The online and mobile platforms, at its start, were simple enough to be able to divide into categories, but in less than 10 years they have progressed quantitatively and qualitatively. The ability to enjoy art online on the screen, and view and learn about museums through apps has become basic, and platforms have now extended influence to creative production. Thanks to this, visitors can easily access information and even experiment with areas of professional expertise such as curating, collecting, and creating. The advantages of the online and mobile platform are not limited to the audience. As Jeff Koons, at the time of his collaboration with Snapchat, said, The creative experience brings us together and brings better communication. The creative experience of the new platform combining smart technology will bring forth a new wave in the art world. There is a proverb that says to paddle when water flows in. Taking advantage of these platforms is a win–win for both the art world and viewers. Shouldn t it be the time to paddle now?

2016 Musée du Louvre 4 3

. Google Art & Culture enables easier access and virtual visit to any art fair in the world. 4

. Louvre Museum app is designed to facilitate more detailed appreciation of artworks.

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Keyword

Art Censorship

(hjw1070@noblesse.com) Editor Jewoong HWANG

12 ,

. The series of events surrounding Thérèse Dreaming last December bring us to look back at our attitudes when confronted by an uncomfortable work.

Dpa Picture Alliance Archive Photo by Oliver Berg

1938 . Balthus, Thérèse Dreaming , 1938

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In 1541, Michelangelo, who had completed the Last Judgement on the walls of the Sistine Chapel, was heavily criticized by religious figures. This was because the figures, without a stitch of clothing, looked suggestive in their eyes. The cathedral eventually had another artist cover sensitive areas with leaves or cloth. In 1969, American artist Dorothy Iannone, who took part in an exhibition at the Berne Museum, was told by the museum director that the genitalia of all the figures in her work will be covered. Honduran–born artist Andres Serrano had his government funding cut off and suffered from threats for over 10 years due to his work Piss Christ (1989), which photographs the figure of Christ submerged in his urine. The controversy over censorship of artworks persists into the 21st century. This was the case for the controversy surrounding the removal of the work Thérèse Dreaming (1938) by French artist Balthus, at the Metropolitan Museum of Art in New York. A petition to remove the work originated from the claim that the girl, who sits in a chair only in her underwear, closing her eyes, romanticizes pedophilia. The petition was signed by more than 10,000 people. Their claims are not beyond comprehension when just looking at the work. Balthus work, which takes a young child s sexuality as a theme, narrowly sits on the border between innocence and pornography. Of course in his lifetime, Balthus defended his work as not pornographic or erotic, saying that he simply depicted a perfect symbol of beauty. The Metropolitan Museum of Art did not remove the work. The museum announced its clear position saying, Our mission is to collect, study, conserve, and present significant works of art across all times and cultures in order to connect people to creativity, knowledge, and ideas. This brings up an important topic for discussion. This answer suggests that people must have an opportunity to see the work first. It means that without seeing the work, there is no story. We have a right to criticize, question and discuss a work. But we have no right to remove this opportunity. To confront an uncomfortable work – do we have the small courage for that?

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SPECIAL FEATURE ARTICLE: 2 Larry s List

Contributed by 52


We Are Trying Not to Have Horror Vacui at Home

53


We Are Trying Not to Have Horror Vacui at Home 2018

1

This interview was originally published

17

Larry s List (www.larryslist.com) . Larry s List

on Larry s List (www.larryslist.com) on 17 January 2018. Larry s List is the world s leading art collector editorial, which conducts weekly interviews with art

.

* : http://www.larryslist.com/artmarket/the–talks/ we–are–trying–not–to–have–horror–vacui–at–home/

54 Courtesy of Kristian Roland Larsen.

collectors from around the globe.


Currently a PhD fellow at the University of Southern Denmark, Kristian Roland Larsen s PhD project explores how Danish furniture design in a historical perspective is mediated in advertisements, exhibitions and fairs. His interest in art was intensified at the age of 18. Now 27, this collector of the new generation has already built up an appealing collection and of course an art–filled Instagram account.

(Kristian Roland Larsen) , .

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Kristian Roland Larsen shared with Larry s List on how he tried not to have horror vacui for his home s walls, why it s important to stay in touch with Instagram and what he is especially excited about in 2018 in the art world.

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1. From left: Nick Theobald, Frodo Mikkelsen, Jan S. Hansen. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 2. Works by Rune Bosse and Michael Simpson. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

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3

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SPECIAL FEATURE ARTICLE: 2

5 3. From left: AndrĂŠ Butzer, E.B. Itso, Rune Bosse. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 4. From left: Evan Robarts, Peter Bonde, Alex Da Corte, ceramics by Rose Eken. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 5. From left: Alexander Tovborg, Jonathan Monk. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

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What made you want to start collecting art?

Is there any particular type of art that has

What is the main motivation behind your

consistently attracted you, or anything that

collecting?

unites all the works you have acquired?

My attention towards art and the art world was intensified at the age of 18. I was of course motivated by my parents interest in art, but my scope was more headed on the contemporary art scene. Even that I didn t know anything about art, everything in the art world was very interesting at that moment. And I was curious on all the institutions and actors: galleries, museums, auction houses and of course the artists themselves.

I think the enthusiasm on diverse expressions and approaches unites the collection. Some pieces are complicated; some pieces are really formal and concerns formality. But on the whole, a story is needed to be told. It could be a narrative on the medium itself, or perhaps a more complex story related to the conceptual outline or the process. Sometimes, the illusionist narrative in painting is interesting as well, but today my attitude towards that theme is more critical.

When did you fall in love with a piece of art?

SPECIAL FEATURE ARTICLE: 2

What was it?

You have also expanded your collection with

My first purchase was a gouache by the Berlin– based artist Sebastian Dacey who exhibited at Galerie Mikael Andersen, Copenhagen 2008. The work thrilled me because of the simply abstract approach with a possible figurative direction. It s still one of my favorites!

conceptual and minimalist works. Why such

What is your focus regarding the artists in your collection? Are you more interested in emerging or renowned artists?

My focus is much more based on impulsiveness and enthusiasm, rather than fixed boundaries. The Collection comprises of works by international renowned artists and a lot of local Danish artist from my own generation spanning through a vast of medias. During the last years, I have even become more interested in the generation of Danish post–war artists who dealt with early minimalistic and conceptual approaches. Names such as Albert Mertz and Ib Geertsen compliment my collection of contemporary art very well. But the scope in my collection changes all the time. Some will call it a mess. I think it s very charming and unsnobbish.

6

58

7

development?

The development towards a conceptual and minimalistic paradigm in contemporary art is of course peaking at the moment, which you as collector needs to be aware of. No doubt that the art world and the culture circulated around art is motivated and driven by fashion, but the development towards the conceptual and minimalistic scope within the collection is on the other hand natural because complexity challenges and moves your boundaries towards art. As a collector, I think you seek that kind of development naturally. How many artworks do you own? Where do you display your collection?

I don t know the exact number of works in the collection. But at the moment, we would be pleased with more wall space because a part of the collection is in storage. I m

8


privileged that my girlfriend accepts this kind of fetichism that drives many collectors. But even if it s difficult for me, we are trying not to practice some kind of Horror vacui (fear of the empty). Instead, from time to another we swap the installation in our apartment and enjoy the new expressions that follows. Have you ever presented, or would you wish to

How important is it for you to meet the artists who created the artwork?

It s always a pleasure to meet the artist or even visiting them, but I also have many works by artist that I ve never met. Who inspires you the most in the art world?

I think the art world on the whole is very inspiring. I would not privilege any individuals.

present your art collection publicly?

I m not collecting masterpieces , and I m not like other more established collectors specifically interested in works that could fit directly in the institutional spaces, especially because of my limited budget and limited space. But if there is specific interest in works from the collection, museums or galleries should feel free to loan works and include works from my collection in exhibitions.

What are you especially excited about in regard to art in the next 12 months? In 2018, I will go visiting some international art fairs, such as Art Cologne or Art Basel. It could be great experiences. And it s always useful and inspiring to discover new artist and galleries 6 A work by Ethan Cook. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 7 A piece by Florian Meisenberg. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

purchase?

I really trust my eyes! But of course, inspiration and knowledge from artists, gallerists and collectors is important as well. Social media also plays an active role in the search of art, and it s important to stay in touch with Instagram, ARTLAND App etc. where great, useful knowledge is shared by many actors all the time.

8 Cathrine Raben Davidsen. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 9 Devin Troy Strother. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen. 10 A piece by Russell Tyler. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

What is your most treasured artwork?

I would not ever sell any piece in the collection, so all of them.

9

SPECIAL FEATURE ARTICLE: 2

What considerations guide you to make a

10

59


11. Photographic works by E.B. Itso. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

60


12. From left: Albert Mertz, Ethan Cook. Photo: Luna Lund Jensen. Courtesy of Kristian Roland Larsen.

61


SPECIAL FEATURE ARTICLE: 3

Contributed by 62


20

,

Twenty–year history of Korea s art auction, and the future of Korea s art market

63


,

20

,

K Auction strives to become the

Twenty–year history of Korea s art auction, and the future of Korea s art market

( 17.04. ,

65

( ( 13.12, 14.03)

64

)

5

)

pioneer of the industrialization of Korea s art market and growth of the cultural arts field

Yeechun Son

K Auction PR Director

K Auction

Sold the most expensive Korean art at auction (Apr 17. Whanki Kim, Tranquility, KRW 6,550,000,000)

Head Auctioneer


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SPECIAL FEATURE ARTICLE: 3

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SPECIAL FEATURE ARTICLE: 3

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Korea s art auction market celebrates its 20th anniversary this year. How would you summarize

SPECIAL FEATURE ARTICLE: 3

the history of art auctions? 2018 marks the 20th anniversary of the foundation of the first art auction house in Korea. The first art auction house, Seoul Auction, was established in 1998, and K Auction was founded in 2005 holding its first auction in November of that very year. Since then, art auctions, which were then run under an exclusive system, exhaustively dived into a competitive system and the two art auction houses became the two largest in the country. Before the establishment of art auction houses, the Korean art market was a closed market limited to transactions among just a group of people mainly through art galleries, whereas an art auction is an open market through which anyone can purchase artwork through open competition and public process and outcome of purchases. Hence, the establishment of art auction houses was not only a beginning of the digitization and statistics of the domestic art market, but also a base of the transparent and fair art market s growth. During the time when Seoul Auction was under an exclusive system, the gravity of the art auction house in the Korean art market was not significant. Yet, after the establishment of K Auction, both houses began to compete with each other to create the history of the domestic art market. Before the foundation of K Auction, the size of the domestic art auction market was amounted to KRW 8.9 billion in 2004. However, it hit a successful bid record surpassing KRW 180 billion in 2007. The domestic art auction market saw tremendous twentyfold growth in a matter of three years as our country s art market

reached its peak.

Annual successful bid amount 2007 2004 2001 1998

185.6 billion 8.9 billion 6.9 billion 300 million

The Korean art market that seemingly appeared successful was cut in half as a result of the US financial crisis in 2008 and suffered nearly six years before Dansaekhwa (monochrome

68

painting) fever began in the second–half of 2014. Dansaekhwa fever, which was led by the four artists CHUNG SangHwa, PARK SeoBo, YUN HyongKeun and HA ChongHyun, played a key role in putting the dying domestic art market back on its feet. KIM WhanKi s record–breaking price race that began in the latter half of 2015 also played a tremendous role in raising the total successful bid record of KRW 190 billion in 2017. The country s current highest–priced artwork, KIM WhanKi s Tranquility 5–IV–73 #310 , was exhibited at K Auction s April 2014 auction and was auctioned at KRW 6.55 billion. It is also remarkable that the country s second through fifth highest priced artworks are all KIM WhanKi s abstract painting series, which are composed of dots and lines. This record was set within the last two and a half years, and LEE JoongSeop has placed sixth in the list, recording a successful bid of KRW 4.7 billion with his Ox in the recent auction. The information recently presented in Seoul Economic Daily wholly includes the past twenty–year history of our country s art auction market. KIM WhanKi, who holds ranks first through fifth in the country s highest–priced works of art, sold artwork valued at over KRW 160 billion over the past twenty years with 667 points that placed him first in the rank of the total transaction amount. LEE Ufan ranked second with 880 points totaling KRW 106.3 billion in transactions, and PARK SooKeun ranked third with transactions totaling KRW 67.4 billion. With the help of Dansaekhwa fever, CHUNG SangHwa sold KRW 37 billion, Chun KyungJa KRW 33.4 billion, LEE Dae–won KRW 32.6 billion, PARK SeoBo KRW 32 billion, KIM TschangYeul KRW 28.4 billion and KIM ChongHak KRW 26.1 billion, to place their names on the ranking list. The average auction price placed AHN JungGeun s works first at KRW 278.98 million. This was largely attributed to the scarcity of the autographs of the late AHN JungGeun that stood at a mere twelve points over the last twenty years of transactions. PARK SooKeun s works totaling KRW 240.7 million was second in rank, and KIM WhanKi s works at KRW 237.21 million placed third in rank in the average bidding price. LEE JoongSeop, KIM HongDo, LEE Ufan, LEE InSung and CHUNG SangHwa followed close behind in rank.


3.

2017

4

K Auction 69


What were the characteristics of the 2017 domestic art auction market? Is there a particular work of art that was memorable to you as a senior auctioneer?

SPECIAL FEATURE ARTICLE: 3 70

The most memorable work has to be KIM WhanKi s Tranquility 5–IV–73 #310 which was exhibited at the last April auction. The auction began at KRW 5.5 billion and after bidding via writing, phone and on site, the piece was bid at KRW 6.55 billion and set the record as the highest–bid artwork. I am grateful to have been given the opportunity to have been the auctioneer for such a significant and memorable piece of art. The total bidding amount of the 2017 domestic art auction market exceeded the amount of the 2016. The results of online auctions and various planned auctions made up for the range in the rise of prices of staggering Dansaekhwa artists through solid results. The market exhibited a diversity of abstract art and modern artwork of significant quality and market value that would succeed Dansaekhwa and concentrated on striving to broaden the spectrum of works entered into auctions. The online art auction s growth is something to take particular note of. After K Auction s first online auction in 2006, five online art auctions were held on average annually until 2013; then, it increased to nineteen in 2015, thirty–seven in 2016 and sixty in 2017. The total bidding amount also rose sevenfold in the past four years to support the domestic art auction market. The weight of online auction sales in the domestic art auction market stands at a meager 10%, but online auctions must be taken seriously because it is a significant passage for expansion of the root of art auctions and inflow to draw in new customers. This year, in order to increase the volume of online art auction sales, we plan to diversify channels tailoring to customers tastes, strengthen digital marketing and be more active in the paths we choose to take. We also plan to provide an opportunity for beginners to approach artwork without any pressure and participate in auctions. For the growth of the field of Korean traditional art, our efforts in actively scouting talented individuals in each field and striving for professionalism resulted in satisfying

outcomes, supporting the rise of the total bidding amount. When these Korean traditional art works are dealt in the market with accurate information and reasonable price through reliable authentication system of art auction houses, Korean traditional art market – which is currently devalued and considered difficult to authenticate, compared to modern and contemporary art market – will grow further and revitalize. What is K Auction s strategy for 2018? There was also news that the March art auction will include the beginning of musical instrument auction. What is the background of this initiation and what is the outlook? K Auction s strategy is to solidify the base of domestic art market through diversification and expansion of domestic customers. By solely focusing on the domestic artists and their works, we actively discover and encourage the participation of local customers, open previews in the Busan area, put on musical galas and lectures by art experts as places where cultural art can be experienced and people can come into contact with art auctions. We also implement online marketing through SNS to discover new art enthusiasts, execute cooperative work with other enterprises, hold charity auctions for social philanthropic activities and create opportunities for people to easily approach art auctions. As I mentioned earlier, we plan to strengthen online art auctions, especially premium online auctions, to strengthen the bridge of weekly online auctions and regular auctions. We will launch various projects and items, artists and artwork, and simultaneously use the online auctioning system for social philanthropic activities. The musical instrument auction that we will hold for the first time in March began with a positive evaluation of the possibility for the discovery of the musical instrument market hereafter. The musical instrument auction market has already been established overseas, becoming a passage through which people can purchase certified musical instruments at reasonable prices, as the same as they would for art pieces. Korea has yet to have held an instrument auction, and the majority


of domestic musical instruments are bought and sold through about 250 existing musical instrument companies and dealers. Despite the demand for worldly renowned performers and good instruments, Korea s instrument market lacks a systematic circulation system or auction, and its actual condition proves it difficult to find enterprises of public trust; this is similar to the conditions of the domestic art market before art auction houses were first established. Therefore, we concluded that it was a time in which a professional, trustworthy, systematic and sound circulating market is necessary, and began knocking on the doors of the musical instrument auction market.

auction market will develop as well. We will make an effort to cooperate and work together for the growth of Korea s art auction market. Also, the public s thirst and demand for cultural art is steadily growing, and their expectations are rising as well. We hope to grow as a cultural platform that makes people s life more abundant through which many, and not just a minority, can share and enjoy art.

What is the role and influence of the Art Fair, and what direction will it take?

SPECIAL FEATURE ARTICLE: 3

Art fairs, another significant body that lead the domestic art market together with art galleries and art auction houses, are extremely crucial for the sound and balanced growth of the domestic art market. Art fairs are places to encounter a wide range of customers and expand the client base, more than what would be possible at art galleries that are a part of the closed market when compared to auctions. They also provide good opportunities to be exposed to various art works and market trends compared to the number of exclusive art galleries from the customers point of view. There are growing number of art fairs in regions outside of Seoul that play important roles in the growth of the art market. Switzerland s Art Basel and Art Basel Hong Kong settled in as regional representative events and festivals that attract art galleries and collectors from around the world. We hope that Korean art fairs to become places where art works are shared, visitors can experience and share cultural art, as well as platforms which represent various regions and their development. The role of K Auction in the Korean art market and the role of art auction houses

As an art auction house that helped writing the history of domestic art auctions, K Auction strives to make a contribution in the domestic art market s growth and development. As the galleries and art fairs, the leaders of primary art market, grow, the secondary domestic art

71


4.

72

2017

4


73


74


75


EXHIBITOR LIST FLOOR PLAN

76


77


BOOTH

GALLERY

F–16

313 ART PROJECT

D–19 E–17 C–16 E–02 C–27 D–09 F–27 B–18 D–08 F–14 F–01 C–15 A–19 A–15 E–01 B–07 C–06 D–14 B–06 C–20 A–02 B–01 D–02 E–22

AANDO FINE ART ABLE FINE ART NY GALLERY AHN_PERROT ALLMEARTSPACE ARARIO GALLERY ART:art ART B PROJECT ART CENTER PPLUS ART COLLECTION NAKANO ARTG&G ART ISSUE PROJECTS ART MORA ARTNOW ART OFFICE OZASA ART PROJECT CO ARTS DE SIAM ARTSIDE GALLERY Art SoHyang ART WEME CONTEMPORARY GALLERY ART WORKS PARIS SEOUL GALLERY ART XCHANGE GALLERY ASAN GALLERY ASIAN ART WORKS ATELIER AKI

C–26 C–11 B–12 C–04 E–05

BAIK ART BAUDOIN LEBON BIEN GALLERY BRUGIER–RIGAIL GALLERY BRUNO ART GROUP

F–10 C–25 F–09 B–15 B–22 A–20

CASCADE ART SPACE CHOI&LAGER GALLERY CHOICE ART COMPANY CHUNG ART GALLERY CLART CMAY GALLERY

KEHL COLOGNE | SEOUL SEOUL SEOUL SEOUL LOS ANGELES

F–26 B–14 E–07

DAV GALLERY DONGSOONGGALLERY DONGWON

BUSAN SEOUL DAEGU

E–37

e.JUNG GALLERY

SEOUL

C–17 A–04 B–17

g·gallery G13 GALLERY G7 TOWER KGA

78

CITY

SEOUL

313

BERLIN NEW YORK PARIS SEOUL SEOUL | CHEONAN | SHANGHAI SINGAPORE SEOUL SEOUL NAGOYA DAEGU TAIPEI NEW JERSEY PAJU KYOTO SEOUL BANGKOK SEOUL BUSAN KUALA LUMPUR | CARMEL–BY–THE–SEA SEOUL SINGAPORE ASAN | CHEONAN DOHA BEIJING SEOUL

:

LOS ANGELES | SEOUL PARIS | SEOUL SEOUL PARIS TEL AVIV

G13 KGA

SEOUL KUALA LUMPUR SEOUL


EXHIBITOR LIST BOOTH

GALLERY

A–09 F–17 C–10 C–03 D–24 E–09 C–14 E–31 F–28 C–05 F–19 F–20 E–03 C–02 B–21 E–28 & 29 F–02 B–19 E–12 F–25 B–13 F–12 A–01 A–07 E–04 F–13 D–05 B–09 E–18 A–11 E–32 F–18 F–11 A–03 E–34 A–08 D–16 F–22 E–13 D–06 E–30 A–14 E–33 C–09 F–04 & 05 E–19 B–10 B–04 D–23

GAIN ART SPACE galerie16 GALERIEBHAK GALERIE BRUNO MASSA GALERIE ERD Galerie GAIA GALLERY2 GALLERY 2U GALLERYARA GALLERY ART.K GALLERY ARTPARK KARLSRUHE GALLERY ART PLAZA GALLERY ART PLUS GALLERY BANDITRAZOS GALLERY BAUM GALLERY BISUNJAE GALLERY CHOI GALLERY DAHAM GALLERY DAON GALLERY D ARTE GALLERYDOO GALLERY EDEL GALLERY EM GALLERY FINE GALLERY GRACE GALLERY H GALLERY HYUNDAI GALLERY iLHO GALLERY JEON GALLERYJOEUN GALLERY LUX GALLERY M GALLERY MAC GALLERYMEI GALLERY MIROONAMU GALLERYMIZ GALLERY PALZO GALLERYRAE GALLERY SEOJONG GALLERY SERENE SPACE GALLERY SESOM GALLERY SHILLA GALLERY SOOP GALLERY SoSo GALLERY STAN GALLERY SUN CONTEMPORARY GALLERY SUPPOMENT GALLERY WHITE BIRCH GALLERY WOO

CITY

16

2

GOYANG KYOTO SEOUL PARIS SEOUL SEOUL SEOUL SEOUL BUSAN BUSAN KARLSRUHE SEOUL SEOUL SEOUL SEOUL SEOUL SEOUL ANSAN SEOUL NEW YORK SEOUL OSAKA SEOUL BUSAN SEONGNAM BUSAN SEOUL SEOUL DAEGU SEOUL SEOUL SEOUL BUSAN SEOUL YEONGCHEON SEOUL CHEONGDO BUSAN YANGPYEONG BUSAN CHANGWON DAEGU GIMPO PAJU NEW YORK | SEOUL SEOUL SEOUL SEOUL BUSAN

79


BOOTH

GALLERY

CITY

E–36 E–35 E–14 B–03

GALLERY YEHGA GALLERY YEKANG GALLERY ZERO GANAART

BUSAN DAEGU OSAKA SEOUL BUSAN

C–21 E–15

HL FINEART HUE GALLERY

SEOUL GIMHAE

D–20 A–13 F–24

IGALLERY INDIPRESS INSA GALLERY

SEOUL BUSAN | SEOUL SEOUL

E–23 A–06 D–25 B–05

JJ JOONGJUNG GALLERY JOHYUN GALLERY JUNDING ART PROJECTS JY ART GALLERY

SEOUL BUSAN | SEOUL BEIJING SEOUL

E–10 D–17 A–17 E–08 D–03 C–12

KAINOS GALLERY KHALIFA GALLERY KIDARI GALLERY KIMJAESUNGALLERY KIPS GALLERY KUKJE GALLERY

SEOUL HONG KONG DAEGU BUSAN NEW YORK SEOUL

D–01 E–21

LEEAHN GALLERY LEEHWAIK GALLERY

SEOUL DAEGU SEOUL

E–20

MASAN ART CENTER

CHANGWON

E–11 D–11

OCEAN GALLERY OLIVIA PARK GALLERY

BUSAN NEW YORK

D–04 D–21 C–19 E–06 C–07 C–22 D–10

P&C GALLERY PARIS KOH FINE ARTS PARK RYU SOOK GALLERY PEARL LAM GALLERIES PKM GALLERY PLATFORM CHINA PREMIUM PAGES COLLECTIVE

DAEGU NEW YORK SEOUL HONG KONG SEOUL BEIJING SINGAPORE

F–15 B–16

REGINA GALLERY ROW GALLERY

SEOUL GYEONGJU

B–20 F–03 F–08 D–15 E–24

SEOSHINGALLERY SHIN GALLERY SHUMOKUGALLERY SIA NY SM FINE ART GALLERY

JEONJU NEW YORK NAGOYA NEW YORK NEW YORK

80


EXHIBITOR LIST BOOTH

GALLERY

C–23 A–18 E–16 B–02 C–13 B–11 F–21

SOUL ART SPACE SPACE1326 SPENCE GALLERY Steinway Lyngdorf by ODE STUDIO CONCRETE SUN GALLERY SUNG–WON ART GALLERY

C–18 A–05 F–23 C–08 D–13 C–24 D–18 A–12 A–10 B–08

TANG CONTEMPORARY ART THE COLLECTORS THE COLUMNS GALLERY THE DH ART THE DRAWING ROOM THE PAGE GALLERY TH GALLERY TOMIO KOYAMA GALLERY TOMY KIM / AP GALLERY TONG GALLERY+PROJECTS

D–12 C–01

UJUNG GALLERY UM GALLERY

SEOUL SEOUL

E–27

WOOSON GALLERY

DAEGU

F–06 A–16 F–07 D–07

YAMAKI ART GALLERY YANG GALLERY SINGAPORE & BEIJING YEO WORKSHOP YOOJIN GALLERY

D–22

ZETO ART

PARIS

GALLERY IRRITUM TOKYO GALLERY TOAST SONOART V ART SPACE WHISTLE –Dimension

TOKYO SEOUL SEOUL KUALA LUMPUR SEOUL GUANGZHOU

CITY

BUSAN CHANGWON TORONTO SEOUL SEOUL SEOUL BUSAN

1326

BEIJING | HONG KONG | BANGKOK LONDON | SEOUL | TAIPEI SEOUL GOYANG MANILA SEOUL DAEGU TOKYO HONG KONG | SEOUL BEIJING

/ +

&

OSAKA SINGAPORE | BEIJING SINGAPORE BUSAN

S–BOOTH

S–06 S–05 S–03 S–04 S–07 S–02

DESIGN ART BUSAN

DA–06 DA–01 DA–07 DA–04 DA–02 DA–03 DA–05 DA–08

GALERIE ERD GALLERY ART.K Hyun Min WANG HL FINEART JOHYUN GALLERY KUKJE GALLERY Steinway Lyngdorf by ODE THE PAGE GALLERY

SEOUL BUSAN BUSAN SEOUL BUSAN | SEOUL SEOUL SEOUL SEOUL

81


DA-08

DA-07

B–16

B–12

B–14

B–13

B–15

D–21

D–20

D–23

D–22

D–24, DA-06

B–17 B–09

B–10

D–14

B–11

D–15

D–1

D–17

D–16

B–18

B–19

B–20

B–04

B–05

B–01

B–06

B–02, DA-05

B–07

B–08

B–03

D–06

D–07

D–01

D–9

D–08

D–10

D–11

D–02

D–03

D–04

C–23

C–24

C–25

C–26

C–18

C–19

C–20

C–21, DA-04

B–21

B–22

A–13

A–14

A–15

A–10

A–11

A–12

A–16

A–17

A–18

A–07

A–08

A–09

A–06, DA-02

C–07

C–13

C–14

C–08

C–09

C–15

C–16

C–17

C

A–19 A–03

A–04

A–05

C–10

C–11

A–20

A–01

A–02

C–01

C–02

C–03

C–04

SE

82

C–05, DA


6

D–25

F–25

S–02

SE

S–03

F–20 D–19

18

4

F–24

F–23

F–16

F–17

F–18

S–05

S–04

F–22

F–21

S–06

S–07

F–19 F–26

F–27 D–12

F–07

D–13

F–09

F–08

F–10

F–12

F–11

F–13

F–14

F–15 F–28

D–05

F–01

F–02

F–03

F–04, F–05 F–06

E–32

E–27

C–27

E–28, E–29

E–31

E–30

E–33

E–34 E–21

C–22

E–22

E–25

E–24

E–23

E–26 E–35

E–06

C–12, DA-03

E–14

E–07

E–15

E–08

E–16

E–17

E–18

E–09

E–10

E–19

E–11

E–20

E–12

E–36

E–13 E–37

E–01

A-01 C–06

E–02

E–03

E–04

E–05

SE

SE

BEXCO

83


FLOOR PLAN

DA-08

DA-07 EAZEL B–16

B–12

B–14

B–13

B–15

D–21

D–20

D–24, DA-06

D–23

D–22

B–17 B–09

B–11

B–10

D–14

D–15

D–1

D–17

D–16

B–18

B–19

B–20

B–04

B–05

B–06

B–01

B–07

B–02, DA-05

B–08

D–06

D–07

D–09

D–08

D–10

D–11

B–03

D–01

D–02

D–03

D–04

C–23

C–24

C–25

C–26

C–18

C–19

C–20

C–21, DA-04

B–21

B–22

A–13

A–14

A–15

A–10

A–11

A–12

A–16

A–17

A–18

A–07

A–08

A–09

A–06, DA-02

C–07

C–13

C–14

C–08

C–09

C–15

C–16

C–17

C

A–19 A–03

A–04

A–05

C–10

C–11

A–20

A–01

A–02

C–01

C–02

C–03

C–04

SE

84

C–05, DA

PHOTO ZONE


6

F–25

SE

S–03

S–02

F–20 D–19

18

4

F–24

F–23

D–25

F–16

F–17

F–18

S–06

S–05

S–04

S–07

F–22

F–21

F–19 F–26

F–27 D–12

F–07

D–13

F–09

F–08

F–10

F–12

F–11

F–13

F–14

F–15 F–28

D–05

F–01

F–04, F–05

F–03

F–02

F–6

E–32

E–27

C–27

E–28, E–29

E–31

E–30

E–33

E–34 E–23

E–22

E–21

C–22

E–25

E–24

E–26 E–35

E–14

E–6

C–12, DA-03

E–07

E–15

E–08

E–16

E–17

E–18

E–09

E–10

E–19

E–11

E–20

E–12

E–36

E–13 E–37

E–01

A-01 C–06

E–02

E–03

E–04

E–05

SE

SE

BEXCO SQUARE

85


GALLERIES

86


LEGEND TOP BOTTOM LEFT RIGHT

87


BOOTH F–16

,

,

, .

313 313 ART PROJECT Usquam Nusquam | JE Yeoran 2016 | Oil on canvas | 145.5 112.2 cm

Usquam Nusquam | JE Yeoran 2017 | Oil on canvas | 100 100 cm

Director Bonaventure KWAK

88

Participating Artists GIGISUE JE Yeoran Jia LEE LEE Wan Kiwon Park SID

Address Xavier VEILHAN & Florian & Michael QUISTREBERT

02879 23 38 38, Seongbuk–ro 23–gil, Seongbuk–gu, Seoul, 02879, Korea

T. +82 2 3446 3137 E. 313artproject@gmail.com www.313artproject.com


AANDO FINE ART

Tchunmo NAM Beam Sculpture 2 2016 | Oil on coated fabric | 123 143

BOOTH D–19

For his sculptural Beam works, NAM places strips of soft fabric, of designated length and thickness, on wooden bars and hardens them with several layers of transparent synthetic resin. The end forms, made of clear U–shaped structures and solid strokes, are arranged on the canvas and finished with acrylic or oil paint on top, creating a three dimensionality brought to life by the inter– play of color, light and shadow. Whatever the final design of the composition, on each occasion it is a matter of inviting the gaze to discovery and grasping the entirety of the work. Analogously, the sculptures Beam Stroke Sculpture and Beam Sculpture, create, like a moving image, the final picture, triggering a spiritual, even meditative, response, in an effort to align the artist s personal history and evolving memory to the experience of the viewer.

6 cm

Director

Participating Artists

Address

Wonkyung BYUN

Tchunmo NAM KDK Agata BOGACKA Slawomir ELSNER

Reinhardtstrasse 11, 10117 Berlin, Germany

T. +49 3028093418 E. info aandofineart.com www.aandofineart.com

89


BOOTH E–17

Object–artist Volker KUHN is well known for his series of Art in Boxes three–dimensional wall pieces populated by small findings , miniature figures and animals. His sculptures are informed by object art and the work of assemblage artist Joseph CORNWELL. References to Dada, Surrealist and Pop Art can also be identified within his vibrant and humorous wall sculptures. His assemblages are framed as pictures and arranged in boxes like tiny stage sets or tableaux. KUHN s works are unique, skilfully crafted and imaginative. 3–dimensional showcases are extremely rich in details and filled poetic life scenarios.

ABLE FINE ART NY GALLERY

José MOLINA has chosen a photographic technique, with a documentary intent in order to make his characters look as real as possible: if they were not so real, we would feel more detached towards them. His paintings also feature unsettling elements, which draw away from reality and make my works look more visionary and surreal. This allows him to explore humanity in depth, he uses surrealism as a tool to investigate, as the language of hidden truths. This visionary, at times fierce, character is not meant as a provocation, but to prompt the spectator to venture into the multifaceted nature of the human soul, to trigger a reflection.

Volker KUHN Go for Gold II 2016 | Mixed media | 40 40 cm | Ed. 17 of 50

José MOLINA Human Beings 2013 | Printed on cardboard | 28

37 cm | Ed. 15 of 100

Director

Participating Artists

Benjamin H. YU

143B, Orchard St, New York, NY 10002, USA Lorenzo CASCIO José MOLINA Volker KUHN J J MARINO Arnaud & Adeline NAZARE–AGA

90

Address T. +1 212 477 1188 E. info ablefineartny.com www.ablefineartny.com


BOOTH C–16

120 cm

AHN_PERROT

TANC Untitled 2017 | Acrylic on canvas | 120 TANC Untitled 2017 | Acrylic on canvas | 86

70 cm

Directors

Participating Artist

Address

Sun Mi AHN Tancrede PERROT

TANC

25 rue victor masse, Paris, 75009, France

T. +33 6 1441 3431 E. ahnsunmi1982@gmail.com www.facebook.com/ahn–perrot

91


BOOTH E–02

. .

ALLME ARTSPACE

, , . . . .

( ) | BUPKWAN Meditation 2017 | Acrylic on canvas | 116.7 90.3 cm

Director Soon Mee HWANG

92

| Seup KIM The stories of the woods 2017 | Stone powder on Korean paper | 130 162 cm

Participating Artists BUPKWAN Seup KIM Du Ri LEE Kap Kyu YU Nam Pyo KIM Sook KIM Ui Ji JEONG

Address Tae Young CHUNG Ki Ill PARK

03144 51 51, Ujeongguk–ro, Jongno–gu, Seoul, 03144, Korea

T. +82 2 733 2002 E. allmeartspace@daum.net www.allmeartspace.com


BOOTH C–27

. , . (Invisible Space–Image)

ARARIO GALLERY

– .

. | Kang Ja JUNG Ms. Gil s Wedding Party 1988 | Oil on canvas | 162 130 cm Invisible Space–Image 140256 | Kang Wook LEE 2014 | Mixed media on canvas | 100 200 cm

Director Henna JOO

Participating Artists Tae Ho KIM Chang Hong AHN Kang Wook LEE Dong Wook LEE Kang Ja JUNG

Address 03053 5 84 84, Bukchon–ro 5–gil, Jongno–gu, Seoul, 03053, Korea

T. +82 2 541 5701 E. info@arariogallery.com www.arariogallery.com

93


BOOTH D–09

Priscilla LIM s work is an embodiment of her life experiences – in travelling to various countries and at different stages in life. Inspired by the post–impressionist such as Cézanne, Emile Bernard and Van Gogh, Priscilla focuses on still life, genre–painting and landscapes. She enjoys experimenting with varying colours, textures and shapes, and allows imagery to be a channel of opening windows to the world of art. She has received much interest for her European style with an Asian eye.

: ART:art

Priscilla prides in the fact that her works are expressions of both emotions and passion, and that there is a quality of stillness in her paintings, which is definitely a reflection of her own meditative practice in life. In fact, to the artist herself, life is art and art is life.

Priscilla LIM Under a Hoya Tree 2017 | Oil on linen | 130 97 cm

Priscilla LIM Yellow House 2017 | Oil on linen | 76 102 cm

Director

Participating Artist

Address

Kelvin CHAN

Priscilla LIM

420 North Bridge Road, North Bridge Centre #05–02, 188727, Singapore

94

T. +65 98311 311 E. info@aadsg.com www.artartguide.wixsite.com/ teag


BOOTH F–27

.

2017

, Interpretation of memory–Vacation . .

ART B PROJECT

2018

_

, Moonlight Arirang–a small stream

,

. , .

| Cheol SHIN Interpretation of memory–Vacation 2017 | Acrylic on canvas | 112 162 cm

_ Hyun Chul BAE Moonlight Arirang –a small stream 2018 | Oil on canvas | 72.7 53 cm

Director Ga Rak BAE

Participating Artists Cheol SHIN Hyun Chul BAE

Address 07281 13 11 201/1211 #201/1211, 11, Seonyu–ro 13–gil, Yeongdeungpo–gu, Seoul, 07281, Korea

T. +82 10 2991 3076 E. artbproject.info@gmail.com www.artbproject.com

95


BOOTH B–18

. . .

. .

ART CENTER PPLUS

ZORIKTO has emerged as one of Russia s most acclaimed artists. His work has been exhibited in leading institutions such as the Council of Europe and at the Beijing Olympics, while his recent series Steppe Story ran for two months at St Petersburg s elite State Russian Museum in autumn 2009. Nomadic Buryat life is the main subject of his work which, along with precise draughtsmanship and gift for colour, displays subtle humour and a taste for caricature. To ZORIKTO, a nomad does not travel around in search of a better life. He is rather an artist, a poet, a philosopher, and often a loner. | Ji Hoon CHOI Joseph Beuys 2017 | Acrylic on canvas | 112 162.2 cm

Match of the Century Dorzhive ZORIKTO | 2015 | Oil on canvas | 105 151cm

Director Helena JEUN

Participating Artists Kook Hyun GA Dong Yoo KIM Mi Ryang SOHN Ji Hoon CHOI Chen LIWEI

96

Address 03650 41 73 73, Yeonhui–ro 41–gil, Seodaemun–gu, Seoul, 03650, Korea

T. +82 2 549 0311 E. artpplus@gmail.com www.artcenterpplus.com


BOOTH D–08

This work expresses traditional Korean beauty and on the other hand represents modern aesthetics. She harmonized the aesthetic elements of ancient and modern in his creations.

ART COLLECTION NAKANO

Kae Jung KWAK Work 2000 | Mixed media | 76.3

54 cm

Kae Jung KWAK Work 2000 | Mixed media | 53.5

45 cm

Director

Participating Artists

Address

Takaki NAKANO

In Sik QUAC Kae Jung KWAK Chang Sup CHUNG Takashi MURAKAMI Alex KATZ

#904, 3–27–7, Sakae, Naka–ku, Nagoya, 460–0008, Japan

T. +81 52 251 5855 E. contact@ts–corp.jp www.ts–corp.jp

97


BOOTH F–14

. , .

ART G&G

. (

( ,

,

)

)

.

| Yong Soo MO Love you 2018 | Oil on canvas | 100 100 cm

( ) | Sung Jin KIM Juniper wood 2018 | Oil on canvas | 97 194 cm

Director Jung Hee AN

98

Participating Artists Sung Jin KIM Yong Soo MO

Address 41959 18 18, Bongsanmunhwa–gil, Jung–gu, Daegu, 41959, Korea

T. +82 10 3555 3081 E. ancopy555@hanmail.net artgng.itrocks.kr


BOOTH F–01

Seo Bo PARK, a key figure in the field of monochrome paintings, has made a huge contribution in the development of abstract art in post–war Korea. He is renowned for his Ecriture series in which he covered the canvas with traditional Korean Hanji paper, and continuously drew lines across monochromatic planes, highlighting countless combinations. A cross between styles of calligraphy and painting, the continuous and repetitive actions of his hands manifest a sense of willpower and self–discipline that transcend art forms.

ART ISSUE PROJECTS

Ufan LEE was recognized as one of the leading artists of Japanese Mono–ha art movement, and became the key figure for the development of Korean monochrome painting movement. LEE was the recent subject of the 2011 exhibition LEE Ufan: Marking Infinity at the Guggenheim Museum, New York, NY. He became the third Assian artist to be exhibited at this venue after Nan June PAIK and Cai Guo QIANG. LEE returns to the basic elements of painting, giving form to the Eastern spirit through dots and lines. The extensions, twists, and pauses of brushstrokes produce a dialectical interaction with the canvas, reflecting the meditative state of Eastern literati paintings.

Seo Bo PARK Ecriture No.091016 2009 | Mixed media with Korean paper on canvas | 130

200 cm

Ufan LEE With winds 1990 | Oil on canvas | 227.3

Director

Participating Artists

Address

HAN Lian

Seo Bo PARK Ufan LEE Hung Chih PENG Nam June PAIK

1F, NO.32, Ln.407, Sec.2, Tiding Blvd., Neihu Dist., Taipei City 114, Taiwan

181.8 cm

T. +886 2 26597737 E. infotaipei@art–issue.com www.art–issue.com

99


BOOTH C–15

Qin FENG . .

,

,

.

ART MORA

, . , .

Qin FENG Series Desire Scenery 2014 | Acrylic and ink on silk cotton paper | 124

200 cm

Woolga CHOI The secrets of the game 2017 | Oil on canvas | 112 163 cm

Director

Participating Artists

Address

Sunny SHIN

Qin FENG Woolga CHOI Orlando BOFFILL Jeffrey MELZACK

222 Main St. Ridgefield Park, N 07660, USA

100

T. +1 917 480 6808 E. artmoraus@gmail.com www.artmora.com


BOOTH A–19 ARTNOW

I II | Don Bek KHE The Prayer I II 2017 | Acrylic on canvas | 144 288 cm

He–story | Yong Il PARK 2017 | Oil on canvas | 65 91 cm

Director Young HONG

Participating Artists Don Bek KHE Yong Il PARK Mi Hyang KIM Sung YOO

Address 10880 131 31–65 31–65, Jimok–ro 131beon–gil, Paju, Gyeonggi, 10880, Korea

T. +82 10 3461 3134 E. artnowpg@naver.com

101


BOOTH A–15

YOKOMIZO was born in Tokyo. In 1994, she received a BFA from the Department of Sculpture at Tama Art University in Tokyo. Her unique installation work has been shown in many galleries and museums. She currently lives and works in Kyoto.

ART OFFICE OZASA Miyuki YOKOMIZO Line F100.120.2018 (detail) 2018 | Oil on canvas | 162 130 cm

Director

Participating Artists

Address

Yoshitomo OZASA

Miyuki YOKOMIZO Norio IMAI Kazuo OKAZAKI Tomoharu MURAKAMI Aiko MIYAWAKI Seung Keun MOON

207, Nishijin Textile Center West, 414, Tatemonzen–cho, Kamigyo–ku, Kyoto, 602–8216, Japan

102

T. +81 75 417 4041 E. mail@artozasa.com www.artozasa.com


, .

BOOTH E–01

(Coarse pumice gel)

20

.

ART PROJECT CO

, .

, 20

(Objet)

. , 1

.

1721 | Young Hee CHON Breathing 1721 2017 | Acrylic on canvas | 162 130.3 cm

Director Eun Hye LIM

Participating Artists Young Hee CHON Seung Taik JANG Yi Su KIM So Yoon LEE

– 40–25 | Seung Taik JANG Untitled–Colors 40–25 2017 | Acrylic on plexiglass | 97 77 6 cm

Address T. +82 2 3431 1195 644 701 E. artcolim@naver.com #701, Wonil Bldg., 644, Yeongdong–dearo, www.artprojectco.com Gangnam–gu, Seoul, 06078, Korea 06078

103


BOOTH B–07

Tawan WICHYABHAKDI was born in 1990, Chiang Rai, Thailand. Tawan s interest in apocalypse fantasy is reflected in his new series of works, he creates his own fantasy land using creatures and diversity. Some of the works are bizarre but also show an interesting conflict. To convey his imagination his work focuses on combining fantasy and aesthetics.

ARTS DE SIAM

Jirasak s work demonstrates the life experience and the passage of time through the wrinkles on the elderly s face. A desire for working on charcoal is to create dramatic and realistic drawings. This allows him to produce high–contrast images that are visually bold and emotionally expressive. Jirasak combined his Buddhism believe to his works by putting the elderly into the post of see no evil, hear no evil, speak no evil . In Buddhist tradition this means to not dwell on evil thoughts.

Tawan WICHYABHAKDI Whisper to An Angel 2016 | Acrylic on canvas | 110 80 5 cm

Jirasak ANOUJOHN Cover Eyes 3 2018 | Charcoal | 150 115 5 cm

Director

Participating Artists

Address

Patima CHOTISAKUL

Tawan WICHYABHAKDI Seri PHUENGPORN Jirasak ANOUJOHN Suppawat WIBUNSIN Kiatanan IAMCHAN

45/11 Wuttakad 1, Talad Plu, Thonburi, Bangkok, 10600, Thailand

104

T. +66 669 3025 8457 E. toey@artsdesiam.com www.artsdesiam.com


BOOTH C–06

. . .

,

ARTSIDE GALLERY

. , .

. ,

. .

Ambiguous wall–Gwanghwamun | Byung Joo KIM 2017 | Steel, acrylic board, urethane paint | 120 180 13.5 cm

Director Dong Jae LEE

Participating Artists Byung Joo KIM Young Su PAEK Seon Tae HWANG

Seon Tae HWANG Sunny in the room 2017 | Tempered glass, sandblast & LED backlit 152 112 4 cm

Address 03044 6 15 15, Jahamun–ro 6–gil, Jongno–gu, Seoul, 03044, Korea

T. +82 2 725 1020 E. info@artside.org www.artside.org

105


BOOTH D–14

,

. . , .

Art SoHyang

. . . . , . ,

. Good morning | Dae Yong BYUN 2017 | FRP, urethane paint | 40 80 58 cm

A deep desert night | Min Song KIM 2018 | Acrylic on canvas | 45.5 65.1 cm

Director Eun Jin NAM

106

Participating Artists Soon Ik KWON Min Song KIM Dae Yong BYUN

Address 48058 55 B1 B1, 55, Centumjungang–ro, Haeundae–gu, Busan, 48058, Korea

T. +82 51 747 0715 E. sohyang_art@naver.com www.artsohyang.com


BOOTH B–06

), Shang Shan Ruo Taoism common phrases like Wu Wei ( ), Jing Guan ( ) and Tan Tian ( ) are also used as Shui ( titles in Sanzi s artworks. The content of Sanzi s works is cheering and highly enlightening. The artwork also triggers the viewer s inspiration, conveying the artist s message to believe that everything in heaven and on earth is best in its natural form. Sanzi believes that in the discovery and pursue of different phases of life, the processing, the meaning and health of life are the most important aspects which one should cherish and seek.

ART WEME CONTEMPORARY GALLERY

Suzhou landscape consists of several rivers and lakes. The water and sky in Xiao Yun GAO s paintings are the main elements, which control the whole composition, shaping the boundaries of each structure with their purity and fluidity. We may see signs of drippings in motion; even on his fading shadows we will find shimmering essence of the water. Somehow, it seems like these houses are floating on the Lethe River where time stops temporarily and all belongs to the present. Sanzi Redolent of Snow 2017 | Mixed media on canvas | 80

120 cm Xiao Yun GAO Journey No. 3 2017 | Oil on canvas | 80 80 cm

Director

Participating Artists

Address

Sufei LIEW

Sanzi Xiao Yun GAO Lei LEI Yu QI Kium

KUALA LUMPUR Pavilion Elite, 166, Jalan

Bukit Bintang, Kuala Lumpur, Wilayah Persekutuan, 55100, Malaysia CARMEL–BY–THE–SEA Mission Street, Between 5th & 6th Ave, Carmel–By– The–Sea, CA 93923, USA

T. +603 2110 6822 E. info@artweme.com www.artweme.com

107


BOOTH C–20

, .

. . . .

ART WORKS PARIS SEOUL GALLERY

Trace ,

.

.

1963

17

,

156 All Starz

(tag) .

. .

2015

360

.

Kyung–Ae HUR Untitled 2017 | Acrylic on canvas | 60

JonOne Rebirth 2015 | Acrylic on canvas | 142

80 cm

Directors

Participating Artists

Chaejin LIM Fabien MASSICOT

Eu LEE Kyung–Ae HUR JonOne L Atlas Nam June PAIK Marc CHAGALL

108

.

70

30

100 cm

Address Pablo PICASSO Bernard BUFFET Takashi MURAKAMI

2–3F, 16, Bukchon–ro 4–gil, Jongno–gu, Seoul, 03059, Korea

T. +82 70 8114 3645 E. artworksparis@gmail.com www.artworksparis.com


BOOTH A–02

The work titled Apa Adanya (Optimism) is derived from an old Javanese proverb, to make use of anything you can think of, if you don t have a horse. In a way, it suggests one to think out of the box when encountering a tight situation. But riding a chicken instead of a horse? Now that s funny! Ride and care for your carriage although it may not be a stout horse. Accept it for what it is and you will surely arrive at your destination.

ART XCHANGE GALLERY

The work tells a story about a formidable woman s effort and hope in her life. She does not merely want to give birth to a child, but wants to be a regulator and educator for her children, grooming and turning them into the next generation who care about the provisions that exist in this universe, and in turn become a blessing for the universe. Antoe BUDIONO Apa Adanya (Optimism) 2017 | Acrylic on canvas | 150 180 cm Budi ASIH Woman and Hope 2018 [#3] | Acrylic and ink on canvas | 30

30 cm

Director

Participating Artists

Address

Benny OENTORO

Antoe BUDIONO Bk YAP Budi ASIH Camelia Mitasari HASIBUAN Husin HASIBUAN

1 Kim Seng Walk, #19–06, Tiara, 239403, Singapore

T. +65 6224 9007 E. hello@artxchangegallery.com www.artxchangegallery.com

109


BOOTH B–01

1979

. .

2010

.

ASAN GALLERY

. .

. . .

.

. . | Kun Yong LEE Snail Gallop 2010 | Charcoal on paper | 102 1690 cm (part)

| Ki Ja KWON Natural 2017 | Mixed media on canvas | 91 91 cm

Director Jeong Mi MUN

110

Participating Artists Kun Yong LEE Dae Soon KIM Ki Ja KWON

Address ASAN 31491 83–15 83–15, Buksu–ro, Baebang–eup, Asan, Chungnam, 31491, Korea CHEONAN 31168 195 Amall 2 2F, Amall Pentaport, 195, Gongwon–ro, Seobuk–gu, Cheonan, Chungnam, 31168, Korea DOHA P.O.Box 45134, Villa 108, Al Mabahej Street No. 826, Alone 66, Onaiza, Qatar

T. +82 41 531 7470 E. soo@asangallery.co.kr www.asangallery.co.kr


,

. Falling Sky II

,

,

BOOTH D–02

,

.

,

,

.

Sang Woo KOH Falling Sky II 2017 | Archival digital print | 127

ASIAN ART WORKS

, .

93 cm | Ed. of 7

Director

Participating Artists

Address

Yuree JANG

Ran HWANG Sang Woo KOH Ho Yoon SHIN Zhijie WANG Hyun YOO

D–09–2, 798 Art District, No.4 Jiuxianqiao Rd., Beijing, 100015, China

T. +86 10 5762 6338 E. info@asianartworks.net www.asianartworks.net

111


BOOTH E–22

. . ,

ATELIER AKI

.

,

, .

, . ,

. ,

. ,

(Long Museum)

(Liu Yiqian & Wang Wei)

,

iGoogle

.

Red Garden | Ki Soo KWON 2018 | Acrylic on canvas on board | 130

Director Eunkyung Christine KIM

112

Participating Artists Yehsine KANG Nampyo KIM Kisoo KWON Hyojin PARK Byungwook OH

130 cm

Address 04769 2 32–14, 1 1F, Galleria Forêt, 32–14, Seoulsup 2–gil, Seongdong–gu, Seoul, 04769, Korea

T. +82 2 464 7710 E. aki@atelieraki.com www.atelieraki.com


Institute of Technology Malaysia

BOOTH C–26

MARA

1955

.

25

. .

BAIK ART

, . .

Ahmad Zakii ANWAR Nothing To See 2017 | Watercolor and acrylic on paper | 41

91 cm

Director

Participating Artist

Address

Susan BAIK

Ahmad Zakii ANWAR

LA 2600 S. La Cienega Blvd., Los Angeles, CA 90034, USA SEOUL 42, Palpan–gil, Jongno–gu, Seoul 03054, Korea

T. +1 310 842 3892 T. +82 70 7739 8808 E. baik@baikart.com www.baikart.com

113


BOOTH C–11

Michel DUPORT s work is a reflection on painting turned into sculpture. Reliefs, little objects placed on the wall such as paintings, can be linked to the polymorphic architecture. Michel Duport s sculptures are a pretext to three dimension including shadows and colours as well as reflection effects between colours. The spectator multiplies his points of view by moving, and colour shades play with lights and shadows. Gazes displacement could be a parody of painter s doubts and hesitations during his creative process.

BAUDOIN LEBON

Michel DUPORT Untitled 2017 | Painted plaster | 34

Michel DUPORT Untitled 2008 | Painted plaster | 30

25

11 cm

18 cm

Director

Participating Artists

Address

Baudoin LEBON

Michel DUPORT Francis LIMERAT Karen FARKAS Alain CLEMENT DUBUFFET Joel–Peter WITKIN Béatrice BISSARA Se–Yeol OH

PARIS 8 rue Charles–François Dupuis, Paris 75003, France SEOUL 42, palpan–gil, jongno–gu, Seoul 03054, Korea

114

42

T. +33 142720910 E. info@baudoin–lebon.com www.baudoinlebon.com


. . .

BOOTH B–12

.

10

.

BIEN GALLERY

Flesh of Passage | Jeong Yun CHOI 2017 | Steel, thread, resin | 280 40 40 cm

Director Young Hyun PARK

Participating Artists Jeong Yun CHOI Sang Woo KOH Kwang Young CHUN Dong Su LEE Myung Nam AN Ji Eun PARK Yayoi KUSAMA

| Sang Woo KOH pierro 2016 | Negative color print | 120 91 cm | Ed. 4 of 5

Address 06164 524 C–33 T. +82 2 544 5404 C–33, 524, Bongeunsa–ro, Gangnam–gu, E. biengallery@gmail.com Seoul, 06164, Korea www.biengallery.com

115


BOOTH C–04

As a pioneer of the phenomenon of British graffiti, Nick WALKER s work became a model for hundreds of emerging artists. His work is in constant evolution and always innovative, modern and exciting. Nick WALKER bases his work on the graffiti energy and images but he manages to combine the freedom that they give him with an excellent mastery of the stencil. The results are very sophisticated and impressive. The methods that he uses keep their strength and their integrity on a traditional support, the canvas.

– BRUGIER–RIGAIL GALLERY

In JonOne s paintings, the space is fully used, the empty or the white do not exist. The color appears as John s vital support, his palette is rich and deep, the tones and contrasts reveal games of subtle nuances, with harmonious composition which appear spontaneous but also designed, the shapes are formed and are deconstructed, curvy or straight. There is symmetry and asymmetry, repetition and unity, his strokes are controlled with precision and flexibility. Each of his paintings is an abstract improvisation, whose brilliance transmits the joy of life.

Nick WALKER Mona Simpson 2017 | Spray paint on canvas 91.5 30.5 cm

JonOne Untitled 2018 | Mixed media on canvas | 150

Directors

Participating Artists

Address

Laurent RIGAIL Eric BRUGIER

JonOne L Atlas John MATOS CRASH M.Chat Fabien VERSCHAERE Nick WALKER Mun–gi YANG

40 rue Volta, Paris, 75003, France

116

120 cm

T. +33 1 42 77 09 00 E. contact@galerie–brugier–rigail.com www.galerie–brugier–rigail.com


BOOTH E–05

. . Mystery of Love

. BARRIOQUNITO ,

. (

)

. . .

BRUNO ART GROUP

Andres BARRIOQUINTO

Yun Hee LEE | white night 2017 | Porcelain | 33 33 55 cm

Andres BARRIOQUINTO Mystery of Love 2018 | Oil on canvas | 121.92 121.92 cm

Director

Participating Artists

Address

Motti BRUNO

Andres BARRIOQUINTO Yun Hee LEE Star YI Fazzino CHARLES Kyu Hak LEE Sae Jin HWANG

3 Hataarucha st, Tel Aviv Port, 6350903, Israel

T. +972 3 648 8070 E. joyang77@naver.com www.brunoartgroup.com

117


BOOTH F–10

Raymond WAYDELICH s work Hotel Namibia is one of good examples of his playful and childlike representation with historial and serious meaning behind the work. The artist travelled to Namibia as an official french artist and very involved in the nature and the culture of Namibia. Hotel Namibia the crocodile and the small dog in the picture could be representing the historical situation of namibia.

CASCADE ART SPACE Raymond WAYDELICH Hotel Namibia 2012 | Hand painted on embossing paper | 50

60 cm

Director

Participating Artists

Address

Hyun Mi LEE

Raymond WAYDELICH Robyn BASE Tilmann KRIEG H.M DU RHONE

Hauptstrasse 133, Kehl 77694, Germany

118

T. +49 7851990140 E. galleryhm@hotmail.com www.cascade–artspace.com


. ,

3D

BOOTH C–25

3D

.

.

,

, .

Matthew STONE Other People s Energy 2017 | Digital print and acrylic on linen | 200

CHOI&LAGER GALLERY

.

350 cm

Directors

Participating Artists

Address

Sunhee CHOI Jinhee CHOI Jari LAGER

Matthew STONE Jinyoung YU Shane BRADFORD Young Hun KIM

COLOGNE Wormserstrasse 23, Cologne 50677, Germany SEOUL 42, Palpan–gil, Jongno–gu, Seoul, 03054, Korea

T. +49 2 21 16 00 25 40 T. +82 70 7739 8808 E. seoul@choiandlager.com www.choiandlager.com

119


Reproduction of time–Blue harmony | Man Young HAN 2011 | Oil on violin in box | 180 95 21 cm

BOOTH F–09 CHOICE ART COMPANY

| Kwang Young CHUN Aggregation 2000 | Mixed media with Korean mulberry paper | 163 131 cm

Director Yun Hee CHOI

120

Participating Artists Man Young HAN Kwang Young CHUN Hyun Joo PARK

Address 06164

517 30 30F, ASEM Tower, 517, Yeongdong–daero, Gangnam–gu, Seoul, 06164, Korea

T. +82 2 501 2486 E. sophia@choiceart.company www.choiceart.company


BOOTH B–15

. . . 200~300

. Seeing . , . , .

CHUNG ART GALLERY

,

Seeing | Byung Chul WOO 2016 | Oil on canvas | 91 116.8 cm

18–2 | Man Hyeok YIM Bird and Family 18–2 2018 | Charcoal coloring on Korean paper | 176 133 cm

Director Hae Sun YOO

Participating Artists Man Hyeok YIM Byung Chul WOO Chan Girl PARK Hye Min LEE Seong Cheon JO Young Ae CHOO Geun Bae KIM

Address 06063 147 4 4, Samseong–ro 147–gil , Gangnam–gu, Seoul, 06063, Korea

T. +82 2 543 1663 E. yu1663@hanmail.net www.chungartgallery.com

121


BOOTH B–22

. , . .

CL ART , | Min Hyuk LEE After snow, the old days chungcheongnam 2018 | Oil on canvas | 181.8 227.3 cm

Director Hyun Jung LEE

122

Participating Artists Min Hyuk LEE Tae Kyung LEE Ji Hoon HA Soo Ji JANG

Address 06183

85 19 5 #503, WooJin Bldg., 19, Yeongdong– daero 85–gil, Gangnam–gu, Seoul, 06183, Korea

T. +82 2 565 0340 E. clartcompany@naver.com


BOOTH A–20

Eva ARMISÉN is a devoted storyteller, guardian of life and defender of optimism. As she eloquently conveys in her art, ARMISÉN aspires to safeguard those dearest to her from their day to day struggles. Her approach to making art is candid and plain–spoken. Efficient strokes, sensible words and unadulterated colors invite each viewer to participate in the courageous pursuit of out–and–out liberty from conflict and fear.

CMAY GALLERY

Brad HOWE seeks to build on the tradition of geometric abstraction and to sustain that tradition as a living, viable discourse. His playful mobiles, wall hangings, furniture, and freestanding sculptures combine the dynamic planar relationships and solid coloration associated with post–cubist modernism. Their playful exuberance references the artistic climates of twenty–first century Los Angeles and São Paolo, where Howe initiated his artistic career.

Eva ARMISÉN deshielo / melting 2017 | Oil on canvas | 92 60 cm

Brad HOWE Las Perlas 2017 | Stainless steel, aluminum, urethane | 157.5

Director

Participating Artists

Address

May CHUNG

Eva ARMISÉN Brad HOWE

8687 Melrose Ave. Space B226, Los Angeles, CA, 90069, USA

198.1

33 cm

T. +1 310 922 3885 E. info@cmaygallery.com www.cmaygallery.com

123


BOOTH F–26

, . .

DAV GALLERY

. .

| Seok Dae YANG Memory image 2017 | Oil on canvas | 90.9 90.9 cm

Director Young Hyo ROH

124

Participating Artists Seok Dae YANG Myoung Soo KIM Chang Seok LIM Yu Mee BAE Dae Jin CHOI

| Myoung Soo KIM Remember One s Time 2017 | Mixed media on canvas | 145.5 112.1 cm

Address 47808 94 31 3 3F, 31, Myeongnyun–ro 94beon–gil, Dongnae–gu, Busan, 47808, Korea

T. +82 51 554 5675 E. gallerydav@naver.com


BOOTH B–14

. .

.

, .

. . . ,

, .

.

| Jom Son KIM The flower and horse 2006 | Acrylic on canvas | 132 102 cm

| Doo Shik LEE Festival 1994 | Oil on canvas | 112.1 162.2 cm

Director

Address

Haeng Ro LEE

Participating Artists Doo Shik LEE Jom Son KIM So Hyun YEO Yeun Woo CHA Chang Hee KIM Chan Sik KIM

03077 34 18–5 18–5, Changgyeonggung–ro 34–gil, Jongno–gu, Seoul, 03077, Korea

DONG SOONG GALLERY

.

T. +82 2 745 0011 E. galleryds@naver.com www.dongsoong.kr

125


BOOTH E–07

Repetition–Trace of meditation( ,

)

. ,

(

) .

DONGWON GALLERY

. ,

.

– | Ju Hee YOO Repetition–Trace of meditation 2017 | Acrylic on canvas | 160 160 cm

Director Dong Hwan SON

126

Participating Artists Myung Soon KIM Jiana KIM Sung Hoon YANG Ju Hee YOO Kui Dae LEE Chel Ho PARK

Address 41959 42 42, Bongsanmunhwa–gil, Jung–gu, Daegu, 41959, Korea

T. +82 53 423 1300 E. dw1300@hanmail.net www.idongwon.co.kr


BOOTH E–37

.

68~69

·

. . ,

e.JUNG GALLERY

, , .

. , . , ,

,

.

Echo I 24– –68 #4 | Whan Ki KIM 1968 | Oil on canvas | 122 86cm

Director Jung Hee LEE

Participating Artists Whan Ki KIM Mi Ryeong KANG In Soo MOON Seo Bo PARK Wal Chong LEE

| In Soo MOON Red ox 2017 | Painting on steel | 59 109

14 cm

Address 06164

524 B2 C–22 C–22, B2, Coex Intercontinental Hotel, 524 Bongeunsa–ro, Gangnam–gu, Seoul, 06164, Korea

T.+82 2 511 6466 E. up3011@naver.com www.galleryejung.com

127


BOOTH C–17

. . . .

g.gallery

. .

. . . .

.

,

,

. 3

Participating Artists Ha Young EUM

Jinny CHUNG Michael SCOGGINS Starsky BRINES Robert MORELAND 128

Michael SCOGGINS All–American Family XXVI (Life s a Beach!) 2016 | Colored pencil on paper | 170 129 cm

6 | Robert MORELAND Untitled Six 2016 | Paint and canvas on wood with tacks and leather hinges | 175.3 88.9 16.5cm

Director

.

Address 06070 748 B1 B1, 748, Samseong–ro, Gangnam–gu, Seoul, 06070, Korea

T. +82 2 790 4921 E. shop@gexhibit.com www.gexhibit.com


BOOTH A–04 G13 G13 GALLERY

Lampu KANSANOH Stylist Daddies 2017 | Oil on linen | 120 120 cm Fadilah KARIM Leap of Faith 2017 | Oil on linen | 150 150 cm

Director

Participating Artists

Address

Kenny TENG

Ailei CHONG Fadilah KARIM Lampu KANSANOH Syafiq NORDIN

GL13, Ground Floor, Block B, Kelana Square, SS7/26, Kelana Jaya, Petaling Jaya, Selangor, 47301, Malaysia

T. +60 603 7880 0991 E. info@g13gallery.com www.g13gallery.com

129


– – .

. .

.

BOOTH B–17

| Seong Hoon HAN Dawn of galaxy 2017 | Oil on canvas | 162 112 cm

Participating Artist

Address

Gi Wan SEO

Seong Hoon HAN

06108 616 432 #432, 616, Nonhyeon–ro, Gangnam–gu, Seoul, 06108, Korea

T. +82 2 544 0557

Director

– | Seong Hoon HAN The symphony of universe–creation 2018 | Oil on canvas | 90 60 cm

KGA G7 TOWER KGA

130

,

.


BOOTH A–09

?

. ,

. .

. . . ,

. ,

. ,

.

GAIN ART SPACE

,

– | Do Hee YOO Draw on the water–Untitled 2017 | Installation in site and photo, pigment print | 100 83 cm

Director Young Ho JOO

| Dong Hyun KANG Forest of coexistence 2017 | Stainless steel, urethane painting | 130 90 50 cm

Participating Artists Do Hee YOO Mi PARK Mi Hye LEE Mi Sun CHANG Poong Sung JEONG Jae Hee PARK Dong Hyun KANG

Address Keum Hee SEO Ji Yeon SHIN Eui Cheol JEONG

10253 108 19–27 19–27, Jangjincheon–gil, 108beon–gil, Ilsandong–gu, Goyang, Gyeonggi, 10253, Korea

T. +82 10 5464 2712 E. gainartspace@gmail.com 131


BOOTH F–17

Nagako KISHIDA s art has been based on collecting or dismantling existing information since her first exhibition in 1977. She started TARTANS series in 2010. She paints Tartan patterns from the design book of Tartans in Scotland. The titles of her TARTANS paintings such as GORDON , RAMSAY , WALLACE , MACGREGOR etc... are quoted from Tartan names. Her works are consisted with oil painting techniques. But she does not use a paintbrush. They are produced using oil paint, painting knife, masking tape on the canvas. They are her abstract paintings .

16 galerie16

Shigeyoshi IWATA and members rebelled against the assault surrounding expression of Japanese painting, and they formed The Cella in 1959, in Kyoto. They held large–scale exhibitions energetically and received high praise from overseas. IWATA s works are exhibited and collected as artists representing the transition period of Japanese painting at the National Museum of Modern Art, Kyoto, Tochigi Prefectural Museum of Fine Arts and others.

Nagako KISHIDA TARTANS MACNEILL of BARRA 2011 | Oil on canvas | 145.5 97 3 cm

Shigeyoshi IWATA WORK–168 1965 | Oil, wood, iron on canvas | 92.7

Director

Participating Artists

Address

Michiko INOUE

Nagako KISHIDA Shigeyoshi IWATA Natsuko TANIHARA Seung Keun MOON

394 Sekisen–in–cho, Shirakawabashi– Agaru, Sanjo, Higashiyama–ku, Kyoto, 605–0021, Japan

132

62.5

5 cm

T. 81 75 751 9238 E. info@art16.net www.art16.net


BOOTH C–10

. .

GALERIE BHAK

.

. . | Tae Woong RHO At the Yangpo 2007 | Oil on canvas | 50 72.8 cm | Purume HONG At This Moment 2017 | Ink on paper | 110 170 cm

Director Young Duk BHAK

Participating Artists Ha Jin KANG Chang Young KIM Tschang Yeul KIM Tae Woong RHO Woo Seung YOON Purume HONG

Address TZUKI Carole A. FEUERMAN

06015 72 12 B2 B2, 12, Apgujeong–ro 72–gil, Gangnam–gu, Seoul, 06015, Korea

T. +82 2 544 8481 E. bhak9303@nate.com www.galeriebhak.com 133


BOOTH C–03

Gilles TEBOUL uses the term erasing when speaking of his recent paintings. It s nothing scandalous at first glance. For a long time, negation of the form has been a constituent element of modernity. One need only evoke the famous example of Rauschenberg who, in an iconoclastic gesture, erases a drawing by de Kooning. Moreover, the nonfigurative appelation clearly indicates that contemporary art is crisscrossed by a constant refusal.

GALERIE BRUNO MASSA

Gilles TEBOUL Untitled n 1870 2017 | Acrylic, resin on canvas | 61

Directors

Participating Artists

Bruno MASSA David Hyunmook JUNG

Gilles TEBOUL Teppei IKEHILA Minako ASAKURA Seung Hun SHIN Myunghee PARK Yul KIM

134

50

4 cm

Address Kyoung hee GU Fidia FALASCHETTI Anita FLEERACKERS Mah CHEN Stefan Mas PERSSON

102, rue des Poissonniers 75018, Paris, France

T. +33 6 61 00 10 33 E. contact@galeriebrunomassa.com www.galeriebrunomassa.com


,

,

,

BOOTH D–24

.

.

GALERIE ERD

D–60–44 | Man Lin CHOI 1960 | Conte on paper | 47 32 cm

D–60–47 | Man Lin CHOI 1960 | Conte on paper | 47 32 cm

Director

Address

Min Joo LEE

Participating Artists Man Lin CHOI Woo Young KIM Jung Ki BEAK Seung Yul OH Kwang Ho LEE

04344 13 25–1 25–1, Hoenamu–ro 13ga–gil, Yongsan–gu, Seoul, 04344, Korea

T. +82 2 794 0419 E. art@galerieerd.com www.galerieerd.com

135


BOOTH E–09

.

,

,

,

,

.

Galerie GAIA

,

,

,

. .

, . . ,

. | Byung Jong KIM The Song of Life 2016 | Mixed media on canvas | 89 146 cm | Hae Kyung LEE Green Feeling 2017 | Mixed media on Korean paper | 140 200 cm

Director Yeo Seon YOUN

136

Participating Artists Byung Jong KIM Hae Kyung LEE Mi Ryung BARN Seung Yong KWAK Jin Sook KIM Myoung Jin KIM Romero BRITTO

Address 03145 57–1 57–1, Insadong–gil, Jongno–gu, Seoul, 03145, Korea

T. +82 2 733 3373 E. galerie–gaia@hanmail.net www.galerie–gaia.net


, . ,

,

.

2 GALLERY2

. –

BOOTH C–14

.

| Hyun Sun JEON House and window 2017 | Water color on canvas | 112 145.5 cm

Director Jaeho JUNG

Participating Artists Dongi LEE Hyunsun JEON

Address 03004 204 204, Pyeongchang–gil, Jongno–gu, Seoul, 03004, Korea

T. +82 2 3448 2112 E. info@gallery2.co.kr www.gallery2.co.kr

137


BOOTH E–31

. . ,

50

,

,

,

, .

70

GALLERY 2U

. ,

, ,

,

,

,

,

,

, 3

.

,

. 18

,

(Landscape Garden) . , . .

–12–S–31 | Ku Lim KIM Yin and Yang 12–S–31 2012 | Mixed media on canvas | 130 162 cm

Subtle scape | Eun Jeong CHOI 2017 | Oil on canvas | Demensions variable

Director Hye Young PARK

138

Participating Artists Ku Lim KIM Seung Soon PARK Yu Jung KIM Eun Jeong CHOI Jai Young CHO Hyun Lee KIM

Address Dong Wook KIM Da Un JEONG Seung Won SEO

06052 134 15 1F 1F, 15, Nonhyeon–ro 134–gil, Gangnam–gu, Seoul, 06052, Korea

T. +82 2 3446 1788 E. vov9p@naver.com www.2ugallery.com


BOOTH F–28

. . . . –

GALLERY ARA

. 5–7cm

, .

| Je Seong HWANG Nomad s dream 2017 | Oil on canvas | 112 162.2 cm | Joon Ki LEE Erotic City 2016 | Mixed media | 91 91 cm

Director Duck Nam PARK

Participating Artists Je Seong HWANG Joon Ki LEE Chan Ju KIM Hong Ju LEE Myung Hee HAN Yeong Sil LEE Chang Hyo LEE

Address Yong Deuk KIM Hyeok KWON Geun Taek LEE

48058 46 46, Centumbuk–daero, Haeundae–gu, Busan, 48058, Korea

T. +82 51 746 0727 E. galleryara0767@hanmail.net galleryara.itrocks.kr 139


BOOTH C–05 GALLERY ART.K | Chong Hak KIM Landscape 1995 | Oil on canvas | 73 91 cm

Director Hee Jin KIM

Participating Artists Min Jae KIM Ki Soo KIM Chong Hak KIM Kusama YAYOI

140

Address 47705 50 22 22, Chabatgol–ro 50beon–gil, Dongnae–Gu, Busan, 47705, Korea

T. +82 51 715 0338 E. galleryartk@gmail.com www.galleryart.kr


Jochen SCHAMBECK LayOut 323 2017 | Oil on canvas | 120 91 4 cm

Director

Participating Artists

Moon Kwan PARK

Gui Sun CHO Jochen SCHAMBECK Dirk RATHKE Hyun Ju KIM Yeong Jea KIM Hyun Ok PARK

GALLERY ARTPARK KARLSRUHE

The Sea Finally Draws near with Solace: Regarding Photos of Young Jae KIM. Through KIM s photography, we come to possess a new awareness on the sea, which is that the sea is not only made of water but it exists within an appropriate relationship between the land. And there should be light. In fact, light is what photographers look for. Even though a photographer explores all the shores of the sea to find his own image of the sea, it is to no avail if he fails to find proper light. The long and difficult examination of light elevates KIM s photography to the level of almost sacred stature. The sea has its own unique condition of light. It is different from the one in the land, and it is much different from the one in the city. What makes our skin become dark in the summer around the sea is the unique light of the place.

BOOTH F–19

SCHAMBECK s paint application is performed by vigorously throwing, by painting with hands or by directly placing the tube of paint on a monochrome paint surface. Through these methods, splashes, beads, squiggles and blobs release unlimited energy like firework explosions. His artistic intention is not the imitation of reality, or the creation of a copy, but rather the invention of a new reality through the artistic process. The flower is not the theme, but rather strength, energy, matter and color.

Yeong Jae KIM The rest of the afternoon 2014 | Digital pigment print Hahnemuehle (German etching 310g) 108 163 cm | Ed. 1 of 3

Address Young Hwa YOON Jung In KIM Hyeon Gon PARK Ja Hyun CHOI Manshu–Rhan PARK

Kriegsstr. 86, Karlsruhe, 76133, Germany

T. +49 160 8740677 T. +82 10 5963 5330 E. gallery@artpark.eu www.artpark.eu

141


BOOTH F–20

. . .

GALLERY ART PLAZA

,

Sam Ran KIM

142

, .

. .

| Sung Ju LEE A profound tree 2018 | Mixed media | 65.2 53 cm

Director

,

,

2010 | Bo Yeon KIM Yard of primary color 2010 2017 | Mixed media on wood | 162 122 cm

Participating Artists Sung Ju LEE Kyu Yeoul PARK Won Jin LEE Bo Yeon KIM Jung Ran PARK Gun Young OH Jeong Sook WON

Address Su Kyung JUNG Kyung Hee KOH Sun Hong YOON Hae Kyung LEE

04397 309–17 309–17, Seobinggo–ro, Youngsan–gu, Seoul, 04397, Korea

T. +82 10 3321 3802 E. aplaza@hanmail.net www.artplazagallery.com


BOOTH E–03 GALLERY ART PLUS

| Yayoi KUSAMA flower 1999 | Screen print | 70 59 cm | Ed. 22 of 60

| Yayoi KUSAMA HAT 1982 | Screen print | 62.5 81 cm | Ed. 17 of 50

Director Kyung Hee JUN

Participating Artists Whan Ki KIM Ufan LEE Tschang Yeul KIM

Address 03163 4 12 12, Insadong 4–gil, Jongro–gu, Seoul, 03163, Korea

T. +82 2 732 7710 E. shin.donghyun80@gmail.com

Nara YOSHITOMO Yayoi KUSAMA 143


BOOTH C–02

, . ,

, .

True Apple | Romero BRITTO 2017 | Oil pen on wooden sculpture | 34 27

GALLERY BANDITRAZOS

9.5 cm

The Blues | Romero BRITTO 2017 | Digital print on canvas | 46 61 cm | Ed. 3 of 100

Director

Participating Artist

Address

Jin Og AHN

Romero BRITTO

03020 1 45 45, Baekseokdong 1ga–gil, Jongno–gu, Seoul, 03020, Korea

144

T. +82 2 734 2312 E. banditrazos@naver.com www.gallerybandi.com


BOOTH B–21 GALLERY BAUM

| Song Ryan MOON 2016 | Acrylic on canvas | 60 72 cm

| Hai Ja BANG Heart of Light 2015 | Silk screen on cotton paper | 60 60 | Ed. of 30

Director Hye Sik KIM

Participating Artists Hai Ja BANG Jasmine HONG Song Ryan MOON Soon Ho YANG Sae Hee YANG

Address 03146 10 23–8 2 2F, 23–8, lnsadong 10–gil, Jongno–gu, Seoul, 03146, Korea

T. +82 2 720 4237 E. 2002vera@hanmail.net 145


BOOTH E–28&29

. . . –

GALLERY BISUNJAE Young Tae KWON

– .

.

.

. .

Participating Artists Yang Ho YOON Doo Hyoun KWON Kyung–A PARK David Allan PETERS

146

_Own image .

#B5670 | Doo Hyoun KWON 2017 | Oil on canvas | 193.9 259.1 cm

Director

. ,

Zen Geist – Yang Ho YOON Zen Geist – Freedom from the known 2017 | Mixed media on canvas | 250 200 cm

Address 04420 3 54–14 54–14, UN village 3–gil, Yongsan–gu, Seoul, 04420, Korea

T. +82 2 793 5445 E. bsj54451@naver.com www.bisunjae.com


,

,

BOOTH F–02

. , . .

GALLERY CHOI

. .

(

)

.

,

, .

. . .

S2 | Soo Kyoung LEE 2016 | Acrylic on canvas | 162

Director Jae Hong CHOI

PAINT IT BLACK | In LEE 2017 | Mixed media on Korean paper | 217.5

130 cm

Participating Artists In LEE Soo Kyoung LEE Youn Seok OH Ji Youn JEON Tae Im HA Hye Sook YOO Kyung Hee LEE

157.5 cm

Address 04083 17–7 17–7, Tojeong–ro, Mapo–gu, Seoul, 04083, Korea

T. +82 2 323 4900 E. gallerychoi.gc@gmail.com www.gallerychoi.com

147


BOOTH B–19

. . .

GALLERY DAHAM Continuous Bowl | Sang Min LEE 2013 | Engraved glass and framed | 103

Director Hyeon Suk CHOI

148

Participating Artists Joon Sang PARK Hoo Sik JOO Sang Min LEE Bo Kyung JOUNG Heung Bae OH

106

6 cm

Address 15353 376 376, Hwarang–ro, Danwon–gu, Ansan, Gyeonggi, 15353, Korea

T. +82 31 401 0460 E. daham0928@naver.com www.gallerydaham.co.kr


BOOTH E–12

.

, .

. ,

.

GALLERY DAON

. –

.

76 | Young Jin KIM Garden of Svaha No.76 2017 | Acrylic on canvas | 75 193.9 cm

_ ( ) | Ga Young CHOI MAZE_ocean–seal 2017 | Stone powder, gold , silver on kaolin | 27.3 81.9 cm

Director Wha Hee LEE

Participating Artists Young Jin KIM Bo Yun LEE Sang Yeob LEE Ga Young CHOI TAEWOO

Address 06154 68 23 23, Bongeunsa–ro 68–gil, Gangnam– gu, Seoul, 06154, Korea

T. +82 2 555 9429 E. galldaon@naver.com www.gallerydaon.com

149


BOOTH F–25

(

·

16 )

. . , .

.

GALLERY D ARTE

. . . (

)

(New)

. .

, .

, .

Hyun Moh YANG TOU ( ) 2018 | Photograph, print on Korean paper | 70

Director

Participating Artists

Suechung KOH

Dongmoon ZHANG Miyoung PARK Haeyoung LEE Yong Moon CHO Hyung Phil PARK Hyun Moh YANG

150

50 cm

Yong Moon CHO Map 2017 | Mixed media on canvas | 85

120 cm

Address Young Chan AN Kihyun BAE Chungnam LEE Chang Im CHOI Youngju KIM

540 West 50 Street, Suite 1A, NY 10019, New York, USA

T. +1 201 724 7077 E. gallerydarte@gmail.com www.gallerydarte.wixsite.com/darte


,

BOOTH B–13

, .

.

, .

GALLERY DOO

. . ,

, . . .

| Young Bo KEUM A big tree 2017 | Oil on canvas | 116.8 91 cm

Director Doo Kyung JEONG

Reflective 18022 | Yeo Joo NAM 2018 | Acrylic, resin, bead on canvas | 72.7

Participating Artists Hye Kyung KANG Young Bo KEUM Sung Hye KIM Su Jung KIM Chang Han KIM Yeo Joo NAM Ki Hoon PARK

60.6 cm

Address Eun Ae PARK Jung Hui SEO Joo Eun HAN

06073 726 B1 B1, Kyung–won Bldg., 726 Samseong–ro, Gangnam–gu, Seoul, 06073, Korea

T. +82 2 3444 3208 E. gallerydoo@gmail.com www.gallerydoo.com 151


BOOTH F–12 GALLERY EDEL MIKI Slot Machines in Busan 2018 | Oil on canvas | 72.7 60.6 cm

Yoshinori NOZAKI Spring Wind 2015 | Oil on canvas | 60.6 72.7 cm

Director

Participating Artists

Address

Kuniaki HORII

MIKI NAOH Takeshi YAMAO SULEBOX KAZUFUMI Kentaro MIZUNO Yoshinori NOZAKI

#105&201, Nishitenma Bldg., 4–9–2, Nishitema, Kita–ku, Osaka, 530–0047, Japan

152

T. +81 6 6131 2155 E. edelcoltd@aol.com www.edelcoltd.com


BOOTH A–01

. .

,

GALLERY EM

.

, .

. .

Memories of the Gaze_Celadon 4 | Jae Yong RHEE 2015 | Archival pigment print | 104 85 cm | Ed. of 3

Director Emma SON

Participating Artists Nak Hee SUNG Jae Yong RHEE Hye Min LEE Jeanie LEE Buhm HONG

Polyphonic1 | Nak Hee SUNG 2016 | Oil on canvas | 53 41 cm

Address 06010 71 14 2 2F, 14, Apgujeong–ro 71–gil, Gangnam–gu, Seoul, 06010, Korea

T. +82 2 544 8145 E. info@galleryem.co.kr www.galleryem.co.kr

153


BOOTH A–07

. . . .

GALLERY FINE

. . . . , . –

– Kwang Taek PARK Conversation with Nature 2017 | Watercolor painting on Korean paper | 45 53 cm

Kwang Taek PARK Conversation with Nature 2017 | Watercolor painting on Korean paper | 65 80 cm

Director

Participating Artist Kwang Taek PARK

In Hwa JEONG

154

Address 48095 287 111&112 #111&112, 287, Haeundaehaebyeon–ro, Haeundae–gu, Busan, 48095, Korea

T. +82 51 741 5867 E. jihloveslsj@hanmail.net www.galleryfine.com


BOOTH E–04

. . . . , .

GALLERY GRACE

,

. .

.

,

. . | Jong Kie LEE Blue Dragon 2018 | Acrylic on canvas | 162.2 130.3 cm

| Jong Kie LEE Cloud and Mist 2017 | Acrylic on canvas | 112 193.9 cm

Director Eu Gene LEE

Participating Artists Jong Kie LEE Mi Ae BONG Mi Ae KIM Young Sook HAN Myoung Soon SONG Choong Yul LEE

Address Chul CHOI Yong Il PARK Uliviero ULIVIERI

13104 60 5 5, Deungja–ro 60beon–gil, Sujeong–gu, Seongnam, Gyeonggi, 13104, Korea

T. +82 10 5216 0090 E. starjkl@nate.com

155


BOOTH F–13

. .

(capture the moment)

GALLERY H

.

| Ho Jun SONG camellia 2014 | Oil on canvas | 162 130 cm

Director Mi Ae PARK

156

.

Participating Artists Bo Kyoung PARK Ho Jun SONG

| Bo Kyoung PARK neighbor 2017 | Woodengraving collage | 20 29 cm | Unique

Address 49226 335–1 1001 #1001, 335–1, Gudeok–ro, Seo–gu, Busan, 49226, Korea

T. +82 10 4590 7566 E. koreamiae@hanmail.net


BOOTH D–05 GALLERY HYUNDAI

Cars | Iván NAVARRO 2014 | Neon, mirror, one–way mirror and electric energy (aluminum) | 91

Director HyungTeh DO

Participating Artists Sang–Hwa CHUNG Seung–Taek LEE Kun–Yong LEE Sung Hy SHIN Minjung KIM Nam June PAIK Hyun Ki PARK Kang–So LEE

193

18 cm

Address Ufan LEE Robert INDIANA Wim DELVOYE Iván NAVARRO

03062 14 14, Samcheong–ro, Jongno–gu, Seoul, 03062, Korea

T. +82 2 2287 3500 E. mail@galleryhyundai.com www.galleryhyundai.com 157


BOOTH B–09

(

) . .

2000

.

GALLERY iLHO

. . . Finding Flow ? , . (Flow) . . . –

2009–53 Tae Ho KIM Internal Rhythm 2009–53 2009 | Acrylic on canvas | 163 131 cm

Director Il Ho KEE

158

Yun Mo AHN Books, Flowers and Lover 2017 | Acrylic on canvas | 115 91 cm

Participating Artists Gui Lin KIM Tae Ho KIM Yun Mo AHN Byung Rock YOON Hyeong Tae MOON Bom E KWON Sun Hee KIM

Address Se Jin KIM Yoon KIM Hong Mi SON Byeong Cheol LEE

03134 66 1 1F, 66, Donhwamun–ro, Jongro–gu, Seoul, 03134, Korea

T. +82 2 6014 6677 E. galleryilho@hanmail.net www.galleryilho.com


BOOTH E–18

. .

GALLERY JEON

. –

– . . .

( – ) | Hyun Jun YANG Adult Child (picnic– ) 2018 | Acrylic on Korean paper | 116 91 cm

Director Byoung Hwa JEON

Participating Artists Yeoung Sup LEE Hyun Jun YANG Min Sook JANG Gil Yeoung JUNG

| Yeoung Sup LEE Mother and Son 2017 | Mixed media | 58 17 17 cm

Address 42260 2811 2811, Dalgubeol–daero, Suseong–gu, Daegu, 42260, Korea

T. +82 10 6516 5784 E. gallery373@daum.net www.galleryj.co.kr

Steven WILSON 159


BOOTH A–11

. .

GALLERY JOEUN

·

In Sook CHO

160

·

Untitled ,

,

·

·

.

Water G7 | Young Il AHN 2004 | Oil on canvas | 101 86 cm

Director

(Water Series)

30

.

| Se Yeol OH Untitled 2018 | Mixed media | 130 81 cm

Participating Artists Se Yeol OH Young Il AHN Dong Su LEE Myoung Wook HUH Sung Min PARK

Address Sang Yoon YOON Wool Ga CHOI Suk Chul JOO

04420 28 28, UN village–gil, Yongsan–gu, Seoul, 04420, Korea

T. +82 2 790 5889 E. galleryjoeun@naver.com www.galleryjoeun.com


. (neutron star)

.

BOOTH E–32

NEUTRON SaTAR

2017

. .

Pulsar

LED .

.

Pulsar Clover NS 29–17 | SATA 2017 | Photography, mixed media | 40

Director Hye In SHIM

GALLERY LUX

,

40 cm

Participating Artists Eun Ju KIM SATA Gyu Tae HWANG

Address 03034 7 12 12, Pirundae–ro 7–gil, Jongno–gu, Seoul, 03034, Korea

T. +82 2 720 8488 E. gallerylux@naver.com www.gallerylux.net

161


BOOTH F–18

Life

.

GALLERY M Suk Young KIM

162

. .

. , .

Life–if (Under the Sea) | Hyang Ji LEE 2018 | Oil on canvas | 97 30 cm (each)

Director

if

| Jeong Sun PARK Mangrove 2017 | Acrylic on canvas | 162.2 121.1 cm

Participating Artists So Yeon PARK Jeong Sun PARK Ji Man PARK Kwang Suk BAEG Sun Kyoung LEE

Address Jung Yeon LEE Hyang Ji LEE Won Seok CHOI

03163 4 12 12, Insang 4–gil, Jongno–gu, Seoul, 03163, Korea

T. +82 2 735 9500 E. gallerymh@naver.com blog.naver.com/gallerymh


.

, .

BOOTH F–11

,

GALLERY MAC

| Hyeong Tae MOON Sweat and tears 2017 | Oil on canvas | 162.2 130.3 cm

Director Young Ho JANG

Participating Artists Hye Eun KANG Hyeong Tae MOON Jin Sung PARK Soon Hwan OH Doo Won LEE

Address 48117 65 70 2 2F, 70, Dalmaji–gil 65beon–gil, Haeundae–gu, Busan, 48117, Korea

T. +82 51 722 2201 E. gallerymac@hanmail.net www.gallerymac.kr

163


BOOTH A–03

.

,

. . .

GALLERYMEI

, ? –

. ,

,

. . .

Unfamiliar face | Jae Chul JUNG 2017 | Oil on canvas | 117 80 cm

Red#3 | Mi Seon YOON 2012 | Fabric and thread sewing on canvas | 145.5

Director

Address

Ji Eun LIM

164

Participating Artists Mi Seon YOON Jae Chul JUNG Hyun Ji CHO

03978 15 13–3 13–3, Sungmisan–ro 15–gil, Mapo–gu, Seoul, 03978, Korea

112.1 cm

T. +82 70 8615 4688 E. gallerymei5@gmail.com www.gallerymei.com


. .

.

. .

BOOTH E–34

.

GALLERY MIROONAMU

. .

.

,

.

. –

. –

| Jin Hee KIM Hope 2017 | Mixed media on Korean paper | 117

Director Sun Young PARK

91 cm

Participating Artists Young Dae KIM Jin Hee KIM Yong Gil JANG Young Sin JEON Sung Hwan CHOI

| Young Sin JEON Longing 2015 | Ceramics | 62 61 cm

Address 38820 96–1 96–1, Unjusan–gil, Yeongcheon, Gyeongbuk, 38820, Korea

T. +82 54 337 0288 E. mirooart@hanmail.net

165


BOOTH A–08

. . Flying Donkey

.

GALLERYMIZ

. .

| Soon Sik KIM Flying Donkey 2017 | Ceramic, presco | 57 114 cm

Director Jong Hyun JUNG

166

Participating Artists Geum Joo AN Joo Yeon KIM Jung JANG Soon Sik KIM Jeong Yeon KIM Ji Yong KWON

Address Sung Eun KIM Che Kyeoung MYEOUNG

03147 461 101 B105 #101–B105, 461, Samil–daero, Jongno–gu, Seoul, 03147, Korea

T. +82 2 722 8005 E. pallopa@unitel.co.kr www.mizgallery.com


,

BOOTH D–16

. .

. ,

GALLERY PALZO

. ,

,

, . ,

.

| SOHN Paa Untitled 2017 | Acupuncture needle | 145.5

Director Joong Hee KIM

Touch the light & color | Wan KIM 2017 | Mixed media | 108 108 cm

112.1 cm

Participating Artists Wan KIM SIMHYANG SOHN Paa Jin Young YE

Address 38318 17–17 17–17, Paljo–gil, Iseo–myeon, Cheongdo–gun, Gyeongbuk, 38318, Korea

T. +82 54 373 6802 E. joonghee@gallerypalzo.com www.gallerypalzo.com

Mark DZIEWULSKI 167


BOOTH F–22

. ,

, .

,

GALLERY RAE

.

. . ,

. .

Reflection Nam Ju BAE 2017 | Oil on canvas | 91 91 cm

| Kwang Hyun KIM Rest 2017 | Acrylic on canvas | 163 132 cm

Director

Address

Me Hee KIM

Participating Artists Kwang Hyun KIM Jin Chul KIM Nam Ju BAE John Crash MATOS

168

48095 305 6 6F, Audi Haeundae, 305, Haeundaehaebyeon–ro, Haeundae–gu, Busan, 48095, Korea

T. +82 51 995 2020 E. raegallery@naver.com www.galleryrae.com


. ,

.

BOOTH E–13

,

GALLERY SEOJONG

| Wal Chong LEE Golden mean of Jeju living 2016 | Mixed media on Korean paper | 91 116.8 cm

Director Yeon Ju PARK

Participating Artists Tschang Yeul KIM Wal Chong LEE Hee Jeong CHANG Dong Yoo KIM Romero BRITTO

Address 12502 991 T. +82 31 774 5530 991, Bukhangang–ro, Seojong–myeon, E. seojongart@hotmail.com Yangpyeong–gun, Gyeonggi, 12502, www.seojongart.com Korea

169


BOOTH D–06

O& . Yes(O), No( ) .

,O .

GALLERY SERENE SPACE

. .

(O),

( )

. .

O

.

O, .

| Jun Young KANG O, X 2016 | White porcelain, glazed gold luster | 21 15 15 cm (each)

Director Ji Yeoun SUH

170

Participating Artists Jae Hong KIM Jun Young KANG Kwang Hun CHO Gun Hee LEE

Address 48119

2 33 A 608 #608, A–tower, Zenith Square, 33, Marine City 2–ro, Haeundae–gu, Busan, 48119, Korea

T. +82 51 742 7422 E. galleryserene@gmail.com www.serenespace.kr


BOOTH E–30 GALLERY SESOM

WATER SLB–14 | Young Il AHN 2014 | Oil on canvas | 228.6 203.2 cm

Detail image

Director

Participating Artist Young Il AHN

Hae Yeol JEONG

Address 51429 239 38 38, Yongji–ro 239beon–gil, Uichang–gu, Changwon, Gyeongnam, 51429, Korea

T. +82 55 263 1902 E. usa3981@hanmail.net www.gallerysesom.com

171


BOOTH A–14

,

,

.

GALLERY SHILLA – ( –No.26) | François RISTORI Traces–formes (Untitled–No.26) 1980 s | Acrylic on canvas | 180 147 cm

Director Kwang Ho LEE

172

Participating Artists Yong Sun SUH Myoung Young CHOI Seung Won SUH Doo Young PARK Moon Pil SHIM Young Ik KIM

Address Alan CHARLTON Takashi SUZUKI François RISTORI

41954 200–29 200–29, Daebong–ro, Jung–gu, Daegu, 41954, Korea

T. +82 53 422 1628 E. gshilla@hanmail.net www.galleryshilla.com


. . ,

.

BOOTH E–33

.

.

GALLERY SOOP

| Sang Yeal LEE Blue apple tree 2017 | Oil on canvas | 162 112 cm

Director Chun Hui BYEON

Participating Artists Sang Yeal LEE Geun Hwa LEE Jung Sup SONG Man Gun KIM Ra Young JU

Address 10073

1 227 213 #213, Kwangjangplaza, 227, Gimpohangang 1–ro, Gimpo, Gyeonggi, 10073, Korea

T. +82 31 988 8040 E. nature1918@hanmail.net

173


BOOTH C–09

5

painting

Beyond the

.

.

GALLERY SoSo | Eull KIM Beyond the painting 2017 | Oil on canvas–object | 122 100 13 cm

Director Lina KEUM

174

Participating Artists In Kyum KIM Eull KIM Sang Yuel YOON Hai Young SUH Jung Uk YANG

Address 10859 92 92, Heyrimaeul–gil, Tanhyeon–myeon, Paju, Gyeonggi, 10859, Korea

T. +82 31 949 8154 E. sosogallery@gmail.com www.gallerysoso.com


BOOTH F–04&05 GALLERY STAN

James JEAN Noah 2014 | Acrylic on canvas mounted on wood panel | 152.4

122 cm

Directors

Participating Artists

Address

Tae Hyun KIM In Ji SONG

GRAFFLEX Sergio GARCIA James JEAN CHOCOMOO SAMBYPEN Do Ha HAM

NEW YORK 454 West 54th Street Suite #4A, New York, NY 10019, USA SEOUL B1, 24, Dosan–daero 30–gil, Gangnam–gu, Seoul, 06049, Korea

Sung Chul OK Hong Min LEE So Youn LEE Gun Ju KIM COOLRAIN UPTEMPO

T. +1 714 904 2484 T. +82 10 9493 8045

tae@artconciergeny.com www.gallerystan.com 175


BOOTH E–19

. ,

,

. ,

GALLERY SUN CONTEMPORARY

. .

Weave Words.2012 | Miyuki YOKOMIZO 2012 | Oil on canvas | 162.1 162.1 cm

,

.

M 010.015.2016 | Miyuki YOKOMIZO 2016 | Oil on canvas | 53 33.4 cm

Director

Participating Artist

Address

Joan LEE

Miyuki YOKOMIZO

06065 147 66 B1 B1, 66, Samseong–ro 147–gil, Gangnam–gu, Seoul, 06065, Korea

176

T. +82 2 720 5789 E. suncontempo@naver.com www.suncontemporary.com


BOOTH B–10

, . . . ,

.

GALLERY SUPPOMENT

. –

– , , . . , . , .

Big air excitement | Hye Jo Kwon 2017 | Oil on canvas | 100 72.7 cm

Director Soo Jeong OH

– | In Seob LEE Dawn 2017 | Mixed media on canvas | 162.2

Participating Artists Hye Jo KWON Sun Kyoung SUH Gil Suk OH Sa Ra LEE Young Hee LEE

130 cm

Address In Seob LEE Seung Hyun LIM Yong Hwan JEON Jae Won CHOI

06576 22 41 4 4F, 41, Sapyeong–daero 22–gil, Seocho–gu, Seoul, 06576, Korea.

T. +82 70 8244 0604 E. spodc@naver.com www.gallerysuppoment.com 177


BOOTH B–04

. [

] ?

GALLERY WHITE BIRCH

,

! ! . . –

( ) Sang Yoon HAN LOVE MY Family (Happy PIG to Marry) 2018 | Acrylic, stone medium on canvas | 91 116.8 cm

Director

Participating Artist Sang Yoon HAN

Hwa Sook YOO

178

. –

( ) Sang Yoon HAN MY PAPA is SUPERMAN (for Family) 2018 | Acrylic, stone medium on canvas | 53 45.5 cm

Address 03062 1 40–7 40–7, Yulgok–ro 1–gil, Jongno–gu, Seoul, 03062, Korea

T. +82 2 733 7944 E. galleryjjnamu@hanmail.net www.galleryjjnamu.com


BOOTH D–23

, 1998

1990

, (Marlene Dumas),

(Gilbert & George) . ,

GALLERY WOO

. , ,

.

Deer and Blue bear | Mayuka YAMAMOTO 2017 | Oil on canvas | 130 162 cm

Director Woo Hyun KANG

Participating Artists Choong Seok HAN Ju Young KANG THITZ Gil Hyeon YOON

Address 48093

217 1 1F, Haeundae Grand Hotel, 217 Haeundaebeah–ro, Busan, 48093, Korea

T. +82 51 742 6596 E. woo_gallery@naver.com www.gallerywoo.net

Mayuka YAMAMOTO 179


BOOTH E–36

. . . .

GALLERY YEHGA

,

,

.

,

.

| Hyun Dae SHIN Enjoy life 2018 | Acrylic on Korea paper | 130.2 193.7 cm

| Young Suk KIM Beating heart for spring 2017 | Acrylic on canvas | 80.3 116.8 cm

Director Woo Bong JEON

180

,

.

Participating Artists Young Suk KIM Choong Hyun NOH Hyun Dae SHIN Ji Hun LEE JUNG KWANG Sung A MOON

Address 47198 79 8 B 502 B–502, 8, Beomyang–ro, 79beon–gil, Busanjin–gu, Busan, 47198, Korea

T. +82 51 624 0933 E. jwb@yehga.co.kr www.yehga.co.kr


BOOTH E–35

. –

,

GALLERY YEKANG

. ,

, . . | Sung Hee KIM Dreaming 2018 | Oil on canvas | 90 117 cm | Dong Rok LEE Morning happiness 2017 | Acrylic on canvas | 72.7 60.6 cm

Director Eun Soon CHANG

Participating Artists Sung Hee KIM Wang Ju KIM Dong Rok LEE Jee Young AHN Hyeon Sook JUNG

Address 41109 3 8–3 1 1F, 8–3, Yulhaseao–ro 3–gil, Dong–gu, Daegu, 41109, Korea

T. +82 53 965 2732 E. changes26@hanmail.net

181


BOOTH E–14

Yuu TAKAHASHI s vividly colored oil painting depicts a portrait of a person she respects. Above the portrait, TAKAHASHI draws a map of a location related to the person with bold white lines. Harmonizing bright colors well with an interesting concept, her pop painting brings joy and stimulation to the viewer.

GALLERY ZERO

Masayuki YOSHINAGA s photographs display Japanese teenagers dressed in the extraordinary style called Goth–Loli . Goth–Loli is a combination of Gothic fashion – all black with occult overtones – and the Lolita chic of girls who wear doll–like dresses with frills and ribbons. YOSHINAGA photographed about 500 young people in the streets, underground clubs, and private homes. The photographs show both the exceptional singularity and diversity of a unique Japanese culture.

Yuu TAKAHASHI Evita 2012 | Acrylic, medium on canvas | 145.5

Masayuki YOSHINAGA Goth–Loli (Gothic and Lolita) #3466 2006 | C–print | 75 50 cm | Ed. 1 of 3

112.1 cm

Director

Participating Artists

Address

Hiroo TAKAMORI

Yohei NISHIMURA Masayuki YOSHINAGA Yoshie SAKAI Takeshi HOSAKA Yuu TAKAHASHI

4F, Kyo Bldg., 1–17–8, Kyomachibori, Nishi–ku, Osaka, 550–0003, Japan

182

T. +81 6 6448 3167 E. g–zero@art.email.ne.jp gallery–zero.jimdo.com


7

. .

BOOTH B–03

1983

,

GANAART

, .

. .

Variation | Su Fan OH 2009 | Oil on canvas | 287

Director Jung LEE

245 cm

Participating Artists Young Hoon KO Whan Ki KIM Yung Nam PARK Suk Won SA Su Fan OH Young Kuk YOO Ufan LEE

Address SEOUL 03004

30 28 28, Pyeongchang 30–gil, Jongno–gu, Seoul, 03004, Korea BUSAN 48099 292 4F 4F, 292, Haeundaehaebyeon–ro, Haeundae–gu, Busan, 48099, Korea T. +82 2 720 1020 T. +82 51 744 2020

E. info@ganaart.com www.ganaart.com 183


BOOTH C–21

, .

David KRACOV ,

55

. .

HL FINEART

, David KRACOV .

David KRACOV .

My Heart Is All A Flutter | David KRACOV 2018 | Hand painted on laser cut metal | 90 109 cm | Ed. of 55

Director

Participating Artist

Address

Sang Wang SHIM

David KRACOV

06049 146 8 8, Nonhyun–ro 146–gil, Gangnam–gu, Seoul, 06049, Korea

184

T. +82 2 515 5364 E. hlfineart afine.co.kr www.hlfineart.com


BOOTH E–15

. . ,

,

HUE GALLERY

, . .

.

– | Soon Gong PAIK Untitled – From Daily Life 2017 | Collage, acrylic on canvas | 130.3 162.2 cm

Untitled | Ho JEONG 2016 | Oil on canvas | 200

Director Hyeon Ju KANG

Participating Artists Soon Gong PAIK Ho JEONG Guen Jae KIM In Sook KIM Su Hwan CHOI

402.5 cm (100

80.5 cm each)

Address 51012 138 17 17, 138 beon–gil, Deokjeong–ro, Gimhae, Gyeongnam, 51012, Korea

T. +82 10 7472 4415 E. info@galleryhue.com www.galleryhue.com

185


BOOTH D–20

,

,

,

. . . .

I GALLERY

. . –

– .

2010

. , . . . . –

– Hyun Kyung CHANG Memories of Life 2018 | Oil on canvas | 97 162.2 cm

– Hyun Joo TAK Jeju Gotjawal– Cherry blossom viewing 2017 | Acrylic on canvas | 80.3 116.8 cm

Director Eun Young CHA

186

Participating Artists Ki Na KIM Jung Duk SONG Hyun Sook CHANG Soo Whan OH Geun Hee KIM Hyun Kyung CHANG Hyun Joo TAK

Address 03162

5 29 B1 8/9 #8/9, B1, 29, Insadong 5–gil, Jongno–gu, Seoul, 03162, Korea

T. +82 2 737 8144 E. gallerycha@empas.com gnigallery.modoo.at


BOOTH A–13

. .

INDIPRESS

Collaged image S180131S | Ho Ryon LEE 2018 | Oil on canvas | 197 291 cm

Director Jeoung Dae KIM

Participating Artists Hak Chul SHIN Gene Uk CHOI Kwang Moon KIM Jae Ho JUNG Ho Ryon LEE Soon Yeal YANG Ka Young LEE

Address SEOUL 03044, 31 31, Hyoja–ro, Jongno–gu, Seoul, 03044, Korea BUSAN 48116 73–3 73–3, Cheongsapo–ro, Haeundae–gu, Busan, 48116, Korea

T. +82 10 8929 1407 E. busycode@hanmail.net www.facebook.com/INDIPRESS

187


BOOTH F–24

, . , . .

INSA GALLERY

.

| KONRAD Winter garden 2012 | Car lacquer on aluminium | 83 117 cm

Director Kwang Won CHOI

188

Participating Artists Kyong Ok KIM Sung Il KIM Il CHUNG Il Yong PARK Me Youn PARK THITZ

Address KONRAD Winter Masayuki TSUBOTA

04027 45 2 2F, Mecenatpolis Mall, 45, Yanghwa–ro, Mapo–gu, Seoul, 04027, Korea

T. +82 2 735 2655 E. insa94@unitel.co.kr www.insagallery.net


BOOTH E–23

. .

. . 0.1

JJ JOONGJUNG GALLERY

. , .

Karma 2017 11–10 | Young Wook CHOI 2017 | Mixed media on canvas | 96 88 cm

blossom | Jun Kun CHOI 2014 | Mixed media on canvas | 60 150 cm

Director Jin Yi JUNG

Participating Artists Jin Kyu PARK Chanoo PARK Young Wook CHOI Jun Kun CHOI Seung Woo HWANG

Address 03011 10 7–12 7–12, Pyeongchang 10–gil, Jongno–gu, Seoul, 03011, Korea

T. +82 2 549 0207 E. galleryjj@naver.com www.jjjoongjung.com

189


BOOTH A–06

.

, .

JOHYUN GALLERY

, ,

.

| Philippe COGNÉE Angel 2018 | Wax painting on canvas | 130

Director JO Hyun

190

Participating Artists Chong Hak KIM Seo Bo PARK Bae LEE Chang Hong AHN Kwang Ho LEE Kang Hoon KANG So Yeun LEE

95 cm

Address Philippe COGNÉE Peter ZIMMERMANN Claude VIALLAT

BUSAN 48117

65 171 171, Dalmaji–gil 65beon–gil, Haeundae–gu, Busan, 48117, Korea SEOUL 03004 204 204, Pyeongchang–gil, Jongno–gu, Seoul, 03004, Korea T. +82 51 747 8853 E. info@johyungallery.com www.johyungallery.com


Jinyong JEONG 10 longevity within Mt. Kumgang 2016 | Acrylic & crystal beads on canvas | 195 145 cm

Guangyi WANG Great Criticism Art And Gay 2006 | Oil on canvas | 160 200 cm

Director

Participating Artists

Address

Lian HAN

Guangyi WANG Jinyong JEONG

797 Street, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China

JUNDING ART PROJECTS

Political Pop is Guangyi WANG s best known subject. He chose historical Chinese propaganda into paintings that sneered at the intersection of China s communist history and the rise of Western influence. Great Criticism series ( from 1990 to 2007), which includes works like Great Criticism – Louis Vuitton and Great Criticism – Coca Cola. He highlighted a modern ideology: commercial propaganda is also a form of brainwashing as well as political propaganda which has influenced Chinese people hugely in many aspects in modern China society.

BOOTH D–25

Palaces and places of worship signifies power of authority in human society. This is a main topic that has been drawing Korean artist Jinyong JEONG s attention until today. JEONG s works draw royal and religious buildings on canvas to form concepts of thearchy and majesty, which are two invisible but strong power to control a nation, in concrete constructions. He illustrates spectacular mountain scenery with crystal beads on canvas which implies a lost world, hidden nature with mysterious and unpredictable strength.

T. +86 10 5762 6250 E. hanlian@cige–bj.com

191


BOOTH B–05 JY ART GALLERY – | Yong li KIM Sinjakro–First Story 2017 | Acrylic on canvas | 162.2 130.3 cm

– | Sung Ho HONG Sunrise sea 2017 | Acrylic, mixed media | 91 116.8 cm

Director Seon Hee LEE

192

Participating Artists Sung Ho HONG Yong Il KIM Bong Sun HWANG Yu Young SEO Mi Yeon JANG

Address 03053 5 25 25, Bukchon–ro 5ga–gil, Jongno–gu, Seoul, 03053, Korea

T. +82 2 732 8882 E. jy.artcompany@gmail.com jyartgallery.modoo.at


BOOTH E–10 KAINOS GALLERY

| David GERSTEIN Tel–aviv bouquet 2009 | Hand painted cutout steel | 100 77 cm S20171005 | Dae Ho GUK 2017 | Oil on canvas | 162 112 cm

Director Ji Hye WANG

Participating Artists Wal Chong LEE Se Yeul OH Dae Ho GUK Kang Ok JEON

Address 06164

524 B2 C–36 #C–36, B2, Coex Intercontinental, 524, Bongeunsa–ro, Gangnam–gu, Seoul, 06164, Korea

T. +82 2 538 1466 E. kainos25@hotmail.com blog.naver.com/kainos25

David GERSTEIN 193


BOOTH D–17

Young OH graduated with M.F.A from Hochschule fuer Kuenste Bremen (Meisterschueler), Bremen, Germany, and B.F.A from Ewha Womans University Fine Art , Seoul, Korea. Young OH held successful shows in Miami Scope, Singapore, Hong Kong, Florida and KIAF. Young OH has received great acclaim for her technique; through a combination of drawing and oil painting on hanji canvas, her artwork evokes a narrative made of signs, noises and murmurs.

KHALIFA GALLERY

Young OH Conversation piece 2017 | Pencil and oil on Korean paper | 130

Director

Participating Artists

Kyong Lan SOHN

Alê JORDÃO Andy MOSES Tec FASE Hyo Jeong PARK Young OH Du Jin YOON

194

162 cm

Address Jin Seob YOON Gil Rae LEE Young Ha LEE Wook HEO

1102 Nam Wo Hong Building, 148 Wing Lok Street, Sheung Wan, Hong Kong, China

T. +852 9616 0938 T. +82 10 4716 9643 E. arte7@naver.com www.khalifagallery.com


BOOTH A–17

. , .

.

Arrive at a utopia | Seung Eun SEO 2017 | Eastern watercolor, acrylic on Korea paper | 120

150 cm

Director

Address

Min Seok KIM

Participating Artists Seung Eun SEO Tuk no Jung Gi BAEK Dae Jun SHIN Ba Reum KIM Yu Jeong SONG

41959 100 100, Bongsanmunhwa–gil, Jung–gu, Daegu, 41959, Korea

KIDARI GALLERY

.

T. +82 70 7566 5995 E. kidarigallery@gmail.com www.kidarigallery.com

195


BOOTH E–08

, .

,

.

| Kyoung Hwa KIM Light of soul 2016 | Oil on linen | 162 130 cm

KIM JAE SUN GALLERY

| Jong Bo SEOL Sansuyu flower street 2017 | Acrylic on canvas | 70 130 cm

Director Jae Sun KIM

196

Participating Artists Kyoung Hwa KIM JIHI Dae Yong BYUN Kyoung Lim LEE Jong Bo SEOL Min Kyoung AN

Address 48117 187 3 3F, 187, Dalmaji–gil, Haeudae–gu, Busan, 48117, Korea

T. +82 51 731 5437 E. info.kimjaesungallery@ gmail.com kimjaesungallery.com


BOOTH D–03 KIPS GALLERY

Geppy PISANELLI String 2017 | Oil on paper | 76.2

55.88 cm

Jun AHN One Life #002 2017 | HDR ultrachrome archval pigment print | 101.6

Director

Participating Artists

Address

Ken KIM

JM HAESSLE Yong Sun SUH Bernar VENET Ralph GIBSON Jun AHN

106 Spring Street 4N, New York, NY 10012, USA

Sang Sam PARK Geppy PISANELLI Pablo PICASSO

76.2 cm

T. +1 646 284 5008 E. kips@kipsgallery.com www.kipsgallery.com

197


BOOTH C–12 KUKJE GALLERY Conjunction 06–81 | HA Chong–Hyun 2006 | Oil on hemp cloth | 100 80 cm

Director Hyun–Sook LEE

198

Participating Artists KIM Yong–Ik GIMHONGSOK Anish KAPOOR KWON Young–Woo PARK Seo–Bo Ugo RONDINONE LEE Kwang–Ho – LEE Ufan Jean–Michel OTHONIEL HA Chong–Hyun Julian OPIE Kyungah HAM Candida HÖFER

Address 03053 54 54 Samcheong–ro, Jongno–gu, Seoul, 03053, Korea

T. +82 2 735 8449 E. kukje@kukjegallery.com www.kukjegallery.com


BOOTH D–01 LEEAHN GALLERY

beam 17–75 | Tchun Mo NAM 2017 | Mixed media on canvas | 210

Director Hae Ryung AHN

beam 17–143 | Tchun Mo NAM 2017 | Mixed media on canvas | 210

160 cm

Participating Artists Seung Joo KIM Myung Beom KIM Tchun Mo NAM Kun Yong LEE Jin Woo LEE Zik Seong JEONG

160 cm

Address D ZINE J. PARK Knoebel IMI

DAEGU 41956 188–1 188–1, Icheon–ro, Jung–gu, Daegu, 41956, Korea SEOUL 03043 12 9 9, Jahamunro 12–gil, Jongno–gu, Seoul, 03043, Korea

T. +82 53 424 2203 T. +82 2 730 2243 E. info@leeahngallery.com www.leeahngallery.com

199


BOOTH E–21

, .

LEEHWAIK GALLERY ( ) | Yeong Geol CHOI The Brilliant Moment 2017 | Chinese ink & watercolor on Korean paper | 117 219 cm

Director Hwa Ik LEE

200

Participating Artists Duck Yong KIM Mee Young KIM Tschang Yeul KIM Jun NOH Byung Rock YOON

Address Lee Nam LEE Jung Eun LEE Chang Min LIM Bo Young JEONG Yeong Geol CHOI

03062 3 67 67, Yulgok–ro 3–gil, Jongno–gu, Seoul, 03062, Korea

T. +82 2 730 7818 E. leehwaik@gmail.com www.leehwaikgallery.com


BOOTH E–20

, . , –

. –

MASAN ART CENTER

1712 | Dong Geun JEONG Dream 1712 2017 | Oil on canvas | 91 91 cm

| Eun Soo PARK Look back myself 2017 | Mixed media on canvas | 163 228 cm

Director Chang Su KIM

Participating Artists Tae Yun KONG Hak Il KIM Hye Jeong RHO Eun Soo PARK Keun Chan JEONG Dong Geun JEONG

Address 51795 361, Paruisa–ro, Jinjeon–myeon, Masanhappo–gu, Changwon, Gyeongnam, 51795, Korea

361

T. +82 55 271 5150 E. shgallery@hanmail.net www.mac2004.or.kr

201


BOOTH E–11

.

,

.

, ,

.

OCEAN GALLERY

.

, .

– | Young Cheol LEE Love song–Moon dance 2017 | Acrylic on canvas | 45.5 53 cm

10 Thomas LAMADIEU Avignon 10 2012 | Drawing on photograph | 90

Director Young Suk YUN

Participating Artists Young Cheol LEE Jun Ho BANG Un Sik JUNG Chang Hyun JEON Thomas LAMADIEU

202

60 cm

Address 48116 139–4 139–4, Cheongsapo–ro, Haeundae–gu, Busan, 48116, Korea

T. +82 51 746 6060 E. ocgallery@naver.com oceangallery.itrocks.kr


30

BOOTH D–11

1960

. . ,

.

,

,

.

OLIVIA PARK GALLERY

, . , .

, ,

, . YBA ( YOUNG BRITISH ARTIST ) .

20

Damien HIRST Kindness 2011 | Silkscreen in colors with diamond dust on wove paper | 117 117 cm | Ed. 13 of 50

Bruno CATALANO Lauralou 2017 | Bronze original | 50

16 cm

Director

Participating Artists

Address

Olivia Eun PARK

Damien HIRST Bruno CATALANO Fred ALLARD Pierre–Marie BRISSON Ki Seok KIM

30 W 63rd Street, New York, NY 10023, USA

T. +1 212 858 9128 T. +82 10 9487 3572 E. info@oliviaparkgallery.com www.oliviaparkgallery.com

203


BOOTH D–04 P&C Gallery | Janos BER Untitled 2017 | Acrylic, paper mounted on canvas | 150

Director Ji Won LEE

204

212 cm

Participating Artists Hoon KWAK Young Woo KWON Tschang Yeul KIM Hyung Geun PARK Hyong Keun YUN

Address Hee YOON Bae LEE Jae Min JANG Janos BER

42028 2421 2421 Dalgubuldaero, Suseonggu, Daegu, 42028, Korea

T. +82 53 742 1989 E. info.pncgallery@gmail.com www.pncgallery.com


BOOTH D–21

Manhee KIM s gestural abstraction is not doctrinaire in the sense of 20th Century work but rather is attuned to his time yet is not based on any particular manifesto. Kim works with different size scales without confining his smaller works to the genre of studies, but rather giving them their due democratically speaking. Kim s works are not meant to produce calm resolution but rather agitation and excitement addressing the multivalent and tumultuous world in which we reside.

PARIS KOH FINE ARTS

Yiannis KAMINIS is inspired by people, ideas and phenomena as they are evident in the sphere of conscious and unconscious life. KAMINIS chooses colors to represent energy dynamics and the painting emerges as a flow of energy. Usually each painting has a multifaceted meaning unveiling archetypical signs and symbols. Each painting is characterized by free–flowing movement and multilevel spaces.

Manhee KIM Journey Santiago De Compostele 2016 | Acrylic on canvas | 61 61 cm

Yiannis KAMINIS Sublimation 2018 | Acrylic on canvas | 40

Director

Participating Artists

Address

Paris KOH

Anese Manhee KIM Daesun CHOI Seoungman PARK Ilwoo–Yoonseo PARK Helene PAVLOPOULOU Yiannis KAMINIS

Suite 1A, 540 West 50th Street, NY 10019, New York, USA

40 cm

T. +1 201 724 7077 E. pariskohfinearts gmail.com www.pariskohfinearts.com

205


BOOTH C–19

90

, . .

PARK RYU SOOK GALLERY

3

. .

, .

Ryu Sook PARK

206

.

3

TAO( )

. ,

Alchemy | Jeong Hwa CHOI 2016 | Plastic, LED lights, stainless steel | 220 35 35 cm

Director

.

2

Participating Artists Jeong Hwa CHOI Seung Ho YOO Seung Hee LEE Tschang Yeul KIM Seo Bo PARK Chang Sup CHUNG Hun Chung LEE

.

TAO17060301 | Seung Hee LEE 2017 | Ceramic | 126.6 100.3 cm

Address 06011

461 309–310 #309–310, Nature Poem Bldg., 461, Apgujeong–ro, Gangnam–gu, Seoul, 06011, Korea

T. +82 2 549 7575 E. info@parkryusookgallery.com www.parkryusookgallery.com


BOOTH E–06 PEARL LAM GALLERIES

ZHU Jinshi Wind in Lhasa 2012 | Oil on canvas | 100

160 cm

Director

Participating Artists

Address

Pearl LAM

Inci EVINER Luke HENG LIU Wentao Francis NG Gatot PUJIARTO Zen TEH SU Xiaobai ZHOU Yangming ZHU Jinshi

Pearl Lam Galleries Hong Kong Pedder 601–605 Pedder Building, 12 Pedder Street, Central Hong Kong, China T +852 2522 1428 E info@pearllamgalleries.com

Pearl Lam Galleries Hong Kong H Queen s, 9/F H Queen s, 80 Queen s Road Central, Central Hong Kong, China T +852 2857 1328 207


BOOTH C–07 PKM GALLERY Aggregation 17–MA021(Star 4) | Kwang Young CHUN 2017 | Mixed media with Korean mulberry paper | Dia. 160 cm

2017

Untitled | Brent WADDEN Painting – hand woven fibers, wool, cotton and acrylic on canvas

Director Kyung Mee PARK

Participating Artists Hyong Keun YUN Kwang Young CHUN Hyun Jin BEK Brent WADDEN Olafur ELIASSON

208

93

211 cm

Address 03049 7 40 40, Samcheong–ro 7–gil, Jongno–gu, Seoul, 03049, Korea

T. +82 2 734 9467 E. info@pkmgallery.com www.PKMgallery.com


BOOTH C–22

Cheng XU Untitled 2018 | Acrylic on paper | 105

30 cm

PLATFORM CHINA CONTEMPORARY ART INSTITUTE

Cheng XU Untitled 2017 | Acrylic on canvas | 40

229 cm

Director

Participating Artists

Address

Haitao CHEN

Cheng XU Shenyi LOU Maoyuan YANG Jingyan FU Gangshun LIU

D07 Main 2nd Street, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, 100020 Beijing, China

T. +86 10 5762 6068 E. info@platformchina.org www.platformchina.org

209


BOOTH D–10

A Ram HAN is a Korean ceramicist from Daegu and her playful sculptures invite the viewer to contemplate the unpredictability and symbolism of water. In Water Flows & Still Water(2017) , she heightens the pause between inception and completion to create a space for reflection. Everflow(2017) draws on the symbolism of water and books as knowledge to suggest that information read without reflection does not transition into wisdom. A Ram has 20 years of ceramic experience, which includes curating and teaching ceramic art in Yeungnam University for a decade. Her past exhibitions were in France, Japan, Korea and Taiwan.

A Ram HAN Everflow 2017 | Ceramic | Dimensions variable

PREMIUM PAGES COLLECTIVE

A Ram HAN Crown of Wisdom 2017 | Ceramic | Dimensions variable

Director

Participating Artists

Address

Kelvin CHAN

A Ram HAN Kenji ETORI Mi Sook KIM Ji Raung KU Sia Yong KOEH Mei WATANABE

420, North Bridge Road, North Bridge Centre #05–02, 188727, Singapore

210

T. +65 9831 1311 E. contactus@premiumpages.sg www.premiumpages.com.sg


BOOTH F–15

. , .

. . , .

.

2016

, .

3

.

,

. –

,

REGINA GALLERY

.

.

,

| Seop KIM Tree to Tree 2018 | Mixed media on canvas | 97 162 cm

Up and Down | Jeung Gul LEE 2017 | Mixed media on canvas | 50

Director Regina HONG

Participating Artists Seop KIM Dong Jun SON Jeung Gul LEE

128 cm

Address 06132 25 10 10, Teheran–ro 25–gil, Gangnam–gu, Seoul, 06132, Korea

T. +82 2 353 1216 E. reginagallery@hanmail.net www.reginagallery.co.kr

211


BOOTH B–16

, . .

ROW GALLERY 212

,

. ,

,

,

| JIWOO Forest 2015 | Mixed media | 80

Hwi SONG

.

.

Director

.

10

117 cm

Participating Artists Myung Ja KANG JIWOO Gi Seong LEE Hye Kyung HAN Young Ja KIM

, .

| Myung Ja KANG Love 2017 | Mixed media | 53 45.5 cm

Address 38089 1 B1 B1, Gyeongju Art Center, 1, Alchunbuk–ro, Gyeongju, Gyeongbuk, 38089, Korea

T. +82 54 772 9556 E. songart@hanmail.net www.rowgallery.co.kr


BOOTH B–20

, . .

SEOSHINGALLERY

. ,

,

,

. .

About wish 1805 | Soon Cheol KIM 2018 | Mixed coloring & sewing on Korean paper | 100

100 cm

– | Gi Hong LEE Wind–bamboo forest 2018 | Acrylic | 120 120 cm

Director Hea Kyoung PARK

Participating Artists Soon Cheol KIM Gi Hong LEE Hie Chun LEE Byung Hee BAE Min MOON

Address 54950 38 B1 B1, 38, Seosin–ro, Wansan–gu, Jeonju, Jeonbuk, 54950, Korea

T. +82 62 255 1653 E. seoshingallery@hanmail.net www.seoshingallery.com

213


BOOTH F–03

,

2013

. , Diabolic Flower II

SHIN GALLERY

.

,

,

, ,

,

,

,

,

,

,

, .

HYON GYON Diabolic Flower II 2016 | Acrylic, fabric, buffered foam, spray paint on canvas | 101.6

Director Hong Gyu SHIN

Participating Artists HYON GYON Keunmin LEE Andreas EMENIUS

214

,

76.2

Address 68 ORCHARD ST, New York, NY 10002, USA

T. +1 212 375 1735 E. info@shin–gallery.com www.shin–gallery.com

12.7 cm


BOOTH F–08

Kuniaki YAMAMURA (1942–) is influenced by American pop artists like Jasper JONES and Robert RAUSCHENBERG in the 1960 s. He started the career as artist in 1968, his work has both pop and oriental elements. He started oriental minimal painting in 1974, he is still painting almost same figure by only thin face brush.

SHUMOKU GALLERY

Hiroyuki SUZUKI (1950–) is an artist who exhibited his works mainly in Europe. In this work, he drew small point one by one with white material many times and finally fills it black. In this work, the artists pursuing the relationship between paper, material and time.

Kuniaki YAMAMURA Work 2016 2016 | Oil on canvas | 20 20

5 cm Hiroyuki SUZUKI Time Layers S4206 1992 | Mixed media on paper | 56

77 cm

Director

Participating Artists

Address

Atsuhiko SUEMATSU

Kuniaki YAMAMURA Hiroyuki SUZUKI Shota HANAKI

2–25, Shumoku–cho, Higashi–ku, Nagoya, 461–0014, Japan

T. +81 52 982 8858 E. info@shumoku.net www.shumoku.net

215


BOOTH D–15

This work is one of the series of 100 Moon Series and it seeps the canvas with a dark tone but with lyricism and mysticism. As part of nature, a moon, sky, land and ocean are described with planar abstraction starting from the fine lower part to leisurely upper part of the canvas giving rhythm and at the same time observation into the artist s inner world.

SIA NY

(2018)

2

,

5

(Diamond Mountains: Travel and Nostalgia in Korean Art) (

.

).

, . , .

Jang Sik SHIN Spring in Onjeong–ri from Kum–gang Mountain 2014 | Acrylic, rice paper on canvas | 64 98 cm

Geri TAPER Untitled No.8 1996 | Acrylic on canvas | 91.5 x 91.5 cm

Directors

Participating Artists

Address

Hak Kyun KIM Jungjae SHIN

Geri TAPER Jang Sik SHIN Mi JU Sang Yoon LEE Jinha PARK Hyun Mee LEE

T. +1 646 229 8779 E. sianyinc@gmail.com www.siany.org

216

Yung Tae WON Hyunju MIN Bongsik LIE Youngseok GWON Ian LEE

511 W 20th street, #2N, NY 10011, New York, USA


BOOTH E–24 SM FINE ART GALLERY

Robert INDIANA HOPE Red–Light Blue 2009 | Fabricated painted aluminum | 91.4

91.4

45.7 cm | Ed. of 8

Jeff KOONS Balloon Animal 2017 | Porcelain Balloon Rabbit | 29.2 13.9 21 cm | Ed. of 999 Balloon Monkey | 24.9 20.9 39.2 cm | Ed. of 999 Balloon Swan | 24.1 16.4 21 cm | Ed. of 999

Director

Participating Artists

Address

Simon KWON

Robert INDIANA Jeff KOONS Yoshitomo NARA Yayoi KUSAMA Tschang Yeul KIM Tae Ho KIM Se Yeol OH

139 Fulton st. Suite 202 New York, NY 10038, USA

T. +1 646 869 0303 E. smfineartgallery gmail.com www.smfineartgallery.com

217


BOOTH C–23

. .

SOUL ART SPACE

,

LED

. . UNTITLED–PR1716 | Sang Rim HA 2017 | Acrylic on canvas | 130 130 cm

Migrants | Bong Chae SON 2017 | Oil on polycarbonate, LED | 84 124 cm

Director Sun Young KIM

218

Participating Artists Duck Yong KIM Sang Rim HA Young Wook CHOI Bong Chae SON Jeong Lok LEE ENJO JEJE

Address 48090 30 30, Haeundaehaebyeon–ro, Haeundae–gu, Busan, 48090, Korea

T +82 51 731 5878 E. info@soulartspace.com www.soulartspace.com


,

.

,

.

BOOTH A–18

, . ,

Overlap 6 | YEOWON 2017 | Arcylic, objet on canvas | 45.5

1326 SPACE1326

.

33.4 cm

Director Dae Jung GANG

Participating Artists Seong Bin GAM Yong Hyun KIM Eun Hee NO HWANG SEUL YEOWON

Address 51730 24–2, Changdonggeori–gil, Masanhappo–gu, Changwon, Gyeongnam, 51730, Korea

24–2

T. +82 10 3870 2094 E. grimje@gmail.com www.space1326.com

219


BOOTH E–16

Ross BONFANTI creates innovative conceptual sculptures using a variety of materials that form the HeavyHeads series. BONFANTI combines found objects/wood and concrete molds to create one–of– a–kind sculptures. The standard HeavyHeads represent a universal model for the urban dweller, with the distortion referring to his or her perception of daily pressures and stress. BONFANTI s sculptures are at the same time awkward and beautiful, thought–provoking and whimsical, disturbing and compelling. Their appeal lies in the harshness of the materials used and the humorous and unexpected manner in which they are constructed.

SPENCE GALLERY

Peter BARELKOWSKI s artistic expression is minimalist, almost naïve with a deceptive visual simplicity through which he deals with questions of the human condition. BARELKOWSKI asks viewers to give their own meaning to his symbols and create their own interpretation of the painting. The childlike manner in which the figures are drawn and his treatment of the canvas give his paintings a sense of whimsy which can at times appear surreal when the depth of the subject matter is realized.

Peter BARELKOWSKI Untitled 2017 | Oil on canvas | 30 30 cm

Ross BONFANTI Stand Alone III 2017 | Concrete, acrylic and wood | 31

13 13 cm

Director

Participating Artists

Address

Joan SPENCE

Mario ANGEL Peter BARELKOWSKI Ross BONFANTI Lana FILIPPONE Salomon KHAMMI Marcelo SUAZNABAR

500, Keele Street, Unit 103, Toronto, Ontario, M6N 3C9, Canada

220

T. +1 416 795 2787 E. spencegallery@gmail.com www.spencegallery.com


, ,

BOOTH C–13

(man and woman) (2017) . .

STUDIO CONCRETE

. . 2014

UNTITLED #9 .

| Chul Hwa KWON man and woman 2017 | Oil pastel on paper | 59.4 42 cm UNTITLED #9 | Jae Hoon KIM 2014 | Archival pigment print on paper | 100 140 cm | Ed. of 10

Director Hae Young CHA

Participating Artists

Address 04417 162 162, Hannam–daero, Yongsan–gu, Seoul, 04417, Korea

T. +82 2 792 4095 E. chaejun@studio–ccrt.com www.studio–ccrt.com

221


BOOTH B–11

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,

,

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. ,

SUN GALLERY

.

. .

. ,

,

, .

–725 (TAKIAMAKANOASIS) | Chung Ji LEE 2017 | Oil on canvas | 193.9 259.1 cm | Young Ju JOUNG Shantytowns 2018 | Paper on canvas, acrylic | 80 117 cm

Director Hye Kyung WON

222

Participating Artists Jung Soo KIM Hyun Woong PARK Ji Yeon SONG Chung Ji LEE Young Ju JOUNG Kwang Sik AHN Young Soo LEE

Address 03149 5 8 8, Insa–dong 5–gil, Jongno–gu, Seoul, 03149, Korea

T. +82 2 734 0458 E. sungallery@hanmail.net www.sungallery.co.kr


BOOTH F–21

.

,

2

.

.

2

. –

SUNGWONARTGALLERY

. . . . .

Hye Young HA The Start to a New World 2017 | Acrylic on canvas | 130 97 cm

| Pill Soon KIM Channel 2017 | Acrylic on canvas | 130 162 cm

Director Sung Won MOON

Participating Artists Pill Soon KIM Sun Wook KANG Ji Eun GWAK So Yeun HAN So Myung LEE Hye Young HA Su Mi KIM

Address Sung Il CHOI Mi Jeong CHO Kum Hee PARK Soon Yeon PARK

47822 108 4, 2 2F, 4, Chungnyeol–daero 108beon–gil, Dongnae–gu, Busan, 47822, Korea

T. +82 10 5503 4998 E. magic2102@naver.com .gajagaja.co.kr 223


BOOTH C–18

Limiting his palette to Prussian blue and white and using brushes that range in scale from the largest available to the smallest consisting only of two or three hairs from a wild wolf, Zhao ZHAO creates startlingly beautiful canvases that owe their mysterious allure to the paradoxical nature of the entire undertaking. In contrast to the glass panels in which the holes and cracks are the residue of a series of one–off events at the shooting range, the paintings are painstaking reconstructions of what occurred when bullet penetrated glass.

TANG CONTEMPORARY ART

Zhao ZHAO Constellations 2017 | Oil on canvas | 250

200 cm

Director

Participating Artists

Address

Lin ZHENG

AI Weiwei Lei CAI Qu XU Zhao ZHAO Jinshi ZHU

BEIJING 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing, 100096, China HONG KONG 10/F, H Queen s, 80 Queens Road Central, Hong Kong, China BANGKOK 3F, Golden Place Plaza, 153 Rajdamri Rd. Lumphini, Pathumwan, Bangkok, 10330, Thailand

224

E. info@tangcontemporary.com T. +86 10 59789610 www.tangcontemporary.com


THE COLLECTORS

Martin CREED Work No. 2852 2017 | 26 Colour screenprint on 410 gsm somerset radiant white paper | 40 35 cm | Edition of 100 unique prints

BOOTH A–05

This new print by Martin CREED follows his conceptually constrained methodologies. Respecting things for the way they are, CREED engages in minimal interventions. The marks made for each colour are the same width – the width of the brush – and the various lengths of each mark based on single brush strokes with varying amounts of ink. This play with ideas of series and sequences, variation and repetition, is in CREED s case an end in itself, the seed or ingredient for making a picture and the picture itself: it s a system that rigorously abdicates the need for aesthetic decision–making. Once the palette of colours were selected, the printers followed a random plan of sequencing how the different colours would be used in each print, creating 100 prints which are all unique.

Martin CREED Work No. 2852 2017 | 26 Colour screenprint on 410 gsm somerset radiant white paper | 40 35 cm | Edition of 100 unique prints

Director

Participating Artists

Address

Sophie PARK

Martin CREED Julian OPIE David SHRIGLEY Antony GORMLEY Wolfgang TILLMANS

7, 315 City Road, London, EC1V 1LA, UK

T. +44 78 3538 7080 | +82 10 9180 4679 E. info@thecollectors.co www.thecollectors.co

225


BOOTH F–23

. ,

, .

THE COLUMNS GALLERY

MoMa

3

. ,

.

ZF blue and gold dance with soft rose and turquoise | Robert SCHABERL 2018 | 23.5 carat gold leaf and acrylic on canvas | 180 180 cm

Giverny | Michael WESELY 2014 | C–print, diasec | 180 536 cm

Director

Participating Artists

Address

Byung Wook OH Dong Jo CHANG

Markus LINNENBRINK Robert SCHABERL Michael WESELY Katharina GROSSE

226

04350 27 31–2 31–2, Itaewon–ro 27–gil, Yongsan–gu, Seoul, 04350, Korea

T. +82 2 3442 6301 E. webmaster@columns.co.kr www.columns.co.kr


(

BOOTH C–08

.

) .

THE DH ART

. . . . | Jang Oh HONG Cosmic Still Life 2017 | Ceramic | Demensions variable

Director Do Hee SOHN

Participating Artists Jang Oh HONG Kyeng Pyo HONG Myung Hee KIM

Address 10323 2 11 6–31 6–31, Wi city 2–ro 11 beon–gil, Ilsandong– gu, Goyang, Gyeonggi, 10323, Korea

T. +82 31 965 0501 E. sohndh@thedh.co.kr www.thedh.co.kr

227


BOOTH D–13

Vermont CORONEL JR. s practice has been widely attributed as street–based, informed by urban imagery and working in guerilla fashion independently and together with the collective Pilipinas Street Plan. Coronel s works in the commercial venue are stencil–based paintings, and sometimes he makes use of the stencil matrices themselves by framing these layers together to achieve the images. The images in his work comes from his daily immersion in cities, primarily Manila and Laguna.

THE DRAWING ROOM

Scavenged from previous paintings, Troy IGNACIO cuts canvas and paper, reworking scraps into new forms. Each piece is meticulously chosen and set into a visual narrative, a montage of personal experiences and recent events. In his work, Troy delves into the topographies of information and the process of its configurations and re–configurations.

Troy IGNACIO Random Constructs 2018 | Acrylic and oil on paper and canvas | 77 56 cm

Vermont CORONEL JR Location No. 15 2017 | Five–layer paper cut out | 101.6

141 cm

Director

Participating Artists

Address

Cesar VILLALON JR

Troy IGNACIO Vermont CORONEL JR Reina CRUZ Jan BALQUIN

GF Bldg. C Karrivin Plaza, 2316 Chino Roces Ave. Ext. Makati, Metro Manila 1232, Philippines

228

T. +632 801 4397/98 E. info@drawingroomgallery.com www.drawingroomgallery.com


BOOTH C–24 THE PAGE GALLERY

Accrescimento – Colona infinita II 2010 | Black and red granite | 470 140

Director Jane SUNG

Eun Sun PARK 140 cm

Participating Artists Tschoon Su KIM Eun Sun PARK Nam June PAIK Vio CHOE Kyo Jun LEE Ufan LEE

Address Byung Guk JUNG Myoung Young CHOI WANG Enlai

2 32–14 B205 #B205, Galleria Foret, 32–14, Seoulsup 2–gil, Seongdong–gu, Seoul, 04769, Korea 04769

T. +82 2 3447 0049 E. info@thepage–gallery.com www.thepage–gallery.com

229


BOOTH D–18

. ,

,

,

,

. . (feldspar)

TH GALLERY

, . .

.

.

| Dong Up LEE Pine tree 2017 | Mixed media on canvas | 80.3 116.8 cm

( ) | Hwan Yeol YEO Khumbu Himial(Lhotse) 2016 | Oil on canvas | 50 65.1 cm

Director Jung Ha RYU

230

Participating Artists Sung Hwan KONG Sung Ha RYU Hwan Yeol YEO Dong Up LEE

Address 42805 7 37 37, Songhyeon–ro 7–gil, Dalseu–gu, Daegu, 42805, Korea

T. +82 10 3519 5774 E. galleryth@naver.com blog.naver.com/galleryth


Sopheap PICH Rang Phnom No. 11 2016 | Rattan, metal wire | 264 364

TOMIO KOYAMA GALLERY

Sopheap PICH was born in 1971, Cambodia. In 1979 he stayed in refugee camps along the border of Thailand to escape from political instability. His family was able to migrate to the United States in 1984. In 1990 he entered the University of Massachusetts to study medicine, later transferring to the Department of Art. Subsequently he received MFA in painting from the School of the Art Institute of Chicago in 1999. He returned to Cambodia in 2002.

BOOTH A–12

Sopheap PICH creates sculptures with organic and geometric structures, inspired by bodily organs, vegetal forms or cityscapes. Made with local materials such as bamboo, rattan, wire, and beeswax, his work embraces a sense of lightness, yet fills up the space energetically with its volume and functional structure.

79 cm

Director

Participating Artists

Tomio KOYAMA

James CASTLE Chong Hak KIM Makiko KUDO Toru KUWAKUBO Paulo MONTEIRO Tomoko NAGAI

Address Ellie OMIYA Sopheap PICH Kishio SUGA Hiroshi SUGITO

2F, complex 665, 6–5–24, Roppongi, Minato–ku, Tokyo, 106–0032, Japan

T. +81 3 6434 7225 E. info@tomiokoyamagallery.com www.tomiokoyamagallery.com 231


BOOTH A–10 / TOMY KIM/AP GALLERY Cairian Wild horses B3 2017 | Oil on canvas | 130

165 cm

Romero BRITTO In Love 2015 | Mixed media | 24

Director

Participating Artists

Tomy KIM

Cairian Romero BRITTO Yeon Seung JO Young Mi KIM Jung A LIM Kyoung Yi KIM

232

26 cm

Address Ji Youn LEE Sung Je BAE Ki Taeg KIM Kyung Sun LEE

13 D Tower Maritime bay, Tseung kwan O, Hong Kong, China

T. +852 91083328 E. tomykimgallery1@gmail.com


BOOTH B–08

Yipei WEN s painting before the exhibition Static Shadow looks more conceptually Neo–Geo painting which depicts the interior space of modern architecture, with furniture and lamp decoration that have geometric shapes. The image is in–between abstract and figurative, but it has more emphasis on pictorial aspect than the Neo–Geo painting.

+ TONG GALLERY+PROJECTS

Xinyi ZHANG has felt that visual efficiency precedes the text and she has conducted a series of rigorous experiments. For traditional painters, the creative logic begins with likeness, and then extends with the variations of this resemblance. In ZHANG s work, Monalisa s smile disappears, but the image still provokes the familiar emotions with the viewer. The image returns to the most rudimentary system, the relations between all of the visual elements and functions are still clear and become autonomous. Consequently, the system influences not just the image itself, but invokes a response from the viewer.

Xinyi ZHANG Portrait–1 2018 | Acrylic on canvas | 40

Yipei WEN The Cliff–No.1 2017 | Acrylic on wood | 150

40 cm

150 cm

Director

Participating Artists

Address

Tong WALTON

Hee Jin JANG Zhaoxing LAN Yipei WEN Xinyi ZHANG

D06 2nd Main Street, 798 Art Zone, No. 2 Jiuxianqiao Rd, Chaoyang District, 100020 Beijing, China

T. +86 10 57626202 E. tonggallery@vip.126.com www.tong–gallery.com

233


BOOTH D–12

. · · .

,

. Visual poetry ,

.

UJUNG GALLERY

. ,

. .

3500

.

. . . .

Visual Poetry Sculpture | Hyun Jin KWON 2017 | Mixed media on stainless steel | 90 90 cm

Director Seung Woo JUNG

Participating Artists Hyun Jin KWON Mr. Mina KATSUKI

234

From one stroke 03 | Mina KATSUKI 2016 | Cotton, wooden panel, acrylic, natural pigment, hologram powder | 250 200 cm

Address 06586

178 3F 3F uJung Art Center, 178, Bangbae–ro, Seocho–Gu, Seoul, 06586, Korea

T. +82 2 3477 7727 E. ujungartcenter@ujunggroup.com www.ujungartcenter.com


,

BOOTH C–01

,

, .

.

,

,

,

.

parasite . 2.21)

,

,

. .

(2004.2.16–

Running Railroad

.

8–S141 | Ku Lim KIM Yin and Yang 8–S141 2008 | Mixed media | 120 120 10 cm

Director Eun Sook UM

UM GALLERY

.

Participating Artists Ku Lim KIM Kun Yong LEE Myung Seop HONG Young Ja HWANG Gye Hoon PARK Sung Mook CHO

| Myung Seop HONG De–title 1995–2016 | Korean paper on Jangji, single casting | 130.3 97 cm

Address 06029 12 25 3 3F, 25, Apgujeong–ro 12–gil, Gangnam–gu, Seoul, 06029, Korea

T. +82 2 515 3970 E. umgallery@hanmail.net www.umgallery.co.kr

235


BOOTH E–27

. . , .

.

WOOSON GALLERY Road to Exile | Barthélémy TOGUO 2013 | Mixed media | Dimensions variable

Director Eun Ah KIM

236

Participating Artists Byung So CHOI Kang So LEE Bae LEE Sang Won LEE

Address Kei TAKEMURA

41959 72 72, Bongsanmunhwa–gil, Jung–gu, Daegu, 41959, Korea

Barthélémy TOGUO

Tony CRAGG

Sandra VÁSQUEZ DE LA HORRA

Laura LANCASTER

Naofumi MARUYAMA

T. +82 53 427 7737 E. info@woosongallery.com www.woosongallery.com


BOOTH F–06

The work is made by cast glass technique. First, the original form is made with clay, then molded in fire–resistant gypsum in which spall of glass being filled and melted in the kiln of high temperature. Spall of glass then becomes a solid object when cooled. A thin layer of metal is applied on roof which makes contrast in texture of glass.

YAMAKI ART GALLERY

Katsuya OHGITA HOUSE 2017 | Cast glass | 9.8 8.8

16.3 cm

Director

Participating Artists

Address

Takeo YAMAKI

Katsuya OHGITA Moon Hwan JEON Ryoji KOIE Toshinobu SUGIMOTO Katsunori NAKASHIMA

1F, Century Nishitenma Bldg., 3–14–6, Nishitenma, Kita–ku, Osaka, 530–0047, Japan

T. +81 6 6940 0139 E. yamakiart@yahoo.co.jp yamakiart.s2.weblife.me

237


BOOTH A–16

I Love Picasso is a latest collection by renowned Korean artist Jin Hyu LEE, which places importance on time, history & the progression of modern art. In today s metropolitan world with the fast–paced digital age, the importance of communication is duly emphasized. Perhaps the main question we encounter daily is, where are we going now?

& YANG GALLERY SINGAPORE & BEIJING Jin Hyu LEE I love Picasso 2017 | Oil on canvas | 100

80 cm

Director

Participating Artists

Address

Susanna YANG

Jin Hyu LEE Ye LIU Minjun YUE Xiaogang ZHANG Chunya ZHOU Andy WARHOL

SINGAPORE The Shopping Gallery Hilton, #01–11, 581 Orchard Road, 238883, Singapore

BEIJING 3rd Taoci Street, 798 Art District, No.4 JiuXianqiao Road, Chaoyang District, 100015 Beijing, China

T. +65 67218888 E. spore@yanggallery.com.sg

T. +86 10 57623020 E. beijing@yanggallery.info

238

www.yanggallery.com.sg


BOOTH F–07 YEO WORKSHOP

Santi WANGCHUAN Leave No. 1 2013 | Weaving | 167 150 65 cm

Maryanto Spirited Mountain 2017 | Charcoal on paper | 68

96 cm

Director

Participating Artists

Address

Audrey YEO

Fyerool DARMA Maryanto Xue MU Santi WANGCHUAN

Gillman Barracks, 1 Lock Road #01–01, 108 932, Singapore

T. +65 6734 5168 E. info@yeoworkshop.com www.yeoworkshop.com

239


BOOTH D–07

, .

YOOJIN GALLERY

. .

| Won Guen KIM Legend and Jiltuman 2017 | Resin, acrylic coloring | 40 27 18 cm, 45 33 21 cm

| Jung Hwan AN Calm Water 2013–2016 | Oil on canvas | 182 259 cm

Director Jeong Ho JIN

240

Participating Artists Won Geun KIM Jung Hwan AN

Address 48099 298 24 104 2 18 #18, 2F, 24, Haeundaehaebyeon–ro, 298beon–gil, Haeundae–gu, Busan, 48099, Korea

T. +82 51 731 1744 E. info@yoojingallery.com


BOOTH D–22

Zhuo YU has been applying the art concept of Inversion (chinese ) to his works as a photographer. For him, this is a concept, a state of mind. On the surface, his work is quite smooth. The poetic side of the works creates a layer of mist, behind which lies the artist s expression of the rhythm of space. This rhythm has its own pace. It is neither constantly–changing nor detached. Sometimes, the feeling of detachment which is contrary of the reality is the representation of the e orts it makes in order to move forward.

ZETO ART

This image is from the series Origins , a return to the boreal landscape of Alaska, my childhood home. In the Far North, a place not governed by conventions of light or time, hours pass in the movement of the stars, in the rush of the sea ice adrift in the tide. The photographs construct a personal mythology for my family, in which the landscape serves as a gateway to a numinous realm, and we stand, awestruck yet at home, at the border. Zhuo YU Untitled 2 2017 | Photography | 70

100 cm Acacia JOHNSON This Boreal Night 2014 | Photography | 40 50 cm

Directors

Participating Artists

Address

Long ZHI Ying TUO

Acacia JOHNSON Zhuo YU Jiawei ZHANG Cat SIROT Qin HAN

171 rue Saint–Maur, Paris, 75011, France

T. +33 6 64 83 96 80 E. zeto.art@outlook.com www.zetoart.com

241


S– S–BOOTH


, . 2015

S–

5

. S– 1

2018

6

40

S–

.

ART BUSAN sets the example of an exhibition by discovering and bringing the spotlight onto new artists. ART BUSAN concerns primarily about developing Korean art market and creating reliable system for the market. Its S–Booth program since 2015, designed to actively introduce and sponsor young galleries with less than 5 years of establishment, marks ART BUSAN s distinction from other art fairs. This year ART BUSAN introduces 6 galleries, with each booth representing a solo exhibition of a selected artist under 40.


BOOTH S–06 GALLERY IRRITUM TOKYO

LIJIN The Mind 2017 | Copper, steel, wood, paper | 90

LIJIN Muse 2017 | Resin, paint, Buddhist objects | 250

100

90

25 cm

100 cm

Directors

Participating Artist

Address

Young–June KIEHM Anderson J. CHOI

LIJIN

205b, @3331 Art Chiyoda, 6–11–14, Sotokanda, Chiyoda–ku, Tokyo 101–0021, Japan

244

T. +81 3 6803 2441 E. galleryirritum@gmail.com www.irritumtokyo.com


.

BOOTH S–05

. .

. , .

GALLERY TOAST

.

. –

.

. ,

Hyeon Sook HER Life is only one chance 2018 | Mixed material on Korean paper | 120

Director

80 cm

Participating Artist Hyeon Sook HER

Do Young LEE

Hyeon Sook HER I want you to be happy everywhere. 2018 | Pencil on Korean paper | 120 80 cm

Address 06584 42 46 3 3F, 46, Bangbae–ro 42–gil, Seocho–gu, Seoul, 06584, Korea

T. +82 2 532 6460 E. gallerytoast@naver.com www.gallerytoast.com

245


BOOTH S–03

. . . .

SONOART

,

, .

Seung Yoon CHOI s definitive brush touch leaves blue strokes on canvas that move organically, and create dynamic images. He expresses the fundamentals of the invisible world with the sensation of color and movement from the brush strokes. Many of his works are mainly solid blue. It is the color of the essence and ambilaterality for him, which suits the concept of paradox and balance that he wants to express. It is the primary color of the earth when it first encounters the sky and water, and contains both sides of hope and despair, and fervent and cold.

_2017_9 Seung Yoon CHOI Cross–section of the moment_2017_9 2017 | Oil on canvas | 117 91 cm

_2017_19 Seung Yoon CHOI Cross–section of the luxury_2017_19 2017 | Oil on canvas | 100 80 cm

Director

Participating Artist Seung Yoon CHOI

Jin Soung LEE

246

Address 06561 41 B1 B1, 41, Donggwang–ro, Seocho–gu, Seoul, 06561, Korea

T. +82 2 3466 5151 E. sonoart_gallery@naver.com www.sonoart.co.kr


Galya POPOVA Letter 2014 | Oil on canvas | 40

V ART SPACE

In Yellow Pears , it s summer. Juicy yellow pears and wine for a picnic. Surrounding with the beautiful scene. The best enjoyment in summer.

BOOTH S–04

In general when Galya POPOVA works, she has a certain image in her imagination, which she would like to paint. For her, it is like a picture from the film, which she started to look not from the beginning and will not see till the end. POPOVA can feel the atmosphere, colours and mood. But there is no concrete real story behind it. But each person, who looks at her painting, can find something, which touches them own associations, explanations and story. Sometime they are completely different. But the most important for POPOVA, that the painting touches the person and he or she starts to think about it. But POPOVA can tell some words about the concrete paintings. In Letter , Galya POPOVA was inspired with green large fields in Germany, the calmness of the countryside and the silence.

110 cm (Triptych)

Galya POPOVA Yellow Pears 2011 | Oil on canvas | 50 80 cm

Director

Participating Artist

Address

Vyna GAN

Galya POPOVA

Lot 204, 2F, Podium block, Faber tower, Jalan Desa Bahagia, Taman desa, Kuala Lumpur, 58100, Malaysia

T. +603 7971 2155 E. vartspace@yahoo.com www.vartspacekl.com

247


BOOTH S–07

,

,

,

. , .

WHISTLE

. Min ha PARK chooses sceneries such as sunset, fields, and moonlight as her subject matters, but instead of reproducing them, her works strive to be in parallel with those conditions. These attempts could be seen as a response to boredom/tedium derived from the nature s monotony – in order to bring changes, PARK adds unrealistic colors to her paintings. Landscapes embedding bold, fluorescent–like colors consequentially engender an offbeat tension that results from foreignness created by coexistence of two opposite ends.

Pipe–dream | Min Ha PARK 2017 | Oil on canvas | 180 200 cm

Director

Participating Artist Min Ha PARK

Kyung Min LEE

248

Address 04344 13 12 3 3F, 12, Hoenamu–ro 13–gil, Yongsan–gu, Seoul, 04344, Korea

T. +82 2 794 4775 E. info@whistlewhistle.kr whistlewhistle.kr


BOOTH S–02

Mingchang LI would like to discuss about painting in privacy and without interference. An in–depth conversation would give him great satisfaction, whereas generalizing wouldn t be as interesting to him. LI prefers to talk about absurd gossip or checking out Shaw Brother s bizarre adult comedies in the 70s, like Legends of Lust by Han Hsiang Li, Girl with the Long Hair by Fan Ho and also checking out Jimmy Wang battling Zatoich. Those cult but neat and tidy scenes make LI full and delighted.

– –Dimension

For painting, Mingchang LI always feel lacking in strength. These external propositions are eating away at his imagination of the boundaries of painting and rhetoric, which is difficult to describe in words. Most of the time, painting is more than what it is itself.

Mingchang LI | Blood Meal NO.4 2017 | Oil on canvas | 90 70 cm

Mingchang LI | Parttioned Object 2017 | Oil on canvas | 30 20 cm

Director

Participating Artist

Address

Jie WU

Mingchang LI

3F, Kui Yuan Gallery, No.9, Xuguyuan Road, Yuexiu District, Guangzhou, China

T. +86 13822221808 E. fiveart 126.com www.5art.com.cn

249


DESIGN ART BUSAN


20

,

,

21

, .

8

(collectible design) . . First introduced last year concurrently with ART BUSAN, DESIGN ART BUSAN presents the audience with design furniture, lightings, high–end audios and objects representing 20th and 21th centuries, with top collectible values. Audience can experience and observe original designs with historical values and design installations by major contemporary artists from the top eight design galleries in Korea. DESIGN ART BUSAN offers much more than a simple art market; collectors and design mania will be fulfilled, after experiencing the value of new lifestyle through contemporary art.


BOOTH DA–06

, ·

. .

GALERIE ERD

CHIEFTAIN CHAIR . 1949 CHIEFTAIN CHAIR

, Copenhagen

Cabinetmakers Guild Exhibition

.

, CHIEFTAIN CHAIR

. CHIEFTAIN CHAIR

,

. | Finn JUHL CHEIFTAIN CHAIR 1949, Relaunched 2002 | Walnut, teak, leather | 92.5 100 88 cm

Director

Participating Artist Finn JUHL

Min Joo LEE

252

Address 04344 13 25–1 25–1, Hoenamu–ro 13ga–gil, Yongsan–gu, Seoul, 04344, Korea

T. +82 2 794 0419 E. art@galerieerd.com www.galerieerd.com


BOOTH DA–01

Participating Artist Min Jae KIM

Hee Jin KIM

GALLERY ART.K

| Min Jae KIM Korean blind cabinet 2016 | Walnut wood | 1800 1100 cm

Director

Address 47705 50 22 22, Chabatgol–ro 50beon–gil, Dongnae–Gu, Busan, 47705, Korea

T. +82 51 715 0338 E. galleryartk@gmail.com www.galleryart.kr

253


BOOTH DA–07

. . ,

. ,

Hyun Min WANG

. .

46208 1 13–8 13–8, Jori 1–gil, Geumjeong–gu, Busan, Korea

T. +82 10 9012 4285 E. hmjam@naver.com cargocollective.com/wanghyunmin 254

,

, ,

,

,

,

. , . ,

06 | Hyun Min WANG Polygon bench 06 2016 | Beech, Rivet | 150 40 45 cm

Address

, ,

,

,

,

,

,

.

05 | Hyun Min WANG Polygon bench 05 2016 | Beech, Rivet | 180 60 50 cm


. creative emphasis( )

BOOTH DA–04

Alberto Dassasso

,

,

.

HL FINEART

. ,

2017 | Vibrazioni Art Design Easy Table 2017 2017 | Re–used metal sheet tesserae | 76 260 100 cm

Director

Participating Artist

Address

Sang Wang SHIM

Vibrazioni Art Design

06049 146 8 8, Nonhyun–ro 146–gil, Gangnam–gu, Seoul, 06049, Korea

T. +82 2 515 5364 E. hlfineart afine.co.kr www.hlfineart.com

255


BOOTH DA–02

, 20

. .

JOHYUN GALLERY

.

.

Finn JUHL | FJ53two–seater sofa | 1948 | 83.6 141 61 cm | 45Chair | 1945 | 66 73 88 cm | Low Table bench | 1953 | 42 150 45.5 cm Maple, rosewood, leather, walnut, teak, fabric, brass

48 2 45

Director

Participating Artists Finn JUHL Hans J. WEGNER

256

Address BUSAN 48117

65 171 171, Dalmaji–gil 65beon–gil, Haeundae–gu, Busan, 48117, Korea SEOUL 03004 204 204, Pyeongchang–gil, Jongno–gu, Seoul, 03004, Korea T. +82 51 747 8853 E. info@johyungallery.com www.johyungallery.com


. .

,

,

BOOTH DA–03

X, U, V

20

KUKJE GALLERY

.

| Pierre JEANNERET Easy Chair 1955–56 | Solid Teak | 73.5 51 71 cm (each)

Director

Participating Artist

Address

Hyun–Sook LEE

Pierre JEANNERET

03053 54 54 Samcheong–ro, Jongno–gu, Seoul, 03053, Korea

T. +82 2 735 8449 E. kukje@kukjegallery.com www.kukjegallery.com

257


BOOTH DA–05 B–02

. Lyngdorf by ODE

Steinway

Art X Sound

,

. .

,

Steinway Lyngdorf by ODE

.

x | Steinway Lyngdorf by ODE Art x Sound 2018 | Metal, chrome, wood (high–gloss black) | 196 133 cm

Director

Participating Artist

Address

ODE

Steinway Lyngdorf by ODE

06037 25 15–6 15–6, Dosan–daero 25–gil, Gangnam–gu, Seoul, 06037, Korea

T. +82 2 512 4091 E. smkim1@di.co.kr www.ode–audio.com

258


. ,

BOOTH DA–08

,

. ,

| Jeon Uk KIM GEOMUNMOKGIFLOWERPLATE 2018 | Carbon wood, organic beeswax | 13 3.7 cm, 17.5 3 cm, 22.5

2.2 cm

Director

Address

Jane SUNG

Participating Artists SOOMI Teo YANG Myung Taek JUNG Jeon Uk KIM

& Sang Hwan LEE & Chang Geun OH & Seung Cheol KANG & Mi Seon JEONG

THE PAGE GALLERY

, .

04769 2 32–14 B205 #B205, Galleria Foret, 32–14, Seoulsup 2–gil, Seongdong–gu, Seoul, 04769, Korea

T. +82 2 3447 0049 E. info@thepage–gallery.com www.thepage–gallery.com

259


SPECIAL EXHIBITIONS

264


Art Accent: Zero EVERYWHERE – Strange

Uncertainty in Existence PARK EUN SUN Art Accent: Zero Visualization of the Invisible EVERYWHERE Visual Hallucination Person – Strange

265


, KWOK),

,

,

.

(Raven

(Shinji OHMAKI)

.

, , .

. , .

.

,

,

. ,

. .

Gravity and Grace .

. , ,

, .

,

. 2018

/Uncertainty in Existence

.

,

Aichi Triennale 2016, rainbow caravan Venue Aichi Prefectural Museum of Art,Aichi,Japan Photo Tetsuo Ito 2016 Aichi Triennale Organizing Committee Š Shinji Ohmaki Studio

266

,

,

Gravity and Grace | Shinji OHMAKI 2016 | Object(iron, urethan paint), light(iron, stainless steel, LED light, etc) | 400 700 cm


Uncertainty in Existence Uncertainty in existence : Raven KWOK, YANG Min Ha, LEE Kyung Ho and Shinji OHMAKI. KWOK is an artificial life generative artist, who conducts experiments using computerized algorithm and software process to explore the relationship between human and technology with technological advancement. YANG works with the live data that reacts readily to human activity in between virtual reality and reality. Her works focus on transferring this set of information visually through virtual reality. LEE s media installations are satire expressionism with critical messages and deals with measurably heavy subjects such as life science, philosophy and social issues. OHMAKI s entry Gravity and Grace redefines the fundamental meaning of light and allows audience to encounter a mysterious being that surpass human reason and knowledge. This Media special exhibition seeks for roles and possibilities of art in our period and, through various media works, suggest a new perspective of art and science in future society. Audience will be also able to explore and compare technology, cultural phenomenon, and art relations within Asia.

Curator HAN Lian Exhibiting Artists YANG Min Ha, Raven

KWOK, LEE Kyung Ho, Shinji OHMAKI

SPECIAL EXHIBITION

Media art portrays various impacts that today s media and technology affect our society and culture, at a time when technology holds even greater position in our daily lives. Artists take new form of contingency experiment through random algorism. Namely, they originate from internet and technological society, cultural view and contingency and database environment that reproduce massive amount of data in media art. As such, media art could be considered as a combined space of existent reality and virtual reality. This space itself is an uncertainty, which nevertheless shares the sense of existence within. Ironically, existence can only exist because of non–existence, and they are complementary to each other without exclusion. Thus, the manifestation of existence, or being, is idea . Art can often visualize this unforeseen flow of energy and suggest audience with new, interesting approach for themes such as boundaries, time flow, description about human feelings, and philosophical and societal problems. Eventually the audience can personally experience such energy at the Special Exhibition. With such perspective in mind, it is worthwhile to look at the four artists of

Jackpot! | LEE Kyung Ho 2014 | 30 X Golden silk satin cloth (120 120 cm), various lamp and toys, objects. etc | Dimensions variable

267


1194D | Raven KWOK 2013 (revised in 2017) | Generative art, audiovisual installation | Dimensions variable

268


Uncertainty in Existence

SPECIAL EXHIBITION

The listed words and the fragmented meanings | YANG Min Ha 2016 | Projector TV, computer, software | Dimensions variable

269


. 1993 , (Pietrasanta) . ,

. ,

. , . , , .

PARK Eun Sun is a Korean born artist working in Italy. He is widely known for embedding nature in abstract sculptural forms. He moved to Italy in 1993 to study art in Carrara Academy. After the graduation, he began to work at Pietrasanta, Italy, a region known for sophisticated quality of marbles. He continues to thrive in European art scenes. He has a unique way of employing marble materials. He finds perfect balance and order within nature. The enlightenments are then applied to fuse the energy of nature with coincidental effects. It is widely acclaimed and praised that his work follows the formality of Eastern abstraction rather than Western abstract modernism. The materials used for his sculpture works are always marbles. It is common to see two different colours layering up in linear pattern in his work. Many past artists carved marbles as a whole to bring out the form and volume of the material. But PARK Eun Sun undergoes meticulous designing and calculation process in order to stack up layers of delicately processed thin marble panels. The result is a wonder. The sculpture exudes subtle colours, magnificent patterns and picturesque presence. There is an uncanny tension between finely processed marble surfaces and roughly shattered parts. The composition planning is done in a perfectionist manner but the artist means to express essence of humanity through the work. His work process blends scientific artificiality with natural beauty, and through this process, he is characterized as an artist setting a new standard in the world art scenes. Exhibiting Artist PARK Eun Sun

270


PARK EUN SUN

SPECIAL EXHIBITION

Generazione II | PARK Eun Sun 2014 | Black and green granite | 280

280

285 cm

271


Art Accent: Zero 2018

.

.

. ,

Zero

.

7

.

,

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Zero

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,

.

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7

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.

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Zero

,

,

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| Hyang An LEE Fantasy in everyday life 2017 | Re–photograph with a styrofoam ball, a crystal ball, ivory pigment print | 74

272

110cm

,

,

,


Art Accent: Zero The artists attempt that audience could experience, through this project, the very moment in which feelings, emotions, and thoughts are collaborated into art and infinite energy is emitted as artworks. Such a slightest moment in time shall be defined as Young, zero. Changes made by environment and strangers will give the artists stress, but also new experience that will allow them to express their thoughts, troubles and experiences. The seven artists stand at a grid that portrays moon, fire, water, tree, stone, earth and sun in diversified perspectives. They are the seven substances found in our lives that are also the source and beginning of everything. Audience will be able to feel and empathize with various interpretation and meanings of zeros in our lives, each observed by the hearts and eyes of the seven artists. Curators Jae Hwan LIM, Na Young JUNG Exhibiting Artists Won Jin KIM, Ja Hyun PARK, Jeong Won EOM, Hyang An LEE, Chan Mi HEO, Ben Jeans HOUGHTON, Nicola SINGH

SPECIAL EXHIBITION

ART BUSAN 2018 Art Accent turns the spotlight on the seven resident artists of Hongti Art Center, a creative residency space operated by Busan Cultural Foundation. The project aims to share various methods and interactions found in workspaces of exhibiting artist. What really is art that people experience, imagine and feel in their daily lives? Zero is (pronounced Young) in Korean. Young means absence, but at the same time it also symbolizes being eternally. It is also used as a number that implies either the beginning or the end of a phenomenon. As such, Young s presence as both numeral and philosophical significance carries out yet another meaning in our accustomed lives. Quite often, we do not even consider about the worth of our beings, regardless of its definitive and eternal presence in each of our lives. In the same logic, we do not always ponder upon the value of air, as the act of breathing has become so natural for human beings. Presence of eternal and yet, finite zero is same as the forms of art that has settled into our lives. Art Accent aims to promote our awareness in values of the objects that we carelessly passed by, thereby rediscovering the zeros in our lives.

Screaming bird singing dawn rainbow mountain | Ben Jeans HOUGHTON 2018 | HD digital video | Dimensions variable

273


Art Accent: Zero

#304 | Won Jin KIM A Chronicle of the Moment #304 2016 | Colored pencil on Korean paper, collage | 190 260 cm

2017 | Watercolor | 29

274

| Ja Hyun PARK Dandi in the red–light district 21 cm


Art Accent: Zero

64 cm

| Chan Mi HEO Drawing for verticality 2017 | Mixed media | Variable installation in 4m

SPECIAL EXHIBITION

Soft body | Nicola SINGH 2018 | Powdered pigment on paper | 95

| Jeong Won EOM Shivering long arms and them 2018 | Camera, screen, live performance | Dimension variable

275


.

21

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Visual Poetry #02 (still cut) | Hyun Jin KWON 2017 | Single channel | Ed. of 8

276


Visualization of the Invisible others and mixing and rearranging them, a preference is developed for the extra things that move outside the canvas, rather than the things within the canvas. This is to anticipate the creation of unexpected imaginary things. In order to effectively convey variable abstract images, KWON has been engaging in stereoscopic painting and media work and linking and fusing these two types of work together to expand the boundaries of images. She expects that the convergence of media materiality and technology presented in traditional paintings will maximize the extensibility of art, based on the autonomy and originality of art, instead of a mere combination of technology and art. Visual Poetry Sculpture demands that you see what you have not seen, and not just what you wish to see. They are intended to present visual fantasies, through which the viewers can think through their closed eyes and the eyes of their hearts in addition to their senses, and to present the real and imaginary worlds outside the canvas. KWON hopes that Visual Poetry Sculpture series serves as a mirror that reflects our hopes, dreams, secrets, emotions, etc. which vividly live and breathe. This is to present the viewers with an impression that they are dreaming or reading a lyrical poet through the arrangement and movement of colors.

SPECIAL EXHIBITION

Modernist art, which was a key issue in the last century, needs to be rethought in the 21st century. Abstraction in art in the previous century, for example, meant to eliminate the perceptible natural image thereby ultimately reducing the art into a two–dimensional form without any illusion. Today, art should be reconsidered from the direction of expanding the potential of images by turning our eyes toward the extra dimensions of time and space asserted through the scientific view of the world of our time. For this purpose, there is a need to bring the images of the invisible world that exists as an extra into the visible world and to fuse them with the images of the present world in order to expand the possibilities of images. In order to do this, the images that must be dealt with in the 21st century should be liberated from the ideological elements such as the traditional nature or form by overcoming the distinction between abstraction and conception. The imagination that emerges during this progress should be the center of the image. KWON s works do not deal with abstract images in the sense of extracting forms from the same natural images as before. They instead deal with abstract images by fusion and hybridism in the opposite context. They begin by drawing as visual images the imaginary illusions that form in the eyes when light is observed with the eyes closed for a while in order to escape from the images that can be seen by the eyes. In the process of attempting new arrangements of the flow of light, the flow of colors, and the flow of paints among

Exhibiting Artist Hyun Jin KWON

277


EVERYWHERE EVERYWHERE .

.

. . EVERYWHERE 2011

2016

,

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2017

, 6

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,

Ji Bin IM s EVERYWHERE project is a guerilla exhibition that shifts any space in our daily lives into an art museum. The significance of the project lies in allowing Delivery Arts in our routine, without the necessity to take extra time to visit museums. The artist uses bear balloons to portray contemporary man fiercely living yet another day, distorted in familiar scene of city life. This distortion in form causes the audience to smile. The very first edition of guerilla project EVERYWHERE was exhibited in 2011 in Seoul. The project was expanded to Asia in 2016 in Hong Kong, Tokyo, Osaka, Kyoto, Chengdu and Vietnam, and in 2017 to six cities in western United States. The project will be developed and expanded in various international locations. Exhibiting artist Ji Bin IM

EVERYWHERE in Gangwondo No.5 at Samchuk Coal Mine | Ji Bin IM 2018 | Variable installation balloon

278


EVERYWHERE

SPECIAL EXHIBITION

EVERYWHERE in California No.1 at Mojave Desert | Ji Bin IM 2017 | Variable installation balloon

279


– Strange 2017 (

)

. .

2018

. (

,

)

. . . – !

.

. ? .

.

, . .

(Michelangelo Buonarroti, 1475– 1564)

. . .

.

,

, . ,

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)

,

. Curator Dong Hyun KIM Exhibiting Artist Hyun Yeop KIM Text Dong Hyun LEE Photo Tae Hoon KIM

280

Hyun Yeop KIM focuses on depicting stories of irrational thought accompanying violence in various forms. His representative artworks are Violent comic series and Visual hallucination person series. At ART BUSAN 2018 special exhibition, audience can see KIM s Visual hallucination person series. Visual hallucination person is characterized by a central form covered by objets of diverse shapes and medium. By generating a figure of strangely altered man, KIM attempts to portray another image of mankind that we have forgotten. KIM s inspiration for Visual Hallucination Person– Strange is derived from the film Save the Green Planet! directed by director Junhwan JANG. It is apparent from the title of the series and the objets that restructured scenes in the film. Then what has led KIM to choose the character Strange (originally Byung–gu)? The main character Strange suffers from mental illness caused by numerous violent attacks conducted against him. Yet, he often suspects anyone as alien creatures and thereby kidnaps, confines and employ brutal force on these alien suspects, with a pretext to save Earth. Strange holds a double–sided character as both victim and attacker of violence. KIM may have believed that Strange was not very different from the persons in our history who started an aggressive war out of their own legitimacy. The autocratic pattern observed in Visual hallucination person resembles David by Michelangelo Buonarroti (1475–1564). However, it may be difficult to observe such pattern, as differently shaped objets cover the central figure. These small objets symbolize both the scenes in the film and violent nature of human beings. An ape figure that holds a tank on top of fallen soldiers seems to depict a highest authority and the majority suffering inside such a structure. Various heroes and villains resemble the relationship between the oppressed and the oppressor, who firmly believes in his actions and opinion among all else. Through his use of various figures, biblical stories and titles of the works, Hyun Yeop KIM witfully and boldly represents what can rather be considered as unpleasant stories that can happen in our everyday lives.


Visual Hallucination Person – Strange PROJECT ART BUSAN 2017 WINNER EXHIBITION

SPECIAL EXHIBITION

– | Hyun Yeop KIM Visual hallucination person–Byeong–gu 2018 | Mixed media | 80 50 173 cm

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CONVERSATIONS

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Starting with Korean traditional architecture (hanok) and moving on through Korean traditional and modern art, Mark Tetto will discuss some of the essentials of Korean beauty and aesthetics, as seen from a foreigner s perspective. Mark will introduce and discuss a diverse group of Korean artists and genres including photography, dansaekhwa, modern art, traditional landscape painting, furniture, and ceramics, and will identify common themes of Korean beauty across genres.

. . Mark Tetto is a partner at TCK Investment Management and has lived in Korea for 8 years, currently residing in a traditional Korean hanok in Bukchon Village. In addition to his appearances on the tv shows Abnornal Summit and The Homecoming, Mark conducts a popular interview series each month in which he interviews prominent Korean artists, discussing and introducing their works. These artists and their works, as well as hanok, form the basis of our discussion about Korean aesthetics and beauty.

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The Asian art market continues to increase its share in the global context, whether it is auction, private sales, or competitive–brand art fairs. Korea, along with mainland China and Hong Kong, now bravely takes the leading role in the global art market, with its continuous market growth and dynamic development and changes in recent years. Several major international galleries and auction houses have already opened their branches in Korea, and this trend is predicted to only increase in upcoming years. Works of Korean artists are sold with new records at every auction. Korean artists and their works have established firm ground and reputation by international standard. The Rolls and positions of both private collectors and museum collections are only increasing in the art market. Korea Arts Management Service(KAMS) is a government– affiliated foundation that administer the affairs and support for various arts organizations and groups in Korea. KAMS has arranged a valuable seminar, in which art market experts, collectors and key authorities of museums present audience with key issues and prospects of the domestic and global art markets. Attendees can also gain insights and methods about purchasing artworks and collection strategy and values in art collecting Korean Panel Talk Panels

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General Manager of Christie s Korea Seung Hyun LEE

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Fashion Designer, CEO of J Apostrophe

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Creative energy changes its form as it shifts across boundaries. One can find a similar pattern in fashion industry, where artistic sense of the time and practical perspective must be simultaneously implemented. Today s fashion transforms constantly and thereby attempt to tear down the boundaries between various artistic contents. LEE will share her thoughts and concerns over this form of collaboration and give know–hows about maintaining creative ideas in daily lives.

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SATELLITE PROGRAMS

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EDGE OF OBEDIENCE MASTER Ahmad Zakii ANWAR Special Film Screening

Nothing To Say | Ahmad Zakii ANWAR 2017 | Watercolor and acrylic on paper | 41 91 cm

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Ahmad Zakii ANWAR was born in 1955 in Johor Bahru, Malaysia. He is a graduate of the School of Art and Design, MARA Institute of Technology Malaysia. He is lauded for capturing not just city motifs and urban features but also a distinctive psychological dimension and cinematic quality in these scenarios. Zakii s preoccupation with the spiritual or metaphysical aspects of urban life is seen through his use of icons, symbols and allegories. Metaphors of theatre, performance and masks have also marked his practice. ART BUSAN 2018 presents special documentary film that depicts Ahmad Zakii ANWAR s life and his world view regarding his works. Audience can learn the grounds for his inner stories, by observing visual diaries that he kept himself about his thought development over the years.

SATELLITE PROGRAM

1955

Screening Schedule

April 19 (Thu)~22 (Sun), 14:00, 17:00 Duration 50min Venue Baik Art, Booth C–26

291


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KRUNK, the bear mascot representing YG Entertainment, is a celebrity who has his own albums released and conducted various collaboration projects. In 2017 KRUNK successfully expanded his presence in the international art scene, with collaborated exhibition with Monello at Saatchi Gallery, London and Art Collaboration Expo at COEX, Seoul. Furthermore, KRUNK had another successful collaboration with the British Pop artist Steven WILSON this past February. ART BUSAN 2018 presents KRUNK s collaborated artworks with the artist Monello, and plans to further introduce various collaboration projects with international artists from United States, Vietnam and more in the future, to serve as public friendly contemporary art medium in Asia Pacific region.

A mere hope as a child to not grow old gave birth to the story of Luna and Monello, the twins brother and sister. Luna and Monello, with the meaning little pranksters from the Moon, will provide audience the opportunity to take a short break from heartless modern society and achieve the sense of calmness and stability by reminding one s pure childhood memories. Exhibiting Artists JANG Jun Gi, KIM So Jung

292


POP PSYCHEDELIC Cosmic CRUNK | Steven WILSON 2018 | Screen print | 100 70 cm

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art. WILSON s vividly singular esprit is found not only in prints but also in typography, graphic design and art direction. His highly acclaimed style is infused in product lines of numerous global brands, to be shared and spent by the public in everyday life and to thus expand their horizon. Curator PARK Junheon Exhibiting Artist Steven WILSON

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KAMI ART SCHOOL 행복한 미술경영학교

미술로 행복해지는 맞춤형 특별강좌

“행복한

맞춤 가이드” 1기 수강생 모집

KAMI 한국미술경영연구소는 미술시장 전반에 대해 연구 활동하는 ‘공적 네트워크 협의체’를 지향하며, 2007년 4월 1일에 출발 습니다. 국내외 폭넓은 전문가들의 네트워크를 구성해, 작가/현장실무자/애호가 등이 보다

복한 미술

향유 활동을 지속할 수 있는 대안을 찾아가고 있습니다. KAMI는 일상생활에서 미술을 효율적으로 향유할 수 있도록, 아카데미ㆍ전시기획ㆍ아트컨설팅ㆍ아트투어 등 관련 활동과 프로그램을 운영합니다. 2007년 9월 국내 처음으로 아트마켓 전문 정기강좌를 대학교에 개설해 현재까지 이어오고 있습니다. 그동안 약 700여명의 수료생을 배출하고, 300개의 개별강좌 운영, 200명 이상의 전문 강사진이 참여하였습니다. 오는 5월에 한국미술경영연구소 직영으로 특별한 맞춤형 강좌가 새롭게 선보입니다. 미술가ㆍ갤러리 대표ㆍ 미술해설가ㆍ미술애호가를 위한 구체적이고 실질적인 가이드가 될 것입니다. 모든 강좌의 책임강사는 한국미술경영연구소 김윤섭 소장이 맡고, 각 주제별 세부강의는 해당분야 최고의 전문가가 함께 합니다.

특강 01 | 행복한 미술가 활동 맞춤 가이드 | 정원 12명

전시기획·홍보·크리틱·저작권법·아트비지니스 등 5강

특강 02 | 행복한 갤러리 운영 맞춤 가이드 | 정원 10명

경영비전·전시기획·홍보&마케팅·미술세법·고객관리 등 5강

특강 03 | 행복한 미술해설가 맞춤 가이드 | 정원 10명

미술이해·작품비평&해설·아트마켓 트렌드·전문가 만남 등 6강

특강 04 | 행복한 미술애호가 입문 맞춤 가이드 | 정원 8명

미술감상&아트마켓 트렌드·작가만남&갤러리방문·미술세법·작품수집&관리요령 등 6강

특강 05 | 행복한 프로컬렉터 맞춤 가이드 | 정원 8명

아트마켓 트렌드·미술품 경매·블루칩아티스트·미술세법·아트테크 실전가이드 등 6강 ※ 보다 자세한 강좌별 안내는 한국미술경영연구소 홈페이지 www.kami2007.com를 참조해주세요.

주최 : 주식회사 에이에프컴퍼니 주관 : kami한국미술경영연구소 장소 : kami place/카미플레이스 (인사동 소재, 건국빌딩 건국관 304호) 접수 : kami2007@daum.net (별도의 신청절차가 있으며, 이메일로만 접수합니다.)

서울시 종로구 인사동4길 17 건국빌딩 건국관 304호

문의 : 담당연구원 고은주 (T. 02-741-1626, 010-9196-1626)

T. 02-741-1626, kami2007@daum.net, www.kami2007.com


What makes this an object of value?


9

99 1 ce n i S

는 하 연결 을 ! 당신 채널 과 한 선 릿 전 최 고짜 다 니 의 롭 다릅 예술 흥미 는 가장 , Art 역시 (주)에이엠아트 서울시 중구 다산로 32, 202-5(남산타운 스포츠센터동) 04595 T. 02 797 2117 F. 02 797 2140 www.artinculture.kr


2018

품격과 감동의 매거진

정기구독문의 02_2231_7500

고객감동을 위한 문화기업으로 거듭 나고자 하는 노력, 감성경영을 위해 언제나 함께 하겠습니다.

삶의 질을 높이고 희망과 꿈을 전하는 국내 유일의 미술 평론지입니다. 국내외 유명작가와 창의적인 우수작가를 새롭게 발굴하여, 객관적인 평론을 원칙으로 하는 한국미술평론지입니다. 올바른 비평문화를 선도하여 작가의 예술성을 높이고 대중과 함께 함으로써 한국미술문화 발전에 기여하고자 합니다.

예술분야에서 장르의 경계 없이 자유롭게 정보를 나눌 수 있는 광장을 의미하며 미술, 음악, 공연, 건축, 문학 등 예술전반에 걸친 유익한 문화정보를 많은 사람들이 함께 공유할 수 있도록 예술인과 대중의 가교 역할을 다하도록 노력하고 있습니다. 전국으로 배포되고 있는 는 전세계의 문화예술컨텐츠를 담고 있는 매거진입니다.

정기구독자 혜택 ·우편발송요금으로 국내 어디서나 편안하게 받아 보실 수 있습니다. ·계간 미술과비평 4권과 월간아트와이드 12권을 같이 보내드립니다. ·미술과비평에서 주최, 주관하는 행사에 초대권 및 홍보물을 보내드립니다. ·공연 및 전시 티켓을 보내드립니다. (10,000원 이상 2枚)

·전시를 앞 둔 작가에게는 도록제작에 도움을 드리며, 아트와이드 전시프리뷰, 리뷰에 홍보해 드립니다.

·구독우편요금 1년 100,000원 2년 180,000원 ·입금계좌 하나은행 262-910007-17704 예금주 미술과비평

서울시 중구 동호로 8길 13 (신당3동 349-69) 유현빌딩 4F TEL: 02)2231-7500(대), FAX : 2231-2883 E-mail : artnc21@naver.com http://www.sinwonart.co.kr www.webhard.co.kr (id : sinwonart / pw : 1111)


Special Thanks To ,

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Artsy Katie Higgins, Juliana Lopez Larry s list Christoph Noe, Ricko Leung ArtFacts Isabel Ramos


ART BUSAN 2019

See you again next year


2018 ( )

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Copyright

2018 Artshow Busan Association, Inc.

All images showcased in this catalog are protected under copyright Legislation. The copyright on all images belongs to the gallery and artist. No part of this publication may be reproduced in any form or by any means, graphic, electronic or mechanical, including photocopying and recording by an information storage and retrieval system, without written permission from the publisher. Publisher Artshow Busan Association, Inc. Design EVERYDAY PRACTICE Printing First Kyungil Paper Hankuk Paper

. 230g 80g


ART BUSAN 2018  

ART BUSAN 2018 Catalog

ART BUSAN 2018  

ART BUSAN 2018 Catalog

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