곽훈, 디트리히 클링에, 우종택 초대전  <Media>

 

 

대구보건대학교 인당뮤지엄은 개관 10주년을 기념하여 국제그룹전 전을 개최합니다.
개관 이래 첫 그룹전이자 국제전인 이번 전시의 참여 작가는 한국과 미국, 독일등지에서 활발한 활동을 이어오고 있는 작가 곽훈, 우종택, 디트리히 클링에입니다. 급변하는 시대의 흐름 속에서도 자연과 생명이라는 주제로 자신만의 뚜렷한 예술 세계를 구축하고 있는 작가들은 전시장 내 새로운 생명와 에너지를 불어넣고 있습니다.
 
10주년을 맞이한 인당뮤지엄은 앞으로도 많은 이들의 문화적 경험과 과거와 현재·미래를 잇는 다양한 전시를 개최하며, 지속적인 학문적 탐구와 교육프로그램을 제공함으로서 지역사회와 공유하는 훌륭한 통로의 역할을 수행하고자 합니다.
 
인당뮤지엄이 앞으로도 지역문화기관으로서의 다양한 활동을 펼쳐나가길 기대하며, 이번 전시가 성공적으로 준비될 수 있도록 많은 수고를 아끼지 않으신 곽훈, 우종택, 디트리히 클링에 작가에게 깊은 감사를 표합니다.
순수한 열정과 노력으로 빚어낸 작품들이 조화를 이루는 개관 10주년 기념전 자리를 여러분께서 함께 빛내주시기 바랍니다.
 

 대구보건대학교 총장  남 성 희



 

Commemorating the 10th anniversary, Indang Museum of Daegu Health College hosts , an exhibition presented by international groups. It is the first-ever group exhibition since the incorporation of the museum, featured with the artists who have been vigorously displaying their artistic activities in Korea, the U.S. and Germany to name a few, including Gwak Hoon, Woo Jong-tak and Dietrich Klinge. Each of these artists has been successfully establishing his/her own unique artistic world based on the themes of nature and life throughout this day and age where changes are being made ever so fast and constantly, and they together fill up the exhibitions hall with full of new life and energy.
 
 
Upon its 10th anniversary, Indang Museum is determined to continue hosting a variety of exhibitions connecting the past, present and future with the vast cultural experiences of numerous people, and to assume a role serving as distinct pathways through sharing with local communities by offering continuous academic researches and educational programs.
 
Indang Museum anticipates to keep engaging in various activities as a local cultural institution for many years to come, and it also extends its deepest appreciation to Gwak Hoon, Woo Jong-tak and Dietrich Klinge who dedicated their supports in order to ensure the successful preparation of the upcoming exhibition.
I personally hope this 10th anniversary exhibition featured with a number of artworks created by sincere and pure passion and hard works to be fully appreciated by everyone.
 
 

Nam, Sung hee
Daegu Health College President

곽훈, 디트리히 클링에, 우종택 초대전  <Media>

 

 

 

곽훈 

                 
디트리히 클링에 

우종택               

곽훈, 디트리히 클링에, 우종택 초대전  <Media>

 

 

KWAK, Hoon

 

Born 1941, Daegu, Korea

Residence Los Angeles, California

 

1980-82   California State University, Long Beach, M.F.A

1979-80   California State University, Los Angeles, M.A

1959-63   Seoul National University, Seoul, B.F.A

 

1982   M.F.A. California State University
1980   M.A. California State University
1963   B.F.A. Seoul National University

 

 

         Solo Exhibitions

 
2016   Gallery Silla, Daegu, Korea
           P&C Gallery, Daegu, Korea
2012   Daegu Art Museum, Daegu, Korea
          Gallery Silla, Daegu, Korea
          Gallery YEH, Seoul, Korea
2011   lndang Museum, Daegu, Korea
          Suseong Artpia(Performance/Excavator drawing), Daegu, Korea
2010   Gallery Silla, Daegu, Korea
2009   C.J. Gallery, San Diego, USA
2007   YEH Gallery, Seoul, Korea
          Korea Art Center, Pusan
          Gallery Silla, Daegu, Korea
2006   Daegu Health College Art Center, Deagu, Korea
          Pyo Gallery, Seoul, Korea
2005   National Art Museum of China, Beijing, China
2004   Pyo Gallery, Seoul, Korea
2003   Andrew Shire Gallery, L.A., USA
2002   Hyundai Art Center Gallery, Ulsan, Korea
          MBC Gallery, Daegu Gallery, Daegu, Korea
2000   Contemplation, Rong Bao Zhai Gallery, Beijing, China
          Kumho Museum of art, Seoul, Korea
1999   Carinthia Gallery, Klagenfurt, Austria
1998   Charles Cowles Gallery, NYC, USA
          Kumho Museum of Art, Seoul, Korea
1997   Carinthia Galleria, Kragenfurt, Austria
          Gallery 63, Seoul, Korea
          Ci-Gong Gallery, Daegu, Korea
1996   Jo Hyun Gallery, Pusan, Korea
          Masan MBC Gallery, Masan, Korea
          Pyo Gallery, Seoul, Korea
          Birmingham Museum of Art, Birmingham, USA
          Daegu Art Center Daegu, Korea
1995   Venice Biennale, Korea Pavilion, Venice, Italy
          Sigma Gallery, NYC, USA
          lnkong Gallery, Seoul, Korea
          Sun Gallery, Seoul, Korea
          Palos Verdes Art Center, L.A., USA
1994   The Works Gallery, Costa Mesa. USA
          Andrew Shire Gallery, L.A., USA
1993   Sun Gallery, Seoul, Korea
          Sonje Museum of Contemporary Art, Gyeongju, Korea
          National Museum of Contemporary Art, Seoul, Korea
1992   Pusan Gallery, Pusan, Korea
          MacQuarie Gallery, Sydney, Australia
          Chicago International Art Fair by Sun Gallery, Chicago, USA
          Sala Pares Gallery, Barcelona, Spain
          The Works Gallery, Long Beach, USA
          Tokyo International Art Fair by Sun Gallery, Tokyo, Japan
1991   Pacific Asian Museum. Pasadena, USA
          Sun Gallery, Seoul, Korea
1990   Miami International Art Exposition by Sun Gallery, Miami, USA
          L.A. International Art Fair by Sun Gallery, L.A., USA
          MacQuarie Gallery, Sydney, Australia
          The Works Gallery, Costa Mesa, USA
          Sun Gallery, Seoul, Korea
1989   The Works Gallery, Costa Mesa, USA
          Levinson Kane Gallery, Two California, Boston, USA
          London Art Fair, Two Artist Show, London, UK
          lannetti Lanzone Gallery, San Francisco, USA
          Karl Bornstein Gallery, Santa Monica, USA
          Sun Gallery, Seoul, Korea
1988   LA International Art Fair by Sun Art Gallery, L.A., USA
          lannetti Lanzone Gallery, San Francisco, USA
1987   LA. International Art Fair by Sun Art Gallery, LA, USA
          lnkong Gallery, Seoul, Korea
          Duson and Pyung Gallery, Seoul, Korea
1986   Harcourts Contemporary, San Francisco, USA
          Korean Cultural Service Center Gallery, L.A., USA
          Ymok Gallery, Daegu, Korea
1985   Karl Bornstein Gallery, Santa Monica, USA
          Duson and Pyung Gallery, Seoul, Korea
1984   Gallery, Tokyo, Japan
1983   Dongsanbang Gallery, Seoul, Korea
          Art Space Gallery, L.A., USA
1982   L.A. Artcore Gallery, L.A., USA
          Dongsanbang Gallery, Seoul, Korea
          Traction Gallery, L.A., USA
1981   L.A. Artcore Gallery, L.A., USA
1980   L.A. Artcore Gallery, L.A., USA

 

 

         Group Exhibitions

2017   Media, lndang Museum, Daegu, Korea
2016   KOREA NOW. Seoul Station Museum and Travelling Exhibition Brussels, Belgium, Budapest, Hungry(Korean Central Center)
          Jeondeungsa Gallery, Jeondeunsa Temple, Ganghwa, Korea
2015   Archive, Busan Biennale, Busan, Korea
          Re Discovering of Drawing, San Museum, Wonju, Korea
2011   Gallery YEH, Seoul, Korea
          Gallery Silla, Daegu, Korea
          Daegu Art Museum, Daegu, Korea
2010   Gallery YEH. Seoul, Korea
2009   L.A. County Museum of Art, L.A., USA
          Philadelphia Museum of Art, Philadelphia, USA
2004   National Museum of Art Contemporary, Seoul, Korea
2003   Chicago International Art Fair by Pyo Gallery, Chicago, USA
          Shanghai Art Fair by Pyo Gallery, Shanghai, China
2000   National Museum of Contemporary Art, Seoul, Korea
          Korea Cultural Center, NYC, USA
1998   Charles Cowles Gallery, NYC, USA
1997   Charles Cowles Gallery, NYC, USA
1996   Venice Biennale, Seoul Art Center, Seoul, Korea
          Who's Afraid of Freedom, Newport Harbor Art Museum, Newport Beach, USA
1993   Fusion'93, Pauline Hirsh Gallery, L.A., USA
1992   Levinson Kane Gallery, Boston, USA
          Sandra Walter Gallery, Hong Kong
          Watts Tower, L.A., USA
          MacOuarie Gallery, Sydney, Australia
          Art Space Gallery, L.A., USA
          Sun Gallery, Seoul, Korea
1991   Levinson Kane Gallery, Boston, USA
          Hanwon Gallery, Seoulr Korea
          The Annex Gallery, La Jollar USA
          The Annex Gallery, San Diego, USA
          The Works Galleryr Long Beachr USA
          Vallerie Miller Gallery, Brunswick, USA
          East and West, Hobe Sound Gallery, Brunswick, USA
1989   The Thumb Gallery, London, UK
          The Works Gallery, Long Beach, USA
          Art Unlimited, Cerritos College Fine Art Gallery, Cerritos, USA
          Vallerie Miller Gallery, Palm Desert, USA
1988   Van Straaten Gallery, Chicago, USA
          5 Contemporary American Artists, with Laddi John Dill, Eric Orr, Michael Hayden, George Geyer, Sun Gallery, Seoul, Korea
          Vallerie Miller Gallery, Palm Desert, USA
          lannetti Lanzone Gallery, San Francisco, USA
          Kukje Gallery, Seoul, Korea
          Ka「1 Bormstein Gallery, Santa Monica, USA
          The Works Galle「y, Long Beach, USA
1987   Karl Bormstein Gallery, Santa Monica, USA
          Contemporary Art of Korea: Artists in Daegu, Osaka Contemporary Art Center, Osaka, Japan
          Basel International Art Fair by Harcourts Contemporary Gallery, Basel, Switzerland
          The Works Gallry, Long Beach, USA
          Contemporary American Art: Southern California, Taipei Fine Arts Museum, Taipei, Taiwan
          New Talent Showcase2, The Works, Gallery, Long Beach, USA
1986   Karl Bornstein Gallery, Santa Monica, USA
          Cultural Fusion: 6 Contemporary Korean American Artists, Simard halm Gallery L.A., USA
          The Works Gallery, Long Beach, USA
          Karl Bornstein Gallery, Santa Monica, USA
          Basel International Art Fair by Harcourts Contemporary Gallery, Basel, Switzerland
          Only L.A.: Contemporary Variations, Los Angeles Municipal Art Gallery, Barnsdall Park, LA, USA
          Law Firms Collections, Loyola Law School, L.A., USA
          Gallery Artists, Harcourt Contemporary Gallery, San Francisco, USA
1985   Trio, Harcourts Contemporary Gallery, San Francisco, USA
          Fusion 85, Jewish Federation Council, L.A., USA
          Gallery Artists, the Works Gallery, Long Beach, USA
          Screens and Scrolls, 18th Street Gallery, Santa Monica, USA
          1 to 1, Art Rental Gallery, L.A. County Museum of Art, L.A., USA
1984   Korean-American Expressions: 5 Artist from Los Angeles, California State University, L.A., USA
          May I Have Attention Please!, Doninguez Hills, Carson, USA
          Wing Luke Memorial Museum of Art, Seattle, USA
          Kar1 Bornstein Gallery Santa Monica, USA
          Harcourts Contemporary Gallery, San Francisco, USA
          Gallery Artists, Art Space Gallery, L.A., USA
          Korean Art Today, Korean Cultural Service, L.A., USA
          MetroRail Transit Corporation, L.A., USA
          Gallery Artists, Art Space Gallery, L.A., USA
1983   California Dreaming, Los Angeles Municipal Art Gallery, Barnsdall Park, LA, USA
          8 Korea American Artists. Korean Cultural Service, L.A., USA
          3 Artist Show in Conjuction with L.A.V.A., L.A. Visual Art Tours, L.A. Artcore Gallery, L.A., USA
          Additional Space Expose VI, Rental Gallery, LA County Museum of Art, L.A., USA
          Long Beach Connection, Palos Verdes Art Center, Palos Verdes, USA
          Works on Paper, 1:16 Gallery, L.A., USA
1982   15 L.A. Artist, Scope Gallery, L,A,, USA
          Bowl-Shaman: Transitions, One Man Show, Gallery C, California State University, L.A., USA
          1 :16 Gallery, L.A., USA
          Traction Gallery, L.A., USA
          24th Annual National Exhibition of Prints & Drawings, Oklahoma Art Center, Oklahoma City, USA
          L.E.A.A. Juried All Median National Exhibition, New Mexico Junior College, Hobbs, USA
          Alice Lloyd College 3rd Annual Works on paper, Pippa Passes, USA                

          Pensacola Nateional Water Media Exhibition, Visual Art Gallery, Pesacola Jonior College, Pensacola, USA
1981   Show-1, Winter, Art Rental Gallery, Los Angeles County Museum of Art, L.A., USA
          Rutgers National '81, Stedman Art Gallery, Rutgers University, Camden, New Jersey, USA
          Ink and Clay 9, California State Polytechnic University, Pomona, USA
          1:16 Galle「y, Los Angeles, California 15th National Juried Exhibition, Orange Country Art Association, Brea Art Gallery, 

          Civic Cultural Center, Brea, USA
          Long Beach Art Association, Open Juried Exhibition, Visual Arts, Long Beach Gallery, Long Beach, USA
          Los Angeles Visual Arts '81(L.A.V.A.), Japanes American Community Cultural Center, L.A., USA
          Newcomers'81, Los Angeles Municipal Art Gallery, Barnsdall Park, L.A., USA
          61th National Watercolor Society Annual Exhibition Traveling Palm Springs Desert Museum, Palm Springs, USA
          Tucson Museum Art, Tuson, USA
          Pheonix A다 Museum, Phoenix, USA
          Arnot Art Museum, NYC, USA
          6 Artist Travelling Exhibition, M.M. shinno Gallery, LA, USA
          California Travelling, Nagasaki Prefecture Museum, Tenjin Salon Gallery, Fukuoka, Japan
          Japan & American Cultural Center, Pusan, Korea
          13 Contemporary Korean Artists Exhibition, Los Angeles Artcore Gallery, L.A., USA
          Dongsanbang Gallery, Seoul, Korea
          Asian Pacific American Artists Exhibition, Japanes American Community Cultural Center, LA, USA
          Long Beach Art Association, Open Juried Exhibition Visual Arts, Long Beach Gallery, Long Beach, USA
          Selections '81, National Juried Art Exhibition, Vertex Gallery, Taos, USA
          Alice Lloyd College 2nd Annual National, Pippa Passes, Kentucky, USA
          Brand XI. 11th Annual Juried Art Exhibition, Brand Library Art Gallery, Glendale, USA
          8 Artists Invitational Drawing & Paintion Exhibition, Weber State College, Ogden, USA
          Drawing Conclusion, Junior Art Center Gallery, Barnsdall Park, L.A, USA
          L.E.A.A. Juried All Media National Art Exhibition, Hobbs, USA
          10th National Prints & Drawing Exhibition, Minot State College, Minot, USA
          Dakota Ink & Clay 8, California State Polytechnic University, Pomona, USA
          Spokane National 1981, Eastern Washington State Historica Society Cheney Cowles Memorial Museum, Spokane, USA
1980   14th Juried Art Exhibition, Orange Country Art Association, Brea Art Gallery, Civic Cultural Center, Brea, USA
          Long Beach Art Association, Open Jureid Exhibition Visual Arts, Long Beach Gallery, Long Beach, USA
          Asia Pacific American Artists Invitational, Japanese American Community Cultural Center, L.A., USA
          42nd Annual Exhibition of Contemporary American Paintings, The Society of Four Arts, Four Art Plaza, Palm Beach, USA
          Wesleyan International Exhibition of Prints & Drawings, Wesleyan College, Macon, USA

 

 

         Collections & Commisions

 

Security Pacific National Bank(L.A.), Amoco Production Co.(Standard oil), Minor State College,

Pensacola State Junior College, National Museum of Contemporary Art(Seoul). First L.A. Bank,

Columbia pictures Co , Santen Seyak Co., Wilshire House, Hotel Bel-Air, Manatt, Phelps,

Rothenberg&Tunney, Sheraton Harbor Island West, American Food & Beverage Co ,

American Bar & Grill(Santa Monica). Executive Life Insurance Co., Walker Hill Art Center,

Compri Hotel(Aurora), Southbrook Entertainment(Beverly Hills),

Held Properties(beverly Hills). Trident Ltd., Ana Hotel(Tokyo). Bryan, Cave, McFetters & McRoverts,

Robertson Designs, Four Season Hotel(Newport Beach), Jewish Federation Council. Bear Stearn & Co.,

Tyson's Corner of Sheraton Hotel, Spierer, Woodward, Denis & Furstman, MBC TV. Crop.,

Grand Hyatt Regency(Washington, D.C.), Omni Hotel, Touch, Ross & Co., Philippe Guimiot Art Gallery,

O'Connor-Cavanaugh Art Gallery, Beverly Hills Hotel, Pacific Bell, International Kunstverlag,

Directors Guild of America, Yesteryear Inc., Conner Peripherals, Raddisson Hotel(Palm Springs),

Sheraton Torrey Pines (La Jolla), Ocean Grand Hotel(La Jolla),

Hilton(Seoul. Shanghi, Tokyo, Taipei, L.A.  International Airport, Chicago),

Nikko Hotel(Sydney), Kinsella, Boesch, FujiKawa & Towle, Jules &. Co., Costa Mesa, California,

Hyatt(Melbourne, Taipei, Singapore). Warner Chappell Music, Keumho Museum of Art. Hoam Art Museum,

Art Sonje Museum(Kyoungju). Korea Bank(Daegu). Gallery 63, Daegu City, llsin Group, Sungkok Art Museum,

Debec Cul­tural Foundation, Art Sonje Center, The South Wales Gallery,

Orange County Museum of Art. Arkansas Museum of Art, Ilmim Museum of Art, Philadelphia Art Museum,

National Art Museum of China, lndagn Museum, Fondation Maeght

 

 

 

Dietrich Klinge

1984   Studied of sculpting at the Staatlichen Akademie der Bildenden Kunste in Stuttgart
1980   Graduate in drawing and graphics at the Staatlichen Akademie der Bildenden Kunste in Stuttgart

 

 

         Solo Exhibitions

2017   Christian Daniel Rauch-Museum, Museum, Bad Arotsen, Germany
2016   RathausART 2016 by Bode Gallery, Nuremberg, Germany
          Eijip-Serie, Bode Project Space, Daegu, Korea
2015   Skulpturen, Bode Gallery, Nuremberg, Germany
          Skulpturenmeile, outdoor installation Ansbach, Germany
          Et-und, auch -double exhibition, St. Egidien and St. Sebald, Nuremberg, Germany
2014   Paare, Galerie der Stadt Tuttlingen, Tuttlingen, Germany
          Tangere, Kreuzgang des Basler Münster, Münster, Germany
          Zámek Slavkov, Austerlitz, Czech rebuplic
          Sculptures by Dietrich Klinge, Bode Project Space, Daegu, Korea
2013   Sitzfiguren, Bode Gallery, Nuremberg, Germany
          Blickachsen 9 -Dietrich Klinge, Kloster Eberbach, Eberbach. Germany
2008   Archäologischer Garten, Frankfurt a. M., Germany
          Musei della Maremma, Provincia di Grosseto, Italy
2007   Galrieverein Leonberg with M. Storz, gallery association, Leonberg, Germany
2005   Museum Küppersmühle Sammlung Grothe, Duisburg, Germany
2003   Stadtkirche Darmstadt, Darmstadt, Germany
2002   DRK Krankenhaus Westend Berlin with R. Szymanski, Berlin, Germany

 

 

         Group Exhibitions

2017   lndang Museum. Daegu, Korea
          Bode Gallery, Nuremberg, Germany
2016   Angermuseum, Erfurt, Germany
2015   Daegu Art Fair by Bode Gallery, Daegu, Korea
          KIAF 2015 by Bode Gallery, Seoul, Korea
          Stadtische Galerie Bietigheim-Bissingen, Bietigheim-Bissingen, Germany
          Art Busan by Bode Gallery, Busan, Korea
2014   Daegu Art Fair by Bode Gallery, Daegu, Korea
          KIAF 2014 by Bode Gallery, Seoul, Korea
2013   RathausART 2013 by Bode Gallery, Nuremberg, Germany
          Art Busan 2013 by Bode Gallery, Korea
          KIAF 2013 by Bode Gallery, Seoul, Korea
2012   based on AD at Bode Gallery, Nuremberg, Germany
2008   Kunstverein Reutlingen, Reutlingen, Germany
2006   Kunst Zürich 2016, Zurich, Switzerland
          Städtische Museen Heilbronn, Heilbronn, Germany
          Städtische Galerie Neunkirchen, Neunkirchen, Germany
2005   Snite Museum of Art, Notre Dame, Indiana, USA
          Sarasota Season of Sculpture, Sarasota. Florida, USA
          Kunsthalle in Emden, Emden, Germany
          Städtische Museen, Heilbronn, Germany
2004   Klarissenkloster Pfullingen, Pfullingen, Germany
          Stadtkirche Darmstadt, Darmstadt, Germany
2003   Zeitgeschichtliches Forum Leipzig, Leipzig, Germany
          Diözesanmuseum Würzburg, Würzburg, Germany

 

 

         Collections & Commisions

State Gallery Stuttgart, Art Hall of Mannheim. State print collection Munich,

Museums of the City of Heilbronn, Museum of the City of Albstadt,

Museum at Prediger Schwaebisch Gmünd, Dom Museum Würzburg,

St. Johannis Stift Würzburg, Diocese of Würzburg, Frederik Meijer Gardens and Sculpture Park,

Grand Rapids, Michigan Gateway Foundation, St. Louis, Missouri. Museum Beelden aan Zee in Scheve­ningen,

Daegu Art Museum, Collection Gerstev. Moskau

 

 

 

WOO, Jong taek 

           Professor, lncheon University

2002   M.FA Oriental Paintings, College of Fine Arts. Chung Ang University
1997   B.F.A. Oriental Paintings, College of Fine Arts. Chung Ang University

 

 

           Solo Exhbitions

 

2017   Memory of origin, Bode Gallery, Nuremberg, Germany
          Woo jong-taek one men show by Bode Gallery, Paper Art Fair Berlin, Germany
          Woo jong-taek one men show by Urban art, Korea galleries art fair, Seoul, Korea
2015   The visible power and the invisible power, Bode Gallery, Daegu, Korea
2014   Draw a Line, Grimson Art Gallery, Seoul. Korea
          A Burial, Rikak Art Museum, Cheonan, Korea
2011   A Dead Tree is in Bloom, Alternative Space Westberg, Hamburg, Germany
2006   Line Up一Suknam Art Awardee, Moran Art Gallery, Seoul, Korea
2005   Line Up, Kumho Art Gallery, Seoul, Korea

 

 

           Group Exhibitions

 

2017   Media, lndang Museum, Daegu, Korea
          Water, Muk and new drawing, Seoul, Korea
2016   The Face, Face, The Museum of Sungkyunkwan University, Seoul, Korea
          Here we are, Bode Gallery, Daegu, Korea
          KIAF 2016, Coex, Seoul, Korea
          New Drawing Project, Chang ucchin Museum, Yangju, Korea
          Contact, lcheon Art Center, lcheon, Korea
          Korean Now, Korea Culture Center, Hungary and Belgium
          IN NEUEN RAUMEN, Bode Gallery, Nuremberg, Germany
          Plan B of Korean Painting, Grimson Gallery, Seoul, Korea
2015   Moment less, Bode Project Space, Daegu, Korea
2014   The sparrow near a school sings a primer, Gongpyeong Art Center, Seoul, Korea
          INSIGHT, 129 Art Gallery, Seoul, Korea
          Beuond the Borders, Culture Station Seoul 284, Seoul, Korea
2013   Millenium of Oriental Painting, Gongpyeong Art Center, Seoul, Korea
          Wound and heal, Seoul Art Center Special exhibition, Seoul, Korea
          Opening the canvas to meet a wise man, Gallery Flower, Korea
          Understanding Oriental Painting, EBS Space Exhibition hall, Korea
2012   Portraitof imperfection, Gongpyeong Art Center, Seoul, Korea
          The pen and ink of today, awakening of the spirits, Gongpyeong Art Center, Seoul, Kprea
          E-Jong-Woo-Dong, Gongpyeong Art Center, Seoul, Korea
2011   Key Project, Joheung Gallery, Seoul, Korea
          Vitality-knowing contemporary artists, Sejong Center, Seoul, Korea
          Korean painting does bungee-jumping, Lotte Gallery, Anyang, Korea
2009   Difference and Coexistence, Asto Museum of Art, L.A., USA
          The Exhibition of Kumho friend, Kumho Art Gallery, Seoul, Korea
          Critical Visual, lnsa Art Center, Seoul, Korea
2006   Uncertain Layer, Santorini, Seoul, Korea
          Song and dance of Ganghwa, Bupyeong History Museum, lncheon, Korea
          Drawing the world, lncheon Art Platform, lncheon, Korea
2005   Times and Sensibility, Haeden Art Museum, Ganghwa, Korea
          River, Space, Painting, Lauenburg residence, Germany

 

 

           Collections & Commisions

National Contemporary Museum of Art(Gwacheon), Geumho
Museum of Art, lncheon National University, Chung Ang University,
Yongin City Hall, Sangmyung University Museum, lncheon Cultural Foundation

 

곽훈, 디트리히 클링에, 우종택 초대전  <Media>

 

 

 

Media

생명감각의 미디어

 

황인

미술평론가

 

   곽훈, 디트리히 클링에, 우종택. 장르를 달리 하는 작가 3인의 작업들이 ‘미디어’라는 타이틀로 한데 묶여서 전시된다.

현대미술에서 미디어는 미디어아트에서 보여지듯, 대개는 뉴미디어인 영상미디어나 디지털 미디어 등을 먼저 떠올리기 마련이다. 미디어는 주로 통신 등 공학용어나 매스미디어에서 보듯 사회학적 용어로 많이 언급된다. 그런데 공학이나 사회학 등에서 쓰는 미디어의 뜻과 미술에서 쓰는 미디어는 그 의미가 많이 다르다.

매체媒體로 번역이 되는 미디어는 어떤 작용을 한쪽에서 다른 한 쪽으로 전달하는 역할을 하는것을 일컫는다. 미술에서는 작가가 작품을 제작하는 데에 동원되는 모든 재료와 기술을 총칭하여 미디어라고 한다. 물감이나 종이 등 작품을 위한 모든 미술재료는 미디어에 해당된다. 미술작품이 재료와 형태를 버리지 않는 한 미술에서의 미디어는 필수불가결의 요소일 수밖에 없다.

뉴미디어에 국한되어 이해되었던 현대미술 속의 미디어에 대한 이해에서 벗어나 이번 전시는 미술의 탄생과 함께 동반자 역할을 해왔던 오래 되고 친숙한 ‘미디어’의 다양한 성격과 새로운 가능성을 제시하고자 한다.

 

   곽훈은 주로 캔버스에 페인팅 작업으로 알려져 있지만 다양한 매체의 수많은 실험을 시도한 작가로도 평판이 높다. 그는 1970년, 당시 국내에서 생경한 뉴미디어인 빛과 소리를 동기화하여 공감각적 지각을 일깨우는 테크놀러지 아트를 공학자와 함께 시도한 선구적인 아티스트이다.

이번에 보여주는 곽훈의 종이작업은 언플러그드 사운드 인스톨레이션이다.

한지는 풍부한 유연성과 탄성을 가진 섬세한 재료다. 한지를 한 장 한 장 이어가며 거의 5m 높이에 이르는 사각의 방을 만든다. 전시장의 벽면과 이 설치물의 사이에는 좁은 통로가 생기는데 그 폭은 60cm에서 120cm 사이다. 한 사람이 겨우 지나다닐 정도의 좁은 통로다.

통로를 지나가는 관람객의 움직임에 의해 미세한 기류의 변화가 발생한다. 기류의 변화를 섬세한 물성의 한지가 놓치지 않고 반응한다. 자중自重에 의해 바닥을 향해 적당한 긴장으로 늘어진 종이가 흔들리면서 소리가 난다. 종이로 만든 방은 거대한 스피커가 된다. 그 소리는 관객의 숫자, 동선, 신체성에 따라 각기 달라진다. 이럴 때 곽훈의 작품을 구성하는 주요한 미디어는 ‘종이’와 ‘공기’와 ‘소리’, 그리고 관람객의 ‘신체’가 된다. 여기에 더해 한지에 와서 부딪히는 빛의 떨림도 미디어로 참여한다.

 

   디트리히 클링에의 브론즈 조각은 목조木彫를 판화 에디션 작업처럼 캐스팅한 것이다. 나무라는 재료는 나무 하나마다 고유의 개성적인 물성을 가졌다는 점에서 물성이 균질하게 정제된 브론즈와는 차별된다. 나무 하나 하나는 나무의 품종, 자신이 자란 풍토와 풍수, 생장환경에 따라 고유의 개성을 갖고 있다. 브론즈는 광석에서 정련된 구리와 주석의 합금이다. 거기에는 구리와 주석이라는 순정한 물질성만 있을 뿐 풍토성이나 개체성은 이미 휘발되고 없다. 재료의 개체성이 없기에 작품에서는 조각가의 의도나 의지가 더 강하게 드러나기 마련이다.

나무를 조각한다 함은 나무의 결과 재질, 형태 등에 칼을 맞출 수밖에 없다. 조각가의 의지 이전에 나무라는 개성적인 재료성에 의해서 조각의 프로세스와 결과물이 어느 정도 예상될 수밖에 없다.

대개 목조木彫는 나무를 깍아내는 마이너스 작업(각 刻)이다. 그러기에 작품의 크기에 제한이 있고 작업의 과정 또한 비가역적이다. 여기에 비해 브론즈 조각은 점토를 붙여나가는 플러스 작업(소塑 modelling)이다. 작업의 크기와 수정이 자유롭다. 일반적으로 조각가는 조각彫刻 아니면 소조塑造 중 하나를 선택해야만 한다. 클링에의 경우 원래는 소塑의 작업이어야 할 브론즈 조각의 모델링 대신에 나무라는 소재를 사용함으로써 각刻의 작업으로부터 시작하여 소조塑造작업의 후속작업인

캐스팅의 작업으로 마무리를 한다. 소塑와 각刻이라는 전혀 다른 두가지 프로세스가 하나의 조각품 안에서 구현이 된다.

그의 인체상이 매우 단순한 형태를 지니면서 원시적인 생명감을 가진 것으로 보이는 건, 애초에 나무라는 재료 자체가 이미 가진 개체적이고 유기적인 생명감각이 작업의 결과물로 이어지기 때문인지도 모른다.

 

   우종택은 표현주의를 방불케 하는 매우 거친 필획을 구사하는 작가다. 최근에는 검게 칠한 큰 나무둥치들을 쌓아올린 설치작업을 하고 있다. 그림에 필획이 있듯 나무나 폭포수 같은 물의 흐름 등 자연 속의 모든 현상을 존재의 필획으로 보려고 하는 게 그의 입장이다. 그에 의하면 유정有情이든 무정無情이든 삼라만상은 부단하게 나름의 필획을 그어가며 존재하고 있다.

존재의 현상적인 양태를 필획이라고 한다면 그 필획을 다른 말로는 기氣라고 할 수도 있겠다.

기감氣感이 발달했던 고대인들은 그림 속에 기를 구체적인 조형으로 표현하였다. 고구려벽화에

등장하는 영기문靈氣汶이 대표적이다. 감지는 되나 비가시적인 기氣는 영기문이라는 조형적인 형태를 빌어 가시적으로 드러나게 된다. 생명을 가진 사물의 움직임 혹은 생장의 모습은 동영상으로 재현이 되어야 하는데 그림은 정지영상 밖에 표현하지 못하므로 영기문을 통해서 동영상적인 요소를 보완하기도 한다.

나무는 어떤 생명체보다 기감을 잘 전달한다. 큰 나무는 신목神木이라 하여 먼 옛날부터 영매靈媒로서의 미디어 역할을 해왔다. 캔버스의 붓질 혹은 필획이 나와 저 너머의 세계를 이어준다고 한다면 신목은 우리의 신체가 처한 장소와 신체가 다다를 수 없는 무한한 공간을 연결시켜준다. 신神이란 무한한 공간의 다른 이름이기 때문이다. 우종택의 신목 설치 작업은 자연이 부단하게 구사하는 구사하는 기운생동의 큰 붓질을 나무를 빌어 미술관의 바닥에 펼쳐놓았다.

 

   곽훈의 종이의 원재료가 나무라는 점을 감안한다면, 이들 세 작가의 재료는 모두 나무에서 출발하고 있다. 자연 속에서 가장 쉽게 접하는 생명체가 나무다. 그 나무가 날것으로 혹은 가공이 되거나 변형이 된 채 조형의 세계를 방문하여 표현에 참여를 한다. 세 작가에게서 공통적으로 발견되는 건, 조형의 프로세스에 동원된 나무 혹은 종이라는 미디어가 가진 상식적이고 전형적인 용처에서 벗어나 변용과 반전을 꾀하고 있다고 하는 점이다.

일반적으로 미술에서 종이는 조형행위의 화면이 얹히는 지지체support의 구실을 한다. 곽훈은 종이를 음향기기로 이용했다. 일반적으로 관객은 감상의 주체이지만 종이 설치작업에서 관객은 음향기기의 조력자로 지위가 역전되어 작품의 일부가 된다. 클링에는 점토 모델링 대신 나무를 조각한 다음 거푸집을 만들어 브론즈로 최종 결과물을 내어놓는 과정에서 제작방식의 상식적 순로를 벗어나고 있다. 우종택은 붓의 필획 때신 엄청난 에너지와 강력한 물성을 담은 큰 나무둥치를 동원시키고 있다. 미디어에는 무당(영매)이라는 뜻도 있다. 무당은 신목과 친연관계다.

무당은 이승과 저승을 연결해준다. 이쪽과 저쪽을 이어주는 미디어의 본의를 가장 적극적으로 제시하는 재료로 영매의 메타포인 신목을 즉물적으로 제시하고 있다.

 

   세 작가의 작품에서 공통되는 미디어로서의 나무는 생명의 다른 말이다. 생명이란 유기체는 언제나 이쪽에서 저쪽으로 걸쳐져 있다. 생명이란 생生과 명命이 합쳐진 말이다. 생生의 모습으로 서로 걸쳐져 있기도 하거니와 생生과 명命으로 갈라진 모습으로 서로 걸쳐져 있기도 하다.

구체적인 장소에 거하고 있는 개체적인 지각으로서의 생生과 개체와 장소를 초월한 채 텅 빈 허공에서 전체의식으로 존재하는 명命은 상호교류하고 있다.

예컨대 나무는 생生의 열정에만 기대어 제 멋대로 생장하지 않는다. 조형에도 조형의 원리가 있듯 나무에도 생장의 원리가 있다. 나무가 가지를 뻗어나가자면, 다시 말해 나무에 생장의 기가 발산하자면 피보나치 수열Fibonacci-sequence의 엄정한 법칙을 따라야만 한다. 생生은 명命의 이치를 따라야만 한다.

생生이 기氣에 대응한다면 명命은 리理에 대응한다. 생과 명, 기와 리, 나아가 나와 세계, 장소와 공간을 이어주는 역할을 미디어가 할 수 있다고도 상상할 수 있지 않을까. 생은 명에 비해 압력이 높다. 생은 명을 향해 표현expression을 한다. 그리고 생은 기감을 깨워 명으로부터 인상impression을 받는다. 현대미술에서는 표현과 인상의 사이를 엮어주는 데는 여러 미디어의 다양한 작용들이 동원되고 실험되고 있다.

공학이나 사회학에서와는 달리 미술에서 말하는 ‘미디어’는 스스로의 표정과 생명감각을 갖고있다. 미디어가 표현의 도구이자 동시에 표현의 주체가 되기도 한다.

이번 전시에는 나무에서 촉발한 여러 물성의 미디어가 등장한다. 어느 한쪽에서 다른 한쪽으로 전달하는 역할을 하는 것을 미디어라고 정의하고 있다. 그 일방적인 방향을 무너지게 하는 미디어, 생명을 갖춘 듯 스스로 표현하는 미디어 등, 미술 속에서 친숙한 미디어가 오랫동안 품어왔던 가치를 새로운 방식으로 보여줄 수 있음에 이번 전시의 보람이 있다고 하겠다.

 

 

곽훈, 디트리히 클링에, 우종택 초대전  <Media>

 

 

 

Media

as the sense of life

 

Hwang, In

Art critic

 

   The works of three artists Kwak Hoon, Dietrich Klinge and Woo Jong-taek, whose genre differs from one another, are exhibited bound under the title of “media”.

The media in contemporary art, as shown in media art, first of all, reminds us of video media or digital media as a new media. In most cases, media is frequently referred to a sociological term as seen in the engineering term and mass media like communications. However, the meaning used in engineering and sociology is greatly different from that of the field used in art.

Media translated as “medium or means” indicates a role delivering a certain action from one side to another. In fine arts, media is generic term for all kinds of materials and technologies gathered by an artist for producing works. All types of art materials of fine arts such as paints or papers/canvases belong to media. As long as works of art do not abandon materials and forms, media in fine arts will remain as an indispensable element.

Beyond the boundary frame of media in contemporary art which used to be understood in a new media, this exhibition intends to propose a wide range of features and new possibilities of “media” which has been playing a long-standing role as a familiar companion of art from the moment art was born.

 

   Kwak Hoon is mainly known for his painting works on canvas, but he also acquires a reputation as an artist who has made a great deal of experiments through diverse media. He is a pioneer artist who tried technology art with engineers, awakening synesthetic perception by synchronizing the light and the sound, the then unfamiliar new media in Korea back in 1970. The paper work of Kwan Hoon displayed in the exhibition is an unplugged sound installation.

Hanji (traditional Korean paper) is a delicate material with abundant flexibility and elasticity. A square room reaching almost 5 m is made by connecting each sheet of Hanji one by one. Between the wall of the exhibition hall and this installation, a narrow passage is formed but it is only 60 cm -120 cm wide. It barely allows one person to pass through.

By the movement of a visitor passing through the passage, minute change of air current can occur. Hanji papers with a delicate property of matter do not fail to detect the minute change of air current and react to it. The papers drooped down to the floor by somewhat slack tension of self-load start to sound while being shaken. The room made of papers turns into a huge speaker. The sound varies according to number, traffic line and physical feature of each visitor. At this moment, the main media constituting the work of artist Kwan Hoon can be “papers”, “air”, “sound” and “body “ of each visitor. Added to them, the tremor of the light touched on Hanji also participates as a part of media.

 

   The bronze sculpture of Dietrich Klinge is a cast of wooden sculpture like an engraving edition work. The wooden materials are different from refined bronze of which the property of matter is homogenous in the sense that each wood has its unique individualistic property matter. Each wood possesses intrinsic individuality according to the species of tree, climate and geomancy of growth setting and growth environment. Bronze is an alloy of refined copper from ore and tin. In bronze, there is only purified property of matter called copper and tin and the climate feature and individuality have been already volatilized. It is natural that the lack of individuality of the material highlights the intention and will of the sculptor in a stronger manner.

When it comes to carving the wood, it is inevitable to adjust the chisel to grain, quality of lumber and form. Even before considering the will of sculptor, the process and result of a sculpture are predicted to some extent by the individualistic property of matter of wood.

In general, wooden sculpture is about “minus work” of engraving to carve the wood. For this reason, there is some limitation of size of the work and the process of work is also irreversible. Compared to this, bronze sculpture is about “plus work” of modelling to add the clay. Therefore, it allows variation of the size of work and modification. In general, sculptors are supposed to choose one of them: either a carving or a modelling. Klinge starts from the work of carving and finishes with casting, the following work of modelling, by using wooden materials instead of modelling of bronze sculpture which is supposed to be the work of modelling. This way, the completely different processes of carving and modelling can be embodied in the sole sculpture work.

The reason why his human figure works seem to have a very simple form with a primitive sense of life is maybe that the individualistic and organic sense of life possessed by the original material of wood itself is continued with the work result.

 

   Woo Jong-taek is an artist with a good command of highly rough strokes with a strong resemblance to expressionism. Recently, he is carrying out installation works of heaped big tree trunks painted in black. As there are strokes in paintings, he views that all phenomena in the nature such as trees and water flow of a waterfall are considered strokes of existence as well. In his way of looking at the world, regardless of being sentient or non-sentient, all things in heaven and earth exist while constantly drawing strokes of their own. If the phenomenological aspect of existence is considered strokes, the strokes can be called “energy” in other words.

The ancient people with highly developed sense of energy used to express energy in paintings (drawings) in the concrete formativeness. One of the most representative works can be found in “Younggimun” shown in the mural paintings of Goguryeo. The energy perceived but remains invisible finally appears visible by adopting the formative form of Younggimun. The motions or aspects of growth of all living things must be represented by video or moving images, but the drawing is able to express only the still images. For this reason, the elements of moving images are sometimes supplemented by Younggimun.

Trees stand out in delivering the sense of energy among many other creatures. From remote ages, big trees were considered “divine trees”, playing a role of a media as a sort of “psychic medium”. While brush strokes in canvas connect us with the world beyond, the divine trees link us with an infinite space where our bodies and the place in which our bodies are encountered cannot reach. It is because divinity is another name for infinity. The installation work of Woo Jong-taek spread the big brush strokes, the uninterrupted manifestation of vividness of energy, on the floor by using a tree. 

 

   Considering that the raw material of papers in Kwak Hoon is a tree, the materials of these three artists all start from trees. Without doubt, the organism we can meet most frequently in nature is trees. Such trees in raw, processed or transformed forms visit the world of formativeness and participate in expression. The common point observed in three artists is the fact that they escaped from common-sense and stereotyped use of the media called trees or papers collected for the process of formativeness and intend to create transformation and reversal.

In general, papers in fine arts play a role as a support on which a canvas, the act of formativeness is placed. Kwak Hoon used papers as sound equipment. Viewers in the exhibition are normally main agents of appreciation of works, but in the paper installation work, they turn the position around as supporters of sound equipment and finally become a part of the work. Klinge deviates from commonsensical route of production method in the process of making the final product with the bronze, by carving the wood instead of modelling it and making a cast. Woo Jong-taek invites a big tree trunk with tremendous energy and powerful property of matter instead of using brush strokes. The term “media” also includes the meaning of shaman (medium). A shaman has a close kinship with divine trees. A shaman connects this world with the next world. As a material which proposes, in the most active way, the real intention of media connecting this side with another side, he suggests the divine tree, the metaphor of psychic medium in a sensory way.

The tree as a common media observed in the works of three artists is another word for life. The organism called “life” always extends from this side to another side over there. Etymologically, life is a combined word of “vitality” and “command”. It extends facing each other in the aspect of “vitality” but sometimes it extends in a divided aspect of “vitality” and “command”. “The vitality” as an individual perception residing in a concrete place is performing mutual interchange with “the command” which exists in the empty void as a whole consciousness transcending individual being and place.

For instance, a tree does not grow at its own discretion only depending on passion of life. As there is formative principle in formativeness, there is a principle of growth in trees. To spread the branches, in other words, to emit the energy of growth, trees are obliged to follow the strict rule of Fibonacci sequence. Therefore, vitality must follow the principle of command. If vitality responds to energy, command responds to principle. Wouldn’t it be possible to imagine that media can even play a role as a connector between vitality and command, between energy and principle, furthermore, between me and my world, between place and space? Vitality has higher pressure than command. Vitality expresses toward command. Moreover, vitality wakes up the sense of energy and receives impression from it. In contemporary art, many different types of media are collected and experimented for binding expression with impression.

Unlike engineering and sociology, “media” told by fine arts possesses its own facial expression and a sense of life. Therefore, media can be not only a tool of expression but also a main agent of expression.

In this exhibition, we can see media of diverse properties of matter produced by trees. Media is defined as a role player delivering something from one side to another. The present exhibition is considered worthwhile and significant in the sense that it shows the long-cherished values of media in a completely different new way, with which we have been familiar in fine arts, through media as a demolisher of unilateral direction and media as a self-expresser as if it had life.