The essence of art in the exhibition of the late Choi Wook-Kyung in 2016
by Young Sook Hong
aaa In the first half of 2016,
the Korean art world was overwhelmed and irritated by the absurd
situation of counterfeiting and faked masterpieces. The late
Choi Wook-Kyung exhibition, which started at the threshold of
autumn, can be regarded as being designed to renovate this atmosphere.
aaaFrom the 1960s
to the 1970s, when Choi Wook-Kyung stayed in the United States,
the works of the era when he established a style using brilliant
colors and irregular brush strokes belonged to the American
abstract expressionism that swept the 1940s and 1950s. Abstract
Expressionism was declared by the contemporary critic Clement
Greenberg (1909-94) as the art historian who established the
purity of the painting itself, and the theoretical basis of
the minimal monochrome since it was declared as the great Flow.
At the time when Choi Wook-Kyung was alive, the Korean art gallery
was a conservative environment in which there was little chance
of direct contact with Western culture and art other than magazines
and art galleries.
aaaThe works of the late Choi Wook-Kyung
were recognized only by the past art history at the time of
the artist's survival, and they were regarded only as a writer
with an unusual artistic style that freely emits an inner world
of the artist and emotional expressions. Choi Wook-Kyung's exhibition
in 2016, which takes into account these historical backgrounds,
provides an opportunity to feel the artistic soul of the artist
who had to live in a fiercely contradictory relationship with
the reality of the time. Through this exhibition, as part of
the work of exploring the essence of art that can reconfigure
the power of modern art while looking back on what the artist
sought to pursue and what spirit it remains in today's Korean
art world it can be said that it was planned. This attempt is
a time-honored demand to reestablish the world-wide contemporary
art that has emerged through the debate of Modernism and Post-Modernism.
It is a practical image to look back on the essence of art that
is relatively sinking by rapidly changing science and technology
and capital, and to pursue the relationship of coexistence and
coexistence among the peoples of the world.
aaaKorean contemporary art begins with the dichotomous classification of oriental painting and western painting and is proceeding as a process of globalization. At that time, when the Korean artifacts were rarely experienced and exchanged directly with the West, they did not have the theoretical basis for comparing and analyzing the systematic philosophy and culture of the East and the West, but there was an attempt to reestablish today's flower bed in the flow of globalization. . Considering these times, Choi Wook-Kyung's works, especially the works during his stay in the United States, are attempted to identify and reestablish artistic language through the mutual comparison of Oriental painting and Western painting in Oriental and Western culture It should be done. Oriental painting and Western painting are different formative languages, such as deductive reasoning based on integrated reasoning and inductive reasoning through individual observation. In traditional oriental paintings, it features a space of margins originating from the sequential arrangement according to the range view of close, middle and far. By this concept of space, Oriental painting could be thought of as infinite expansion. To this end, we developed a drawing - oriented screen that enables naturalistic immediacy and simple portrayal to create the inner world of free and pure artist I could show it. On the other hand, Western paintings were constructed by using perspective to understand and recognize the world rationally. Thus, the traditional Western representation is a formative method that shapes the visual world through arrangements between the start and the end of the screen. In this stereotypical painting, the artist¨s inner world could be expressed and developed in painting using colors. Color is a complex world that can be perceived as subjective sensibility and can be discussed with culture as an open sense that can be accumulated or learned by learning. In addition to the differences in these formative methods, another thing to note is the cultural background in which Oriental painting and Western painting can develop. Western painting begins with an impressionist flow, experiences first and second world war, seeks pureness existing in humanity with brush touch and color on the form removed as a social and cultural repulsion to deny reality. This accumulated experience has been developed as an abstraction. However, the Korean art is omitting such a process, and it frees the artist¨s inner world freely and ideologically in the natural background.
aaaIn art, the artist
cannot be free from the atmosphere or thought of the time, but
leaves a formative language of shape and color through the process
of repelling or accepting it. The abstract style shown by Choi,
Wook-Kyung should be understood in the context of the molding
language of the East and the West and the background in consideration
of the experience that the artist directly experienced while
staying in the United States. The artist, who was born in Korea
and received the best art education since her childhood, was
attracted to abstract expressionism on the mainland of the United
States where she could be free from the oppressed society and
cultural background at the time. This result appeared as the
removal of form in her painting that can reflect reality. This
process could be recognized as a natural and open approach in
her circumstance. This fact is expressed as "myriad spaces
that transcend time and space" mentioned by the artist.
This means that she has experienced and built an infinite space
that can solve the freedom of the artist's inner world through
the use of gestureful brush touch and colorful colors it is
revealing. On the other hand, an artist with a natural oriental
mindset pursues a form as a realistic sensation in line with
paper collage work and drawing, refines it with a minimal line,
and confirms her identity in the United States. This attempt
is a formative principle based on the deny and acceptance, or
the collective spirit of abstract art of destruction and creation,
which is a resistance spirit that cannot be accepted in the
conservative Korean culture of the time. It is suggesting that
the artist fully experienced and realized the situation. The
characteristic formative language of the artist thus formed
can be said to be a confession of the inner world that appears
through the free flow of lines and the experiment of primary
colors. Also, because of this experience, the artist came back
to Korea to find her social and cultural background, which was
not rooted as Oriental people during her stay in the United
States. The writer refers to her paintings as "the forms
that are almost spontaneously induced by directly entering the
situation without any specific conception or planning".
This mentions the origin of the oriental ideological thought,
which is conceptualized by Freud in the West, was used to expand
visual communication as a pure formative language. At the same
time, she was trying to present a direction to recognize the
responsibility of the artist and to move forward for the development
of society and culture by telling them "to pay attention
to, to select, to organize and to create order". This was
the practice of the artist who sought to bring forth the wave
of time change that is required for the realization of the beauty
embodied in the essence of art, and also the artist 's will
for the permanence of life. The abstract painting that Choi
Wook-Kyung tried to achieve was not appreciated in the conservative
Korean art world where the theoretical foundation was absent
at the time of the artist¨s survival. After the death, the artist
was regarded as a genius who realized a fierce arts soul. However,
her art works have not been attempted to recognize, and the
artist has been considered as a failed social practice at the
time of her life. The trend of the absurd Korean art world,
which has been influenced by the first half of 2016, has been
designed to look back at the works of Choi Wook-Kyung, especially
the works of Abstract Expressionism during the stay in the United
States, which was regarded as a unique line in the past. Through
these attempts, this exhibition is provided a way to balance
between the reflection of the sensibility that is overlooked
in the process of globalization and the reason that it can be
read. The exhibition is asking to look back on the reason why
the contemporary art is coming to the cultural heterogeneity
that is difficult and difficult to reluctant. This is an exhibition
designed to constantly ask and present art to exist as something
that can touch and heal all over the corner of our lives. At
a time of art, constantly reminiscent of truth, goodness, and
beauty, which are relatively buried by rapidly changing science
and technology, the exhibition of Choi Wook-Kyung is designed
to reconstruct the essence of contemporary art by looking back
the formative language of her art works.
じじじ qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
qYoung-Taik Park (Art Critician)aaaaaaaaaaaaaaaaaaaaaaDo-Sik Kim (Philosophy. Kun-Kun Univ.)
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