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Gwangju National Museum

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Gwangju National Museum

역사와 문화가 살아숨쉬는 국립광주박물관
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Special Exhibitions

게시물 검색
Closed
제13회 광주비엔날레 '떠오르는 마음, 맞이하는 영혼'
The 13th Gwangju Biennale - Minds Rising, Spirits Tuning
  • Period 2021-04-01 ~ 2021-05-09
  • 내용 13th Gwangju Biennale
    Minds Rising, Spirits Tuning
    2021. 4. 1. ~ 5. 9.

    Participating Artists
    Gala Porras-Kim, Cecilia Vicuna, Ali Cherri, Chrysanne Stathacos, Theo Eshetu, Trajal Harrell, Farid Belkahia

    Participating Museums
    Gwangju National Museum, National Museum of Korea, Chuncheon National Museum, National Hangeul Museum, Gahoe Museum, Shamanism Museum


    Minds Rising, Spirits Tuning, the central exhibition of the 13th Gwangju Biennale features a dynamic program that includes an exhibition, a performance program, a publishing platform, as well as online and offline series of public forums that bring together artists, theoretical scientists, and systems thinkers. Directed by Defne Ayas and Natasha Ginwala, Minds Rising, Spirits Tuning sets forth to examine the spectrum of the ‘extended mind’ through artistic and theoretical means.
    The exhibition in Gwangju National Museum unveils a dialogue with conceptions of death and the afterlife, reparation of spirit-objects, corporeal limits of the body as well as acts of mourning through newly commissioned works by Theo Eshetu, Trajal Harrell, Gala Porras-Kim, and Cecilia Vicuna. From the ephemeral aura of a flower mandala by Chrysanne Stathacos to the loneliness of a desert necropolis by Ali Cherri, artistic and historical works will attune to linkages of ancestry, visions of the afterlife, non-western mappings of ailment and cure, and the foundational role of the undead in shaping registers of “the real” across the world(s) of the living.
Closed
근대의 전통화가들: 호남과 서울
Korean Traditional Painters of the Modern Era-Honam and Seoul
  • Period 2019-09-27 ~ 2019-11-24
  • 내용 The history of painting during the Joseon Dynasty evolved around Hanyang, the capital city of the kingdom, while it was Gyeongseong that served as the backdrop for the dramatic changes that Korean traditional painting underwent due to the rapid influx of modern Western civilization into the country after the opening of its ports. As such, the history of Korean traditional painting seems to have unfolded against the background of Seoul, yet understanding the overall trajectory of Korean art history inevitably requires knowledge of regional art history as well. In the case of Korean traditional painting, in particular, the region that is as important as Seoul is Honam, the present-day Jeolla Province.
    This exhibition presents the works of Korean traditional painters Jo Seok-jin (趙錫晋, b. 1853), An Jung-sik (安中植, b. 1861), and Kim Eun-ho (金殷鎬, b. 1892) who were active in Seoul from the opening of the ports throughout the 20th century, alongside the activities of their Honam contemporaries including Chae Yong-shin (蔡龍臣, b. 1850), Heo Hyeong (許瀅, b. 1862), and Heo Baek-ryeon (許百鍊, b. 1891). Even though they were born in the same era, they pursued their art in different regions, Seoul and Honam, thus forging their own unique oeuvres that nonetheless share similar aspects. The colorful artworks of these six Korean traditional painters that are presented together in this exhibition may provide viewers with the opportunity to learn firsthand how they have each enriched Korean art in the modern era.
Closed
특별전 <금용 일섭 - 근대 부처를 만들다>
Special Exhibition
  • Period 2018-05-18 ~ 2018-07-01
  • 내용 This exhibition was comprised of four parts. The first part, “Learning from Tradition,” introduced the early works of Ilseop that were created together with the prominent monks of the late Joseon Dynasty. Ilseop began producing Buddhist paintings in 1918, and traveled all over the country in search of those who could teach him how to paint. Even after meeting Boeung Munseung (1867-1954), who would become his lifelong teacher, Ilseop worked with many senior painters, from whom he learned various facets of Buddhist art including Buddha statues, paintings and dancheong (multicolor paintworks on wooden buildings).
    The second part titled “Leading the Buddhist Art Circles in Modern Times” shed light on the important events that occurred, which helped Ilseop established himself as a central figure in the Buddhist art circles after he began creating Buddhist artworks independent of his teacher.
    The third part, “The Path of Ilseop,” introduced the masterpieces Ilseop created in his 40s and 50s. This was the time period in which he engaged in prolific activities, leading numerous juniors and students. He created a massive Hubuldo that was more than 4m in height and produced all of the Buddha statues, paintings and dancheong of a Buddhist temple, thereby becoming a prominent all-round artist producing Buddhist works on large scale.
    The fourth part, “From Artisan to Artist,” focused on his diverse activities that contributed to the advancement of modern Buddhist art as well as his activities as an educator. In his later years, Ilseop made various efforts to further develop Buddhist art such as founding a Buddhist art organization, submitting his works to contests, and publishing a book. In addition, he was designated as Intangible Cultural Property No. 48 as a dancheong artisan in 1971. He also dedicated himself to fostering Buddhist painters among the younger generations, who are now actively involved in the Buddhist art circles under the name “Ilseopmundohoe.”