“Korea”

A gallerist couple and a fake Lee Ufan

According to Le Journal des Arts, three new arrests have been made in Seoul, Korea, in relation to the trafficking of fake Lee Ufan works. The three persons are accused of having produced and sold around forty forged works said to be by Lee Ufan, winner of the Praemium Imperiale in 2001. In June this year, another gallerist was indicted even though Lee Ufan denied that the works were fakes. The forgeries are based on pieces from the “From Point” and “From Line”...

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Laurent Grasso, a vision of power

On the occasion of the opening of the Emmanuel Perrotin Gallery in Seoul, Laurent Grasso presents a new exhibition, from 28 April to 28 May 2016, revolving around issues of power and representation. At the heart of its work, the artist unveils Elysée, a remarkable movie shot in the offices of the French President. It was the perfect occasion for Art Media Agency to ask Laurent Grasso about his incursion in the mysterious workings of power and his relationship to Korea. Emmanuel Perrotin chose to start his new gallery in Seoul with your work. What relationship do you have with Korea and Korean collectors? One must know that in Korea, the cultural policy is very active and dynamic. I had the chance to be granted access to exhibitions there very soon, thanks to Manu D. Park, a Korean researcher at Paris’ Beaux Arts who was doing his PhD in France when I was a student. He became artistic director at the Busan Biennale in Korea and I was selected twice to take part in it. After that, Samsung invited me to create a permanent artwork on their facade and the Daejeon Museum of Art contacted me for an exhibition. I was also invited to the NMCA, the National Museum of Contemporary Art, for an exhibition with the artists nominated for the Marcel Duchamp Prize in 2011. What works do you present in this new exhibition? I decided to show the movie Elysée as it is the last artwork I created, but I also show paintings and sculptures in relation to the Elysée.  The whole exhibition revolves around this issue of aesthetic and power. I also wanted to give more access to my work to the public in Seoul. I show, in particular, the movie Soleil Double, which was never...

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K-Auction is organising an exhibition on Korean art during Frieze

Korean auction house K-Auction is preparing an exhibition on Korean abstract painting at the next edition of Frieze in New York. This move reflects a deep-running trend: Korean abstract art is popular amongst Western collectors and market players. In the wake of this enthusiasm, K-Auction is organising an exhibition named “Korean Abstract Art: Early Works” at the Waldorf Astoria in New York from 6 to 8 May 2016. The exhibition will be presenting pioneering works in Korean abstract art, namely stemming from the Dansaekhwa movement, with works by Kim Whanki, Lee Ufan, Kwon Young-Woo, Rhee Seung-Ja, Lee Seung-Jio, Lee Dong-Youb, Kim Gui-Line, Suh Se-Ok, Nam Kwan, Chung Sang-Hwa, Park Seo-Bo, Chung Chang-Sup, Ha Chong-Hyun, and Yun Hyong-Keun. While Dansaekhwa has already acquired recognition in the art market, there is no doubt that this exhibition will once again indicate the singularity of this movement that blends Western minimalism and Korean philosophies in a painting approach engaging both the body and the...

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Emmanuel Perrotin opens in Seoul

Emmanuel Perrotin will be opening a new space in Seoul near the National Museum of Modern and Contemporary Art. The inaugural show in this new space will be on artist Laurent Grasso. The space will include an exhibition space, an office, and a bookshop where books and numbered editions will be sold. This is Emmanuel Perrotin’s fifth space after Paris, New York and Hong Kong. According to Gareth Harris (The Art Newspaper), Emmanuel Perrotin has mentioned the possibility of opening another space in the Moulins cultural complex in Boissy-le-Châtel, although no decisions have been made...

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Art Paris Art Fair hosts a talk “Contemporary Korean Art: exploring the past and shed light on the present,” at Korean Cultural Center.

  Friday, April 1, the Korean Cultural Centre hosted a round table dedicated to the Korean contemporary art in the presence of Olivier Delavallade, Director of the domaine de Kerguéhennec, KIM Sung Won, Professor in the Visual Arts department of Seoul National University of Science and Technology, Lee Ji-Ho, Director of the Ungno Lee Museum of Art (Daejeon) and Bernard Marcadé, art critic.  A round table with this group was moderated by Sang-A Chun, Art Paris Art Fair Korea Guest curator. Bringing together four experts from the Korean art scene, this round table was an opportunity to confront different points of view on the question of the identity of Korean contemporary art. In the time of globalization, the question of identity has become difficult to grasp, but the question is perhaps even more daunting when it comes to define the artistic identity of a country.  As mentioned by Olivier Delavallade, although Korean art has borrowed from Western art a number of processes, it is however necessary to get rid of an occidental view that negates the uniqueness of Korean art.  Dansaekhwa may resemble abstract art or monochrome painting, however it invents its own language that is more of a response to Western modernity than an assimilation with it. Korean art does not stop at Dansaekhwa and there is today a return to figurative art and politicized art carried by the Minjungmisul movement. With the desire to “change the world” these artists renewed the contemporary art scene with figuration and some iconographic elements from Soviet realism which Dansaekhwa had yet sought to unravel.  Minjungmisul presents art with a strong social and political dimension, in tune to the real world, and in reaction to the self-referentiality of Dansaekhwa.  Buoyed by a revolutionary and transgressive spirit, Minjungmisul acts as a scathing critique of the repressiveness of society, while positioning itself against the influence of Dansaekhwa....

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