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EXHIBITIONS
Hakgojae Gallery
Intuition 2017

People who overtly insist on the proliferation of digital, Technology, accelerated from the end of the past century, and the “visual bond” of the present are anticipating the new sense of the mainstream who will reclaim the future by resetting the wasteland-like reality.  Others analyze the flow of reemergence and merging of artistic forms of the past century in contemporary art, and claim that this is the new mechanism of the digital communication network diverged from the ideological customs of the past.  The new century, vainly started severed from the future, focuses on its famine and uncertain “reality.” In other words, if the past century instigated intense controversy about the “existence” hidden behind a veil, the beginning of the new century rather encourages novel sense and independence that is able to reclaim oneself in the unsealed reality like a lifeless black hole. Therefore, I can start this discussion without hesitation, on novel visual sentiment or sense, which is something anyone who experienced the weighty waves that rattled the Korean art world in the 2010s. 


In this sense, Intuition 2017, which is a second group exhibition after Intuition in 2010 Hakgojae Gallery is holding, seems like an attempt to assess the visual bond of the new century facing the deteriorated reality, and the lasting values created by it. Six artists are participating in Intuition 2017, and five of them were born in the 1980s. However, this fact does not act as a category depicting a certain generation’s uniqueness. This fact rather presents a possibility of novel perception of the mainstream as the contemporary sensibility subordinated in this period. In this sense, it is worthy to compare Mario Perniola’s argument, “the proposal of oneself as a sensible object and accepting an object as a sensible being is the novel experience of contemporary sense,” and Hito Steyerl’s argument, the images created with this sense is not a reproduction of reality, but “the fragment of reality.” 

The expression, “erased path” Alain Badiou borrowed from Yve Bonnefoy’s poem implies the passionate scene of the 20th century racing towards the absence of the meaning of reality. Badiou claims that the irony of having to overcome hope under the state of absence as the essential idea of the 20th century. He also states that the 20th century was “a prison as well as the dawn of a new day,” referring Mandelstam’s poem. And the beginning of a new day is accomplished when “the stiff knees of everyday are gathered by the pipe (art).” It is the 21st century now. The new days have become grey ruins, and then became the grounds of our generation. Perhaps the century’s tragedy has repeated itself. We will hear the pipe of reality, on the erased paths, in “waiting itself,” not promises of the future nor innocent nostalgia, standing on the threshold of piteous yet novel days. 

Excerpt from “Intuition 2017: About Novelty”  l  Soyeon Ahn, Art Critic

 


 

 

Artworks
Meeyoung KIM
Sailing the Forest

2017

Oil on canvas

227 x 182 cm

Meeyoung KIM
Sailing the Forest

2017

Oil on canvas

227 x 182 cm

Meeyoung KIM
Orange Shake

2016

Oil on linen

145 x 112 cm

Meeyoung KIM
Sunlight Garden

2016

Oil on canvas

97 x 130 cm

Meeyoung KIM
Green Wave

2017

Oil on canvas

97 x 130 cm

Meeyoung KIM
Purple Sunlight

2015

Oil on linen

117 x 91 cm

Meeyoung KIM
Pink Pool

2016

Oil on linen

53 x 45 cm

Meeyoung KIM
Emerald Green Breeze

2017

Oil on linen

45 x 38 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

68.6 x 121.7 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

44.5 x 79 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

44.5 x 79 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

121.7 x 68.6 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

68.6 x 121.7 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

44.5 x 79 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

44.5 x 79 cm

Jeongtae GIM
Untitled

2017

PVC film on aluminum panel

121.7 x 68.6 cm

Yunju SONG
Complete

2015

Ink, Pigment, Scratch on Korean paper

162 x 130 cm

Yunju SONG
Accumulate

2015

Ink, Pigment, Scratch on Korean paper

130 x 130 cm

Yunju SONG
Boil

2015

Ink, Pigment, Scratch on Korean paper

130 x 130 cm

Yunju SONG
Sky

2017

Ink, Pigment, Scratch on Korean paper

53 x 45.5 cm

Yunju SONG
Change

2017

Ink, Pigment, Scratch on Korean paper

53 x 45.5 cm

Yunju SONG
Development

2017

Ink, Pigment, Scratch on Korean paper

53 x 45.5 cm

Yunju SONG
Abundance

2017

Ink, Pigment, Scratch on Korean paper

53 x 45.5 cm

Yunju SONG
Trust

2017

Ink, Pigment, Scratch on Korean paper

53 x 45.5 cm

Eunu LEE
Red Bookshelf

2017

MDF, Urethane paint

206(h) x 30.5 x 187 cm

Eunu LEE
Stone Texture

2016

Styrofoam, urethane paint

22.5(h) x 45 x 2.5 cm (x3)

Eunu LEE
Polished and Slanted

2016

Styrofoam, urethane paint

90(h) x 60 x 20 cm

Eunu LEE
Grey, Yellow

2016

Styrofoam, urethane paint

56(h) x 56 x 70 cm

Eunu LEE
Grey, Yellow

2016

Styrofoam, urethane paint

120(h) x 56 x 75 cm

Eunu LEE
Black Stone

2016

Styrofoam, urethane paint

100(h) x 72.5 x 30 cm

Hyein LEE
Albertine

2017

Oil on canvas

72.7 x 60.6 cm (x8)

JANG Jaemin
Tree and Moon

2017

Oil on canvas

117 x 91 cm

JANG Jaemin
Stone in the Garden

2017

Oil on canvas

93 x 112 cm

JANG Jaemin
Night of the Tree

2017

Oil on canvas

162 x 130 cm

JANG Jaemin
Statue

2017

Oil on canvas

182 x 227 cm

JANG Jaemin
Flame on the Hill

2017

Oil on canvas

227 x 363 cm

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