KIM Bom, KIM Eok, RHEN Yeun bok, PARK Dae Sung, PARK Byong Choon, PARK Young Gil, YOO Seung Ho, CHANG Tae Young, CHO In Ho, CHO Hwan, WHAN In Kie, HUE Jun

In gretting the New Year, 2012, Gyeonggi Museum of Modern Art presents acquisition showing landscape paintings which have been trying to change the idea of oriental ‘landscape painting’ or realise its term under the title of <Beyond Landscape Paintings>.

Since old days, landscape painting in orient has loved by the public reflecting vision of the universe and the view of the world as well as beyond description with mountains and water even investigating one’s psychological perspective into the painting.

Landscape painting in oriental society needs to be understood differently compared with reading western ones because it is not about shape itself but rather the essentials within the form, marked with a side dot “regarding thought then form”.

On the other hand, some western landscape painters today shows their dynamic flexibility twisting traditional term of landscape painting as a tool to realising the view of nature and a view of the world which are contemporary and creative.

Therefore, contemporary landscape painting, one can say that a picture embracing artist’s brand-new mentality, view of nature, view of the world and universe mixed with his/her own language of the East and the West.

The participating artists in this exhibition, all of them are in the process doing dynamic and contemporary experimentation although they cover ‘landscape’ as a broad meaning in general. What would be the reason? We had an experience of modernisation changed dramatically the nature and scenary in short time. Roads and factories are built rapidly and the apartments are also bring the change of our living environment. This is something new under the sun. In conclusion, sense of loss, left-out feeling from the paradise running through in the artists’ hearts deeply and this continues to leading more dynamic, diverse, experimental catalyst.

As mentioned above, the nature expressed in landscape painting would be the one in artist’s mind and realisation, experience and perspective formed by experimentation and reflection.

We hope that this exhibition could be the opportunity to sensing and appreciate what would be the view of nature, universe, in relation to its perception and experience throughout the participating works with various stories underneath.

Gyeonggi Museum of Modern Art shows 44 works consisted of our collection and we invite some landscape paintings. With this exhibition, we expect the public might meet the first gear of the museum’s acquisition as well as making vital importance for the collection policy.