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Jack-of-all-trades: Korean historical conceptual art 1970-80s
Period/ 2010.12.24(Fri) ~ 2011.03.20(Sun)
KWAK Duck Jun, KIM Ku-Lim, KIM Yong-ik, PARK Hyun-Ki, SUNG Neung Kyung, LEE Kang So, LEE Kun-Yong, HONG Myung-Seop

The Gyeonggi Museum of Modern Art proudly presents the exhibition “Korean Historical Conceptual Art from the 1970-80s: pal-bang-mi-in”. Mapping out the museum collection since it was inaugurated in 2006, this exhibition focuses on the conceptual artworks of the 1970s and the 1980s that played a pivotal role in shaping Korean contemporary art history.

Central to this exhibition-and a proud part of our collection-are artworks by KWAK Duck Jun, KIM Ku-Lim, KIM Yong-ik, PARK Hyun-Ki, SUNG Neung Kyung, LEE Kang So, LEE Kun-Yong and HONG Myung-Seop. As members of the Korean historical avant-garde they were largely responsible for the establishment of conceptual art, with work that spanned the practices of installation, performance, video, and art, and process art. As artists as well as theorists, the intelligence that they brought to their contributions helped expand the concepts of conceptual art. They were, however, cultural activists first and foremost, defining the avant-garde through their actions. The subtitle of the exhibition “pat-bang-mi-in” means “jack-of-all-trades” in English, white its literal translation is “a beauty (mi-in) in eight (pal) directions (bang)”. Here the word “bang” (direction) has a phonetic correlation with “vant” (avant-garde), creating a play on words referring to the eight avant-garde artists who might also be thought of as jack-of-all-trades.

As well as pieces from the museum collection, this exhibition also includes other major works by the artists, which we have managed to loan or to remake for the duration of the show. The exhibition also incorporates a precious archive of related material that supports the artworks being shown. As well as helping illuminate the aesthetic background and significance of Korean conceptual art, this exhibition and archive material will also provide an understanding of its distinctive differences from Western notions of conceptual art. Furthermore, the exhibition will also reflect the ways in which these artist’s works have a point of difference from the on-going conceptual art practices of the next generation.
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