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2020.03.02 20:38
뉴욕한국문화원 2020 아시아 위크 '민화' 특별전'(3/11-4/24)
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MINHWA & minhwa: Korean Folk Paintings in Dialogue With the Contemporary
2020년 3월 11일 (수) - 4월 24일 (금)
전시 개막식: 2020년 3월 11일 (수) 오후 6시 -8시 *취소
뉴욕한국문화원 갤러리 코리아
뉴욕한국문화원(원장 조윤증)은 조선시대부터 이어져온 한국의 전통 민속회화 ‘민화’의 전통이 현대미술에 어떻게 계승, 발전되고 있는지 살펴보는 전시 <MINHWA & minhwa: Korean Folk Paintings in Dialogue With the Contemporary>를 오는 3월 11일부터 4월 24일까지 2020년 아시아위크 뉴욕(Asia Week New York) 특별전으로 개최한다.
이번 전시는 19~20세기 초반 유행했던 한국의 포크 아트, ‘민화’가 현대미술에 어떻게 적용되고 재해석되는지 실제 100여년전에 제작된 민화 작품과 한국의 전통민화를 바탕으로 본인만의 독창적인 미술 세계를 정립해 나가고 있는 현대민화 아티스트 안성민(Seongmin Ahn)의 대표작품을 통해 소개할 예정이다.
통상적으로 한국인의 삶과 영혼이 반영된 미술양식으로 평가되는 민화는 특히 19~20세기에 유행하였으며 조선시대 후기 중앙집권체제가 서서히 붕괴하는 과정에서 새롭게 부흥한 중상인 계층과 함께 급속도로 증가한 민간의 수요가 그 발전의 원동력이 되었다. 조선시대 중기까지만 해도 궁중화가들이 궁궐에서 사용하기 위해 제작한 회화 작품 또는 문인들에 의해 제작된 문인화가 주를 이루었으나 조선시대 후반에 들어서서 여러가지 사회적 변화에 맞추어 중하층계급의 무명의 화가들이 그린 민속화가 대량 생산되고 널리 퍼져나가기 시작하였다. 건강하고 부유한 삶, 그리고 생활환경을 아름답게 하고자 하는 서민들의 오래된 염원과 갈망은 한국인의 일상과 풍습, 미의식이 반영된 다양한 종류의 민화를 탄생시키고 발전시켰다.
일반 서민들의 생각과 염원, 감정 등을 있는 그대로 표현했던 민화의 자유분방함과 주제 의식, 다양한 표현 방식은 오늘날 현대미술의 지향점과도 닮아 있다. 이러한 민화의 특징이 한동안 한국 미술사에서 비교적 소외되어 있던 민화의 위치를 재정립하는 계기를 마련하였다고 평가되기도 한다.
이번 전시에 소개되는 안성민 작가는 자신만의 독특한 방법으로 전통 동양화를 새롭게 해석하고 변형시켜 전통과 현대, 그리고 동양과 서양 미술 사이의 경계를 자유롭게 넘나들며 가장 한국적이면서도 현대적인 민화 작품으로 크게 주목 받고 있는 작가이다. 한국 전통 민화의 소재들을 서양 문화와 현대인의 일상에서 발견되는 오브제들과 대치시킴으로서 이야기들을 전개시켜 나가는 방식이 특히 흥미롭다.
뉴욕을 기반으로 활동하고 있는 안성민 작가는 한국의 서울대학교에서 동양화를 공부한 후 메릴랜드 인스티튜트 칼리지 오브 아트에서 두 번째 석사과정을 마쳤다. 한국과 미국에서 다수의 전시 경험이 있는 작가는 델라웨어 센터 포 더 컨템포러리 아츠 (윌밍턴, 델라웨어), 퀸즈 칼리지 아트센터 (플러싱, 뉴욕), 스토니브룩 뉴욕주립대학 찰스 왕 센터 (스토니브룩, 뉴욕) 등에서 개인전을 열었으며 잭슨폴락-리크래스너 재단 그랜트 및 알재단에서 주최한 시각미술공모전에서 최고의 상을 수상하기도 하였다. 워싱턴 포스트 등 다양한 언론매체에서 주목받기도 했으며 그밖에도 뉴욕 아트 스튜던트 리그, 스쿨 오브 비주얼 아트, 퀸즈 미술관, 메트로폴리탄 미술관, 아시아 소사이어티 등 뉴욕 지역의 다양한 문화 재단에서 동양화를 가르친 바 있다.
뉴욕한국문화원에서는 뉴욕 소재 한국고미술 전문 갤러리 강컬렉션과 공동으로 3월 17일 저녁(6시 30분~7시 30분) 이번 전시와 연계하여 아티스트토크 프로그램을 개최할 예정이다. 아울러 조선시대 민화가 실제로 어떻게 사용되었는지 체험해 볼 수 있도록 3월 11일(수) 저녁에 개최되는 전시 개막 리셉션에 설원재단과 공동으로 한국의 전통혼례식을 간단히 재현하는 이벤트를 마련, 민화뿐만 아니라 전통의례를 통한 전통의상, 전통상차림 등 한국문화 전반을 보다 깊이 있게 이해할 수 있는 뜻깊은 프로그램도 준비하였다. 이 날 행사에는 한국의 자수 명장 설원재단 정영양 박사가 직접 참여하여 한국의 전통행사에 사용된 전통의복에 대해 간단하게 설명할 예정이다.
뉴욕한국문화원 조윤증 원장은 "이번 전시는 약 100여년전에 제작된 한국의 전통민화와 오늘날의 현대 민화를 한자리에서 비교, 분석해 볼 수 있는 보기 드문 기회가 될 것이다"며 "최근 작품상, 감독상 등 아카데미 시상식 주요부문 4관왕에 빛나는 영화 '기생충'의 봉준호 감독과 K-pop의 대표주자 방탄소년단이 이끌어 가고 있는 K-컬쳐에 대한 높아진 현지의 관심이 영화와 K-pop을 넘어 한국문화 전반에 대한 보다 깊이 있는 이해의 장으로 확대될 수 있도록 향후 한국의 전통문화와 현대문화를 다각적으로 보여줄 수 있는 문화 컨텐츠를 지속적으로 발굴해 나갈 계획이다”며 전시 개최 소감 및 한류확산에 대한 계획을 전했다.
이번 전시는 2020년 3월 11일부터 4월 24일까지 뉴욕한국문화원 갤러리 코리아에서 개최되며 3월 11일(수) 저녁에(6시~8시) 열리는 전시 프리뷰 및 개막 리셉션에는 한국 전통혼례식 이벤트가 진행될 예정이다. 전시 관람은 무료이고 뉴욕한국문화원 갤러리 코리아는 월요일-금요일, 오전 9시-5시까지 관람할 수 있다.
뉴욕한국문화원은 2015년 사진작가 김형선의 <해녀> 전시, 2016년 황란, 에이미 리 작가가 참여한 ‘한지’ 특별전 <Re:visioning HANJI>, 2017년 한국 ‘자수’와 여성의 규방문화를 고찰하는 특별전시 <The Movement of Herstory: Korean Embroidery-The Life and Artworks of Young Yang Chung>로 아시아 위크 뉴욕에 참가하여 뉴욕타임즈(The New York Times), 월스트릿저널(The Wall Street Journal), 뉴요커(The New Yorker)를 비롯한 미국과 유럽의 주요 언론 리뷰를 크게 받은 바 있으며 올해 2019 아시아 위크 뉴욕에도 3·1운동 및 대한민국 임시정부 수립 100주년 기념 특별전시를 소개한 바 있다.
※ Asia Week New York(2020.3.12~3.19)
메트로폴리탄 뮤지엄, 필라델피아 뮤지엄, 아시아 소사이어티 등 뉴욕에 있는 최고의 박물관, 미술관 및 아시안 미술 스페셜리스트, 주요 경매회사, 문화기관 등이 참여하는 최대의 아시아 미술 행사
(http://asiaweekny.com/museums/korean-cultural-center-new-york)
MINHWA & minhwa:
Korean Folk Paintings in Dialogue With the Contemporary
![[SM]Seongmin+Ahn,Voyage+Into+Hyper-Dimension_01,2020,ink,wash,pigment+on+mulberry+paper,+48x72in.jpg](http://www.nyculturebeat.com/files/attach/images/3948247/374/890/003/e2a5ea58610ccfc9586975307c20b635.jpg)
안성민, Voyage Into Hyper-Dimension_01, 2020년, ink, wash, pigment on mulberry paper 48x72 inch
Wednesday, March 11 - Friday, April 24, 2020 Gallery Korea of the Korean Cultural Center New York
* This exhibition is presented as a part of Asia Week New York 2020
The Korean Cultural Center New York is pleased to present MINHWA & minhwa: Korean Folk Paintings in Dialogue With the Contemporary, a special exhibition on the Korean traditional folk painting called minhwa, which traces its history back to the Joseon Dynasty (1390-1910). Through overall understanding of contents and characteristics of minhwa, the exhibition sheds light on how the tradition has evolved throughout history and impacts Korean painting today.
Minhwa, an artistic style that reflects the lives and spirits of Korean people, became widely popular during the 19th and 20th centuries. It was in high demand from the new merchant class and civilians, as the centralised authoritarian rule of the Joseon Dynasty slowly collapsed starting in the late 17th century and through the 19th century.
Up until the middle of the Joseon Dynasty, minhwa paintings were painted by court artists for use in palaces. However, with the societal changes in the late Joseon Dynasty, they started to be painted by anonymous artists of the middle and lower classes, who produced and disseminated minhwa. The common people’s wishes for a healthy and prosperous life and desire to beautify their own living environments gave birth to the development of minhwa that reflects Koreans’ daily life, customs, and aesthetics.
The freedom, self-consciousness, and various modes of expression in portraying thoughts, wishes, and emotions in minhwa are very much in line with what contemporary art addresses today. Such quality of minhwa is what led to renewed attention on this relatively neglected artistic tradition in Korean art history.
MINHWA & minhwa: Korean Folk Paintings in Dialogue With the Contemporary aims to narrate how the Korean folk painting from the 19th century is being reinterpreted in contemporary art by introducing works by artist Seongmin Ahn who recreates minhwa in her own way. By bringing together traditional Korean minhwa works including Chaekgado screens and Morando paintings created around a century ago alongside contemporary minhwa paintings, this special exhibition will provide the viewer with a deeper understanding of Korean culture and heritage.
During the opening reception on Wednesday, March 11th, a traditional wedding ceremony will be held in collaboration with the Seol Won Foundation, that allows the visitors to experience how minhwa was used in the Joseon Dynasty, and also gain a deeper understanding of Korean culture in general through traditional rituals such as clothing and table settings. For this event, Dr. Young Yang Chung, a renowned embroiderer and author of The Art of Oriental Embroidery(1978), will provide an explanation of the traditional clothing used in Korean rituals.
ABOUT THE ARTIST
Seongmin Ahn received a BFA and MFA in Asian traditional painting from Seoul National University and a second MFA from the Maryland Institute College of Art. With practical experience and a deep understanding of tradition, her work takes Asian traditional painting as a starting point and transforms it into something experimental with her own interpretation, bridging tradition and modern, and East and West.
Using iconography from minhwa, Korean folk painting from the 19th century, Ahn juxtaposes it with objects from either Western culture or daily surroundings to create interesting narratives in each painting. While the subject matter is diverse, the artist always employs the same materials and techniques used in traditional minhwa. For example, Ahn creates deep and saturated colors by applying multiple thin layers of translucent color with rabbit skin glue.
Ahn has exhibited nationally and internationally, including solo shows at the Delaware Center for the Contemporary Arts (Wilmington, DE), Queens College Art Center (Flushing, NY), and Charles B. Wang Center (Stony Brook, NY). She is a two-time grant recipient of the Pollock-Krasner Foundation Grant and the first prize winner of Visual Art Competition from the AHL Foundation, and has been reviewed in The Washington Post, the Philadelphia Inquirer, NY Arts magazine, The Baltimore Sun, The Plain Dealer and others. Ahn has also taught Asian traditional painting at various institutions such as the Metropolitan Museum of Art, Queens Museum, and the Art Students League of New York.
THE USE OF MINHWA
Minhwa was used extensively in the daily life of Korea—most commonly as decorations in living spaces or as folding screens used in family celebrations. People believed these folk paintings brought happiness, luck, wealth, health, fame, fertility, and even believed that it had the power to ward off evil spirits. It takes much time, concentration, and technical skills to complete the elaborate work of a minhwa painting. Minhwa expresses humor, wit, optimism, and love through strong, roughly drawn lines, vivid colors, and bold, unconventional layouts, while boldly mocking and exaggerating social norms. Freedom of composition of objects, animals, and flowers all reflect the philosophy of Korean people.
TYPES OF MINHWA
While minhwa is divided into different based on purpose, technique, and theme, the common classification is by theme and types the divided groups are as follows: Morando (Painting of Peony), the most well-known type of minhwa; Chaekgeori (Painting of Books and Stationery); Hwajodo (Painting of Flowers and Birds); Sipjangsaengdo (Painting of Ten Symbols of Longevity); Munjado (Painting of Characters); Hojakdo (Painting of Tiger, Magpie, and Pine Tree), Chochungdo (Painting of Flowers and Insects); Hopeedo (Painting of Tiger Stripe); and Yongsudo (Painting of Divine Animals).
MORANDO/모란도 (Painting of Peony)
The peony (moran) traditionally symbolizes wealth, honor, and high social status, and is widely used as a motif in paintings from the Joseon Dynasty (1392-1910). The flower has also been deemed as a symbol of peace and stability of the nation throughout history. As Koreans hold high regard for the flower, also known as the “king of flowers,” peony paintings (called morando) were originally produced for use in palaces. By the late Joseon Dynasty (1392-1910), however, they were found in ordinary households as well.
Some wealthy families were able to afford their own peony screens, while common Koreans usually borrowed one from the village authority for weddings and other special occasions such as the sixtieth birthday celebrations. Paintings of peonies were usually placed in women’s rooms (anbang) or rooms of newlyweds (shinbang), as the combination of flowers and rocks is known to symbolize the bride and groom.
CHAEKGEORI/책거리 (Painting of Books and Stationery)
Chaekgeori (also known as chaekgado) is a painting genre that found great favor with scholars. Chaekgeori contains images of piles of books, as well as miscellaneous objects that express an ardent desire for knowledge and wisdom. The objects commonly include Four Treasures of the Study (paper, brush, inkstone, and ink stick) as well as flower vases, wine vessels, arrows, fans, eyeglasses, wooden sculptures of divine animals, musical instruments, garments, and flowers. They also include a variety of fruits and vegetables that represent fertility and longevity, such as melons, peaches, cucumbers, pomegranates, and eggplants. Chaekgeori is especially distinctive for its eccentric perspective and image ratios, and unlike other types of minhwa that may feature more freedom of form, the chaekgado is often very high in technical consistency and quality.
HWAJODO/화조도 (Painting of Flowers and Birds)
The most well-known Korean folk painting theme is Hwajodo, a painting of flowers and birds. Hwajodo folding screens usually depict pairs of birds, deer, rabbits, butterflies, or bees on each panel because pairings of animals symbolize a happy marriage. Since the theme of a loving couple was believed to encourage fertility, the Hwajodo was specially used as decorations in the bedrooms of newlyweds or for wedding ceremonies.
SIPJANGSAENGDO/십장생도 (Painting of Ten Symbols of Longevity)
The Sipjangsaengdo is a painting that depicts the ten elements of nature symbolic of eternal youth. These symbols are: the sun, clouds, mountains, water, pine trees, turtles, deer, cranes, peaches, and the herb of eternal youth. The Sipjangsaengdo reveals a cultural tradition unique to Korea. Considered to be the most grand and majestic of the minhwa genre, it was used at various palace banquets with the ten different themes harmonizing effectively on an expansive canvas.
MUNJADO/문자도 (Painting of Characters)
Munjado screens superimpose depictions of symbolic animals, birds, fish, plants, as well as lyrical scenes, onto Chinese ideographs. Munjado conveys the eight principles of Confucian morality, and each panel has a Chinese ideograph and the matching design in order. The eight virtues are: filial duty (hyo), brotherly friendship (jae), loyalty (choong), trust (shin), courtesy (ye), righteousness (ui), integrity (yom), and sensibility (chi). Rooted in Chinese philosophy, Munjado screens were mostly used in middle and upper class family households.
HOJAKDO/호작도 (Painting of Tiger, Magpie and Pine Tree)
Hojakdo paintings were displayed at homes in the beginning of the New Year to protect families from evil. In the painting shown here, a courageous and supple tiger is intertwined with a gnarled tree. The tiger and the tree, the two central figures in the composition, create a dynamic tension and visual coherence. In one Korean folktale, a wise magpie fools a tiger in order to save the life of a kind woodcutter. In this work, the magpie perches safely on a branch out of reach from the tiger, teasing him from above. Paired with the tiger, the magpie represents the good fortune that will happen in the upcoming year.
