부산미술의 어제와 오늘 BUSAN MUSEUM OF ART
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Ongoing exhibition

Busan as the wartime capital_ A blooming flower out of despair
Busan as the wartime capital_ A blooming flower out of despair
  • Period 2018-03-16~2018-07-29
  • Work Type Internal
  • Artworks Count
  • Place Busan Museum of Art fl.2, Exhibition hall 1, 2
  • Contact
  • Publication
Content
Busan as the wartime capital_ A blooming flower out of despair
Artist
Nam Gwan, Han Sangdon, Yang Dalseok, Moonshin, Jang Ucchin, Park Seangkwang, Lee Chulee, etc...
Intentions
The times of liberation after 1945, South Korea survived through the period of social, political, economical and cultural chaos as the establishment of the Republic of Korea Government in 1948. Following the outbreak of the Korean War, the entire art scenes including the central artist group had to be relocated in Busan the provisional capital. According to that, the artists which moved to Busan shared the agonies and worked together with the local artists of Busan, Kyungnam, resulted the reorganisations of the art with life of refuge in the compressed city Busan. It was formed the unique environment of ‘provisional capital art culture’ by artists from the whole nation were gathered in Busan. The refugee artists along with the local artists of Busan were representing the aspects of the dark period and destroyed realities with the great passion of creation the “will of artist” while suffering through poverty and hardships, and sought for new subjects and orders of methods. It is worth to revisit the exhibitions of La Mur(Tobyuk Group) which continued to work with spirits of Busan and other exhibitions such as 《Fine Art Exhibition by The Tide Artist Group》, 《La premiere exhibition des beaux arts pab la mur coterie》, 《Exhibition of the latter half century》.Despite the inadequate environments of the period of the war, the artists stood up for the strong wills toward the art and actively engaged with producing art works. The war artists were often joining the activities for more practical reasons such as personal or identity security, expressed the wounds or the portions and the records of the war in symbolic ways. Lastly, it is focused on the special culture space of the port city Busan, the ‘Dabang’. The artists from the nation had relationship compressed in provisional capital Busan. Ironically, dabang was blooming as hot spot for artists to gather in the wartime. Meanwhile, the artists survived through hardships of life in the wartime by working at ‘Daehan Dogi’ and paint on porcelains. These phenomena had happened in Busan because of the uniqueness of the port city Busan and the characteristics of people in Busan which embrace other cultures and people. From 1950 to 1953, the changes are made in the compressed time and space of the city Busan by the process of reorganisation of Korean art history, and movements of the major spot of art field, needed to be recognised as historical wave of modern art.
Content
○Part1 Things help to survive from the world of agony_‘Only the will for creation'
○Part2 The Renaissance of Art in the Wartime_ The central district of Korean art scene, Busan
○Part3 Which Dabang do you go theses days?_ Space of complexed characters Gwangbok-dong Dabang
○Part4 Daehan Dogi_ Dreaming the refugee artist.
○Part5 Reflection of life and ideology, reflection of period_movie
Artworks Count
81
Sponsor
Place
Busan Museum of Art fl.2, Exhibition hall 1, 2
Period
2018-03-16~2018-07-29
Artist
○ Painting
Kim Youngdeok, Kim Inseung, Kim Jongsik, Kim Junghyun, Kim Hwanki, Nam Gwan, Doh Sangbong, Moonshin
Park Soogeun, Park Youngsun, Paek Youngsoo, Yang Dalseok, Lee eungnoh, Lee Jungseop, Lee Chulee
Lim Ho, Jang Ucchin, Cho Deokhwan, Cheon Kyungja, Choi Younglim, Han Mook, Han Sangdon

○ Drawing
Kim Kyung, Kim Kichang, Kim Sunghwan, Park Seangkwan, Woo Shinchul

○ Photo
Jung Insung

○ Korean Ceramics
Kim Eunho, Byun Kwansik
Work Introduction

  • 위문문(고성에서)
    27×22cm
    종이에 연필
  • 전선만리를 너와 함께 10.7
    33×20cm
    종이에 펜, 채색
  • 초량풍경
    43×29cm
    하드보드에 유채
  • 흑선
    50.5×38
    캔버스에 유채
  • 자갈치시장
    13×18cm
    종이에 유채
  • 판자집
    72.5×90.3cm
    캔버스에 유채
  • 제목미상
    17×12cm
    은지에 새김
  • 판자촌
    80.5×65cm
    종이에 채색