Some of the designs are shapes inspired by Greek mythology or ancient pottery work found by the Aegean Sea. Picasso created the pieces when he was in Vallauris in southern France. While vacationing in Cote D’Azur of France in 1946, Picasso visited the annual pottery exhibition in Vallauris. He learned pottery from Suzanne and Georges Ramie of Madoura Atelier. Since then he maintained 25 years of relationship with the atelier designing more than 4,000 ceramic pieces of 600 types.

In this exhibition, however, Richard Prince’s collage works steal the spotlight. The works have been exhibited at the Picasso Museum in Malaga in 2012, created by tearing the pictures out of Picasso’s art brochures and creating them in his own style. Seeing Picasso’s paintings, torn, fringed and cut out, appears as if Prince is saying that he is as good as Picasso. At the same time, it’s hard to take your eyes away from Picasso’s charming and freestyle ceramic work. The exhibition is open until July 31.

– Min Kim, Donga

Chiharu who projects the trauma of death in her work uses a human’s finiteness and its unsettling inner side as her main subject. The artist also interprets death as the new beginning rather than “the end”, and further continues to reflect on the dichotomous boundaries, personal existence and identity that exist in the contemporary era. One of Chiharu’s most representative series is the installation piece with thread skein forming a shape of human blood vessels throughout the space. Through the complex spider web of entangled threads in a space, she visually embodies not only the agony of life and death but also the exploration on existence. Furthermore, these threads refer to the numerous interrelated thoughts and the relationships with surroundings needed to confirm one self’s identity. In essence, Chiharu continues to explore the existence and the innerness through her thread works as well as sculptures reminiscent of cells containing everyday objects which recall her memories.

– Gana Art Center

Bringing together a focused selection of works that employ light as their primary medium, Bending Light charts the evolving affinities between Peter Alexander, Robert Irwin, James Turrell, and Dan Flavin.

– Pace Gallery

My experiences, as a woman and a painter, serve as a daily source for the creative inspiration necessary for my work. My paintings are collaged bits of time from my past and present experiences. Each work has its own life as the forms grow and I convey my feelings into a visual language. My paintings are about my life but I am not simply telling stories. I am trying to express, visually, my experience of the moment lived. I hope to share, to communicate, and to create an empathy for the experience.

– Wook-kyung Choi via kukje gallery

In the opening scene, the two children gleefully describe the beautiful decorations and rich desserts that they see in the house of a wealthy family nearby. When Bérylune says that it is wrong for the rich not to share their cakes with Tyltyl and Mytyl, the boy corrects her. It is enough that he gets to watch others’ happiness; their joy does not create envy in him. The theme is emphasized again when the children meet the Luxuries, particularly the biggest one of all, the Luxury of Being Rich. When Tyltyl turns the diamond, the hall is bathed with a dazzling brightness, and the Luxuries run wildly in search of a dark corner where they may hide their ugliness from the ethereal light. The names of such Happinesses as Innocent Thoughts and Seeing the Stars Rise and of such Joys as Being Good and Maternal Love affirm Maurice Maeterlinck’s view that true happiness lies in simple things, particularly in the warmth of family love.

At the end of the play, Tyltyl shows what he has learned about happiness. He looks out the window at the forest and remarks how beautiful it is. The inside of the house looks much lovelier to him than it did before. Also, he creates great happiness for another by giving his pet bird, which seems much bluer than before, to the sick child.

– Wikipedia (The Blue Bird)

The two artists express the fictional unknown world in landscape painting. It can be called an inner landscape, not a realistic natural landscape, and dreams beyond the present, crossing the boundaries between the real and fictional inner and outer world realities.

– Gallery Gabi

Kim Jun-geun was a painter active from the late nineteenth to the early twentieth century. He never achieved the fame of Kim Hong-do or Shin Yun-bok, the two most prominent genre painters of the Joseon period. However, he painted a more diverse range of folk customs. His genre paintings are considered invaluable in that they depict livelihoods, food, clothing, housing, rituals, and games popular among Koreans from a century ago more vividly than the photography that was introduced to Korea in the late nineteenth century.

– National Folk Museum of Korea

Part Two of Gallery Hyundai’s 50th anniversary exhibition, 현대 HYUNDAI 50, highlighting works by artists the gallery has started working with from the mid-1980s to the present. Over seventy works by thirteen foreign artists and sixteen Korean artists who share a part of the gallery’s history will be presented.

– Gallery Hyundai

The exhibition’s title, Bottomless Bag, is taken from the bag appearing in the animated film Inside Out (2015). Filled with the main character’s memories and their associated orbs, along with an assortment of other objects, the film’s imaginary bag was chosen to illustrate the exhibition’s core concepts of ‘memory’ and ‘collection.’

The Korean title of the exhibition references the school supply–filled ‘object bags’ sold to students in Korea during the 1980s and 1990s. Remembering this nostalgic object of the past, the exhibition hopes to examine the times and memories connected by the objects.

In this exhibition, the space itself becomes the designer’s ‘object bag,’ where the images exhibited in the space become the ‘objects’ that evoke past memories and serve as the designer’s tools for a new experiment. The exhibition invites visitors to experience the meaning of those found objects collected and archived by Na Kim inside the museum space.

– SeMA

Various Small Fires is pleased to present, Next of Kin, the exhibition debut of six American artists in Seoul, South Korea. In the unsettling ups and downs of the current COVID-19 crisis, VSF has taken the opportunity this summer to focus on a universal constant: family.

Pushing beyond its biological definition, the artists capture members of their families, chosen tribes, and imagined ancestors in intimate portraits that reflect an unprecedented era of shifting priorities with an insistence on intimacy and tenderness. Essentially under house arrest, Gina Beavers, Diedrick Brackens, Jessie Homer French, Chase Hall, Cindy Ji Hye Kim, and Calida Rawles contemplate the figures at the core of their social disruption.

– VSF Seoul

Deploying the concept of “family” to represent social solidarity, this year’s second-edition exhibition Looking for Another Family presents Asia as a public platform on which to discuss and share diverse issues concerning the Asian territory. In this scheme, the museum serves as an open space for discussion, gathering people of all generations and socioeconomic statuses for artists and audiences to envision “another form of a family”—a fluid platform for empathy and solidarity.

Featured in this exhibition are 15 teams of artists from eight Asian countries—Korea, China, Hong Kong, Taiwan, Japan, Indonesia, Malaysia, and the Philippines—who depart from contemplation on their own identities to explore wider realms of consciousness: their own communities, societies, countries, and eventually, the world. The artists also offer opportunities for viewers to involve themselves in active communication not only through artworks comprising performances, photographs, and videos, but also through workshops in the forms of a snack cart, farming, an investment booth, a music video screening, a newsroom, and a roundtable discussion.

– MMCA

The exhibition features 22 works across multifaceted categories, from sound installation, audience-driven performance, interactive sound installation, light art to visual music by 13 internationally recognized artists and collectives. With this exhibition, D MUSEUM is being reinvented as a new art platform where 13 sound spaces await to elicit awareness, sentiments and memories of individuals. In infinite yet transient aural world the audience will be reintroduced to the sense of hearing and guided into the journey of space, time and sound.

– D Museum

Perrotin Seoul is pleased to present Claire Tabouret’s exhibition ‘Siblings.’ Started in 2019, Claire Tabouret’s new series of portraits were initiated in a time when gatherings were frequent and interaction encouraged. The artist finished this new body of work in a context that has fundamentally changed, while we are forced into global lockdown by pandemic. Tabouret’s own outlook on her work has evolved, and these portraits serve as a reminder of the power in community and the importance of remaining connected even while we are separated. Her exhibition, Siblings, carries a certain nostalgia made heartrending by the isolation we all experience.

– Perrotin

FOR YOU: Jenny Holzer presents texts by Holzer and other authors selected by the artist on posters, a robotic LED display, and stone carvings. Created especially for this project, a new monumental LED artwork, FOR YOU, foregrounds the voices of women, featuring texts in Korean and English by five contemporary writers: Kim Hyesoon, Han Kang, Emily Jungmin Yoon, Svetlana Alexievich and Hawzhin Azeez. Examined together, the work of these authors reflects on diverse accounts of vulnerability and abuse of power, life and death, and the ways gender and sexuality play into violence and oppression. The sculpture resonates with our turbulent era of ongoing wars, terrorism, and violence, and the unforgettable pain of those suffering. Holzer actively engages with and addresses pressing concerns, maximizing her messages in public spaces and emphasizing their urgency and immediacy. MMCA anticipates that this project will inspire you to ask the questions evoked by the texts and listen to the voices resonating within you.

– MMCA

Taking its cue from the complex history of independent and alternative art spaces in Seoul and Gucci’s reflections on eterotopia, the exhibition proposes a new definition of what an “other space” might be: place in which the understanding of otherness comes to life.

The exhibition, curated by Myriam Ben Salah, known for her radical aesthetic vision, formulates a new definition of “being together.”

Using strong visual imagery, imbued with humor and magical realism, the participating artists playfully question the narrow perspectives of our society’s dominant discourses in a way that perfectly chimes with Gucci’s eclectic, contemporary vision.

– Daelim Museum

< AU MAGASIN DE NOUVEAUTES > is on the hypothesis of imaginative escape from the present by intersecting heterogeneous tempo-spatial axes – modern times and contemporary period – with a motif of early poems by poet and architect Yi Sang (1910-1937). The title of the exhibition has been appropriated from one of the poems with the same title out of his serial poetry titled < Architecture Infinite Cube> (1932) covered in ‘Joseon Geonchuk (Architecture Magazine)’. The poem is known to have been written on the theme of the Mitsukoshi Department Store which was newly built in Gyeongseong, the then capital city of Korea. The poem was an observation of the transforming city of Seoul into a space of capitalism under the colonial rule and its bustling crowd, and an ambivalent reality brought in by the modern civilization through enigmatic codes and a multi-view approach.

– Maison Hermès Dosan Park