Archive

The Early Years — The Artist before 1988 (1981–1987)

Shin Jang-sik

The year 1988 was a turning point for Shin Jang-sik. Through his work on the Seoul Olympics art production team and his first Berlin solo exhibition the following year, he was reborn with his own visual language in the 〈Arirang〉 series. These photographs show the artist before that — a young man still searching, his direction not yet set — and their meaning comes into focus when placed alongside the leap he made after 1988. The pre-1988 works gathered here are the traces of that search.

#청년 시절 #초기 #실기실 #대학원 #서울대학교 #Shin Jang-sik

Making of 〈The World Tree〉 for the 1988 Seoul Olympics Opening Ceremony — Shin Jang-sik, Art Production Team

Shin Jang-sik

From 1987 to 1988, Shin Jang-sik served as Art Supervisor on the Art Production Team for the opening and closing ceremonies of the Seoul Olympic Organizing Committee, contributing to the artistic set design of the 1988 Seoul Olympics ceremonies. 〈The World Tree〉 was a monumental sculptural structure unveiled at the Opening Ceremony on 17 September 1988. This archive brings together the artist's own photographs from the making process and the actual ceremony, alongside the broadcast footage (Busan MBC, 19:18–20:35) in which the World Tree appears.

#서울올림픽 #1988 #세계수 #개회식 #미술제작단 #조형물 #Shin Jang-sik #Olympics

The Artist's Mt. Geumgang Field Trips — From the Goseong Unification Observatory to the Inner Geumgang (1996–2007)

Shin Jang-sik

A field record showing that Shin Jang-sik's Mt. Geumgang paintings spring not from imagination but from the actual scenery (silgyeong) he stood before with his own eyes. In 1996, when the division of the peninsula made the mountain unreachable, he could only gaze toward it from the Goseong Unification Observatory; once travel to Mt. Geumgang opened, he visited Sejonbong (2004), Guryong Falls and Cheonhwadae (2005), Cheonhwadae in winter (2006), and the Inner Geumgang sites of Myogilsang and Sambulam (2007), facing their light and forms firsthand.

#Mt. Geumgang #Field Survey #실경 #Sejonbong #구룡폭포 #Cheonhwadae #내금강 #통일전망대 #Shin Jang-sik

〈New Irworobongdo〉 (1995) — Installed View at Ravidol Hotel & Resort

Installed views of Shin Jang-sik's large-scale 〈New Irworobongdo〉 (1995, 450×162 cm), held at the Ravidol Hotel & Resort in Gyeonggi-do. The work—a contemporary reinterpretation of the Joseon royal 〈Irworobongdo〉 (Sun, Moon, and Five Peaks)—is recorded as installed within the hotel.

#신일월오봉도 #일월오봉도 #라비돌호텔앤리조트 #호텔소장 #경기도 #1995 #Shin Jang-sik

NewsClaim Coverage — Shin Jang-sik Solo Exhibition 〈Maewolgwaneum〉 (2026)

NewsClaim

NewsClaim (May 30, 2026; Choi Hwan-geum, Gyeonggi-North desk) reports on Shin Jang-sik's solo exhibition 〈Maewolgwaneum — The Moon, Plum Blossoms and Guanyin〉 (Hanju Art Space, Paju, June 2 – Aug 31, 2026; opening June 6, 5 p.m.). The article brings together the Mt. Geumgang series the artist has painted since 1993, his Mt. Seorak work, and 〈Moon and Plum Blossoms, Lingering〉 — a new piece unveiled for the first time, made specifically for Hanju Art Space. It recalls 〈Mt. Geumgang from Sangpaldam〉 (2001) hung at the April 27, 2018 inter-Korean summit, the shift from conceptual to true-view (jingyeong) landscape after Mt. Geumgang tours opened in 1998, Mt. Seorak painted as a counterpart (對句) during the pandemic, and the artist's circular plum blossoms set against Eo Mongryong's 〈Plum and Moon〉 on the 50,000-won note — alongside the artist's biography (b. 1959 Daegu; Seoul National University; 1989 Grand Prize at the Korea National Art Exhibition for 〈Arirang — Happy Day〉; Kookmin University professor 1998–2024).

#Newspaper Coverage #Maewolgwaneum #Plum Blossoms #Guanyin #Hanju Art Space #달과매화 #Mt. Geumgang #Mt. Seorak #Sangpaldam #어몽룡 #월매도 #Cheongsachorong #뉴스클레임 #최환금

〈Arirang〉 Series, Four Prints (1991): What Does the British Museum Collection Mean?

Four 〈Arirang〉 series woodblock prints by Shin Jang-sik, accessioned in a single batch by the British Museum in November 1991 (registrations 1991,1123,0.11–0.14). The four works — with motifs of candles in circles, arched windows, rounded rectangles, and a circular fan — register the visual diversity of the artist's interpretation of the Arirang concept across 1989–1991. The acquisition predates the founding of the British Museum's Korea Foundation Gallery (Room 67, opened 2000) by a full nine years, marking an early instance of the museum's active reception of contemporary Korean art. It also predates the UNESCO inscription of Arirang (2012) by twenty-one years and BTS's naming of their fifth studio album 〈Arirang〉 (2026) by thirty-five — placing the artist's 1989–1991 〈Arirang〉 series at the decisive early entry point of bringing the concept onto the international stage.

#The British Museum #Arirang #Print #International Collection

〈Maewolgwaneum — The Moon, Plum Blossoms and Guanyin〉 Catalog — Jeong Hyeong-tak review (2026)

Jeong Hyeong-tak

Director Jeong Hyeong-tak of Hanju Art Space contributes the catalog essay for 〈Maewolgwaneum — The Moon, Plum Blossoms and Guanyin〉. The essay opens with 〈Mt. Geumgang from Sangpaldam〉 (2001) — the work that hung behind the embracing North and South Korean leaders at the 2018 Panmunjom summit — and traces Shin Jang-sik's path from the conceptual Mt. Geumgang of 1993 (built from photographs and reportage) to the true-view (jingyeong) realism that emerged after tours to the mountain opened in 1998. It identifies the formal signature of his 〈Mt. Geumgang series〉 — hanji accreted on canvas, web-like brisk lines, traditional obangsaek (five-color) palette — and follows the post-pandemic 〈Mt. Seorak series〉 (Cheonhwadae, Gongnyongneungseon, Yongajangseong) as a counterpart (對句) to the Geumgang he can no longer visit. The essay closes by reading the new 〈Moon and Plum Blossoms, Lingering〉 — the artist's first plum-blossom work — as a folding of plum, moon, and Guanyin iconography into circular (圓形) emblems of life and cosmos absorbed into his painterly form.

#Maewolgwaneum #Plum Blossoms #Moon #Guanyin #Hanju Art Space #Catalog #Review #Jeong Hyeong-tak #Mt. Geumgang #Mt. Seorak

〈Light and Hope on the Gongnyongneungseon, Mt. Seorak (Baekdudaegan)〉 and Three Other Works — Fairmont Ambassador Seoul (Yeouido) Installed Views with Artist's Notes (2026)

Artist's Blog

Four new works by Shin Jang-sik — 〈Light and Hope on the Gongnyongneungseon, Mt. Seorak (Baekdudaegan)〉 (680 × 240 cm, 2026) and 〈Arirang — Vitality 1〉, 〈Arirang — Morning〉, 〈Arirang — Vitality 2〉 (each 70 × 70 cm, 2025) — installed at the Fairmont Ambassador Seoul (Yeouido), shown in three on-site photographs alongside the artist's notes for each work.

#Artist's Note #호텔소장 #페어몬트앰배서더 #여의도 #Arirang #Mt. Seorak #Baekdudaegan #Gongnyong Ridge #연꽃

Mt. Geumgang from Sangpaldam (2001) — From the Peace House to the National Assembly, and the Artist's Handwritten Message

Artist's Blog

A photographic record of Mt. Geumgang from Sangpaldam (2001) being relocated from the Peace House at the 2018 inter-Korean summit venue through the National Assembly to its current meeting room. It also includes the artist's handwritten message dated May 14, 2018 — likening the armistice line to the Arirang Pass and the land beyond it to Mt. Geumgang of hope and vitality, voicing his wish that the painting's energy of peace and hope would reach the two leaders, and his prayer for peace on the Korean Peninsula.

#Mt. Geumgang #Sangpaldam #Peace House #Inter-Korean Summit #National Assembly

From Arirang to Mt. Geumgang — World Heritage as Contemporary Art: The Story of Shin Jang-sik (Part 2) — Artistalk EP.194

GongshallTV · 15:47

An interview tracing how the artist's Korean motifs — from Arirang to Mt. Geumgang — are translated into contemporary painting. (Part 2)

#Interview #Arirang #Mt. Geumgang #Artistalk

Inside the Studio of Shin Jang-sik, Painter of Mt. Geumgang (Part 1) — Artistalk EP.194

GongshallTV · 17:53

A studio-visit interview where the artist discusses his process and gaze on Mt. Geumgang. (Part 1)

#Interview #Studio #Mt. Geumgang #Artistalk

'Citizen of Kookmin: Shin Jang-sik' — Curated Special Exhibition Introduction Video (2024)

Myungwon Museum

An introductory video for the curated special exhibition 'Citizen of Kookmin: Shin Jang-sik', held at Myungwon Museum of Kookmin University in October 2024. Spanning 11 works including pieces from the museum's collection, the video traces the artist's life and oeuvre chronologically, weaving together images of his works and personal photographs.

#Myungwon Museum #Special Exhibition #Kookmin University #Artist Video #2024

'Citizen of Kookmin (國民人): Shin Jang-sik' Myungwon Museum Special Exhibition — Installation Views (2024)

Artist's Blog

Installation views of the special exhibition 〈Citizen of Kookmin (國民人): Shin Jang-sik〉, held at the Haeongheon Special Exhibition Hall of Myungwon Museum (Kookmin University) from October 8 to 25, 2024. Marking the artist's retirement, the exhibition spotlights his practice and oeuvre through 11 representative works — including pieces from the museum's collection. Nine installation photographs from the artist's blog post (223837487388).

#Installation Views #Special Exhibition #국민인 #Myungwon Museum #Retirement

〈Shin Jang-sik Paints Mt. Geumgang〉 Retrospective — Installation Views (2024)

Artist's Blog

Installation views of 〈Shin Jang-sik Paints Mt. Geumgang〉, the retrospective held at Kookmin Art Gallery (2nd floor of the College of Arts building, Kookmin University) from June 7 to 20, 2024. Marking the retirement of Professor Shin Jang-sik (Painting Department, College of Fine Arts), the retrospective gathered 42 representative works — from early 1980s pieces to the Mt. Seorak real-view paintings produced during the pandemic period. Fifty installation photographs from the artist's blog.

#Installation Views #Retrospective #Retirement #Mt. Geumgang #국민아트갤러리

Book: Shin Jang-sik, Painting Mt. Geumgang — by Choi Tae-man (2024)

Artist's Blog

A monograph documenting Shin Jang-sik's artistic world centered on Mt. Geumgang, which he has painted since 1993. Written by Choi Tae-man, art critic and the artist's college contemporary; published by AM Art in June 2024.

#Book #Critical Biography #Artist Monograph #Choi Tae-man #Mt. Geumgang

Light and Hope of Mt. Seorak Gongnyong Ridge Cheonhwadae — In Progress (2022)

Shin Jang-sik

A step-by-step record of the 391×162cm canvas — hanji collage and acrylic layers building up, photographed by the artist himself.

#Production Process #Baekdudaegan #Mt. Seorak #Cheonhwadae

2022 Ministry of Unification Calendar — Featuring Works by Shin Jang-sik

Artist's Blog

The 2022 Ministry of Unification calendar features the artist's works on monthly pages, with a cover and back cover.

#Calendar #Ministry of Unification #Publication

Inside the 〈Mt. Geumgang — Hope〉 Exhibition at Dongduk Art Gallery (2020)

Artist's Blog

Thirteen photographs taken by the artist of the 〈Mt. Geumgang — Hope〉 solo exhibition (July 1 – 6, 2020) at Dongduk Art Gallery, capturing the Mt. Geumgang series installed across the gallery's entire floors.

#Mt. Geumgang #Hope #Dongduk Art Gallery #Installation Views #Solo Exhibition

Korea Postage Stamps 2018 (Korea Post Yearbook) — Inter-Korean Summit Commemorative Stamps · 〈Mt. Geumgang from Sangpaldam〉

Korea Post

Shin Jang-sik's 〈Mt. Geumgang from Sangpaldam〉 (2001), featured in Korea Post's 〈Korea Postage Stamps 2018〉 yearbook (published Jan 28, 2019) alongside the 2018 Inter-Korean Summit commemorative stamps.

#우표 #Inter-Korean Summit #Mt. Geumgang #Sangpaldam #우정사업본부

Press Coverage of Shin Jang-sik's Solo Exhibition — "Diamond Mountains: Longing for the 12 Spectacles" (2018)

Artist's Blog

Two interviews on the occasion of Shin Jang-sik's solo exhibition Longing for the 12 Spectacles of Mt. Geumgang (September 2018, Kumsan Gallery). The Hankyoreh feature in its “Tea Time” column (Lee Gil-woo, 2018-09-07) covers 25 years of practice, the technique behind Mt. Geumgang from Sangpaldam (2001) displayed at the April 27 inter-Korean summit, the 1988 Seoul Olympics cheongsachorong lantern performance, and the artist's first Mt. Geumgang visit in 1998. The Edaily interview (Oh Hyun-ju, 2018-09-17) adds the Peace House loan history of Sangpaldam (an initial two-week NIS contract extended free of charge through year-end) and discusses the palette and technique of new works such as Light of Manmulsang, Mt. Geumgang (2018, 291×112 cm).

#Interview #Mt. Geumgang #12 Scenes of Mt. Geumgang #Geumsan Gallery #The Hankyoreh #Jjam #Lee Gil-u #Edaily #Oh Hyeon-ju #Obangsaek (Five-Direction Colors) #Birobong #Peace House

〈"Painting the 12 Spectacles of Mount Geumgang Here and Now"〉 — Critique by Choi Tae-man (2018)

Choi Tae-man

Critique by art critic Choi Tae-man, written for the exhibition 〈Longing for the 12 Spectacles of Mt. Geumgang〉 (September 2018, Kumsan Gallery). Analyzes the artist's intent in dividing Mt. Geumgang into twelve monthly scenes, locates the work within the East Asian tradition of celebrated-scenery painting (Wuyi-jiuquge, Xiaoxiang Bajing-tu), and reads the bluish auspicious light (서기/瑞氣) flowing through the series as a marker of temporal layering. Includes both Korean and English texts.

#Criticism #Mt. Geumgang #Mt. Geumgang of Longing #12 Scenes of Mt. Geumgang #Choi Tae-man #Geumsan Gallery #Four Seasons Painting #Obangsaek (Five-Direction Colors) #AD

Magazine SOOP, 'Recording the Mountains: Toward Hope, Toward Peace' — Interview with Shin Jang-sik (2018)

Magazine SOOP (Korea Forest Service)

A feature interview with painter Shin Jang-sik, published in 〈Magazine SOOP〉(2018-08-28), the official magazine of the Korea Forest Service. Opening with the story of 〈Mt. Geumgang from Sangpaldam〉(2001) hung in the 2018 inter-Korean summit room at Peace House, the article traces the artist's three-decade trajectory — from the 〈Arirang〉 series of the 1988 Seoul Olympics era, through the shift to Mt. Geumgang in 1992, his first visit to the North in 1998, and the 2018 Metropolitan Museum 〈Diamond Mountains〉 exhibition. The artist later republished the full text on his own blog as accompanying material for the 2020 Dongduk Art Gallery exhibition 〈Mt. Geumgang — Hope〉, weaving this feature into the exhibition's contextual archive.

#기사 #매체게재 #산림청 #Mt. Geumgang #Peace House #The Metropolitan Museum #Arirang

Shin Jang-sik Woodblock Print Video Archive — Printing Process · Mt. Geumgang Print Experience (2018)

Gyeonggi Cultural Foundation · Nonda TV

Two video records of the artist's woodblock printmaking practice, produced and released in the context of the exhibition 〈Printmaking — 60 Years of Korean Contemporary Printmaking〉 (co-organized by Gyeonggi Museum of Modern Art and the Korean Society of Contemporary Printmaking), held at Gyeonggi Museum of Modern Art from July 4 to September 9, 2018. Marking the 60th anniversary of Korean contemporary printmaking, the exhibition surveyed the trajectory and future direction of the field through 140 representative works by 120 artists — encompassing woodblock prints, aquatints, lithographs, serigraphs, and the experimental expansion of the print concept. Shin Jang-sik served as president of the Korean Society of Contemporary Printmaking (2017–2019) and participated as a co-organizer. The main video (Gyeonggi Cultural Foundation 〈Printmaking — Woodblock Printing Process by Artist Shin Jang-sik〉) documents the artist's step-by-step woodblock printing process; the supplementary video (Nonda TV 〈Woodblock Print Experience of 'Geumgangsan' by Artist Shin Jang-sik〉) covers his Mt. Geumgang-themed woodblock work.

#Print #Woodblock #Mt. Geumgang #Video Archive #Artist Demonstration #60 Years of Korean Contemporary Printmaking #Gyeonggi Museum of Art

Coverage of 〈Do Print! 60 Years of Korean Contemporary Printmaking〉 — Shin Jang-sik, Chairman of the Korean Contemporary Printmaking Association (2018)

Two media outlets covering Shin Jang-sik, Chairman of the Korean Contemporary Printmaking Association, on the opening of 〈Do Print! 60 Years of Korean Contemporary Printmaking〉 at Gyeonggi Museum of Art on July 4, 2018. Newspim (Lee Hyun-gyeong) reported the press preview the day before, capturing Shin's pride that "Korean printmaking traces back to the Tripitaka Koreana" and tracing the sixty-year arc of Korean contemporary printmaking. Newsis (Park Hyun-joo) followed on the opening day with an interview and a paired photo article, recalling Shin as the painter of 〈Mt. Geumgang from Sangpaldam〉 — the work hung at the April 27 inter-Korean summit — and noting the 〈Mt. Geumgang〉 woodblock he placed in the exhibition for visitors to print and take home themselves.

#Interview #Print #Korean Contemporary Printmaking #Korean Contemporary Printmaking Association #Tripitaka Koreana #Mt. Geumgang #Sangpaldam #Printmaking Workshop #Gyeonggi Museum of Art #Choi Eun-joo #Newspim #Lee Hyun-gyeong #Newsis #Park Hyun-joo

Korean Painter Shin Jang-sik on U.S. Television (Fox 5 New York) — The Summit Painting and the Met's Diamond Mountains Exhibition

Fox 5 New York

Fox 5 New York TV coverage connecting Mt. Geumgang from Sangpaldam—displayed at the April 27 inter-Korean summit—with the contemporaneous "Diamond Mountains: Travel and Nostalgia in Korean Art" special exhibition at the Metropolitan Museum of Art. The segment features a Skype interview with artist Shin Jang-sik and remarks from Soyoung Lee, curator for Korean art at the Met.

#Overseas Coverage #The Metropolitan Museum #Peace House #Inter-Korean Summit #Sangpaldam #Mt. Geumgang #Fox5NY #Soyoung Lee #Curator

The Diamond Mountains as Backdrop to the Historic Korean Summit — Curator's Essay by Soyoung Lee (The Met Perspectives) (2018)

Soyoung Lee

On the occasion of the April 27, 2018 inter-Korean summit—where Shin Jang-sik's Mt. Geumgang from Sangpaldam appeared as the backdrop—Soyoung Lee, curator of Korean art at The Met, introduces the museum's exhibition Diamond Mountains: Travel and Nostalgia in Korean Art (Feb 7 – May 20, 2018) and Shin's practice. The essay analyzes two works featured in the show—The Light at Cheonhwadae Peaks (2014, from the series Twelve Scenes of Mount Geumgang) and Raining on Manmulsang Rocks (2014)—contrasting the brilliant acrylic luminosity with the muted ink-painting effect, and traces the true-view landscape (jingyeong sansuhwa) tradition back to the 18th-century master Jeong Seon, who anchors the exhibition. Published on The Met Perspectives, April 30, 2018.

#Criticism #Curator #The Metropolitan Museum #Mt. Geumgang #Cheonhwadae #Manmulsang #12 Scenes #Peace House #Inter-Korean Summit #Sangpaldam #Gyeomjae Jeong Seon #Lee So-young #Soyoung Lee #Museum Official

The 'Mt. Geumgang of Hope' That Adorned the Summit Room — The Artist's Behind-the-Scenes Story

KBS News

KBS News video aired the day after the April 27, 2018 inter-Korean summit. Features Shin Jang-sik's Mt. Geumgang from Sangpaldam (2001), the monumental painting hung in the meeting room of the Peace House at Panmunjom, along with an interview with the artist on the painting's meaning and behind-the-scenes story.

#Video #KBS #Mt. Geumgang #Sangpaldam #Peace House #Inter-Korean Summit #Interview

Press Coverage: Shin Jang-sik's "Mt. Geumgang from Sangpaldam" at the April 27 Inter-Korean Summit Venue (2018)

Artist's Blog

Five-outlet coverage surrounding the April 27, 2018 inter-Korean summit and the painting Mt. Geumgang from Sangpaldam (2001, 681×181 cm) installed in the second-floor meeting room of the Peace House at Panmunjom. On April 26 (eve of the summit), three phone interviews — Yonhap News (Jeong A-ran), JoongAng Ilbo (Lee Eun-ju), and Kyunghyang Shinmun — cover the painting's technique (fusing ink-painting lines, folk-painting colors, and contemporary landscape sensibility around the Cheonhwadae motif), 25 years of practice (the 1998 first North Korea visit that shifted his work from conceptual to realist landscape), the Mt. Geumgang lineage in Korean art history (Jeong Seon's Geumgang-jeondo, Byeon Gwan-sik's Samseonam), and the other artworks installed throughout the Peace House (Min Jeong-gi's Bukhansan, Kim Jun-gwon's San-un, Park Dae-seong's Ilchul-bong). On April 27 (summit day), MoneyToday (Shin Hyeon-woo) reports the Blue House quote that the painting replaced a Mt. Halla piece originally hung in that spot. On April 28 (day after), OhmyNews (Lee Ju-yeon) publishes a full Q&A spot-interview: the painting had been stored in the artist's studio for 17 years since 2001, and the artist's analogy that "if Brandenburg Gate symbolizes German unification, Mt. Geumgang would symbolize Korean unification."

#Interview #Mt. Geumgang #Sangpaldam #Cheonhwadae #Peace House #Inter-Korean Summit #Baekdudaegan #Yonhap News #Jeong A-ran #JoongAng Ilbo #Lee Eun-ju #The Kyunghyang Shinmun #MoneyToday #Shin Hyeon-u #OhmyNews #Lee Ju-yeon

Inside the Metropolitan Museum's "Diamond Mountains" Exhibition (2018)

Artist's Blog

Thirty-three photographs taken by the artist at the Diamond Mountains - Travel and Nostalgia in Korean Art exhibition (Feb 7 - May 20, 2018) at The Met's Arts of Korea Gallery. The images capture the installation including the artist's own The Light on the Cheonhwadae and Raining on Manmulsang, alongside Jeong Seon's true-view landscape albums, modern masters such as Byun Kwan-sik and Lee Ungno, and Elizabeth Keith's Mt. Geumgang.

#The Metropolitan Museum #Mt. Geumgang #PyeongChang Olympics #Installation Views #Korean Gallery #Gyeomjae Jeong Seon #Met #Museum

Korean Press Coverage: Met Museum 'Diamond Mountains' Special Exhibition (2018)

Artist's Blog

Three-outlet print coverage of the Met Museum's 'Diamond Mountains: Travel and Nostalgia in Korean Art' special exhibition, marking the Pyeongchang Winter Olympics and the Korean Gallery's 20th anniversary. Artist Shin Jang-sik featured as a contributing contemporary artist.

#The Metropolitan Museum #Mt. Geumgang #PyeongChang Olympics #Exhibition Coverage

Metropolitan Museum Exhibition Page — "Diamond Mountains: Travel and Nostalgia in Korean Art" (2018)

The Metropolitan Museum of Art

The Met's official exhibition page for "Diamond Mountains: Travel and Nostalgia in Korean Art" (February 7 – May 20, 2018), marking the 20th anniversary of The Met's Arts of Korea Gallery and coinciding with South Korea's hosting of the Pyeongchang Winter Olympics. Nearly thirty works depicting Mt. Geumgang from the eighteenth century to the present, including a designated National Treasure album by Jeong Seon (1676–1759) on loan from the National Museum of Korea — most never before displayed in the U.S. Shin Jang-sik featured as a contemporary contributor with Winter Mt. Geumgang and Light of Manmulsang. Two official Met videos embedded — the exhibition introduction and the Sunday at The Met lecture on "Landscapes: Real and Imagined." Organized in collaboration with the Ministry of Culture, Sports and Tourism (MCST) and the National Museum of Korea (NMK). The New York Times called it "a melancholy beauty of a show ... flabbergasting loans."

#The Metropolitan Museum #Mt. Geumgang #PyeongChang Olympics #Exhibition Information #Museum Official #Korean Gallery #Gyeomjae Jeong Seon #Met

The Artist before 〈Arirang-Prayer〉 (1992) at the National Museum of Modern and Contemporary Art, Korea

Artist's Blog

A photograph taken by Shin Jang-sik before his 〈Arirang-Prayer〉 (1992), held in the collection of the National Museum of Modern and Contemporary Art, Korea.

#Arirang #국립현대미술관 #목판화 #작가 기록

Hyunbul News Coverage — Shin Jang-sik Solo Exhibition "Asking the Way on the Road"

Hyunbul News

Hyunbul News (September 15, 2017) coverage of Shin Jang-sik's solo exhibition "Asking the Way on the Road" (September 20–26, 2017, Gallery DOS, Seoul). The exhibition weaves the artist's recurring motifs—Arirang, Mt. Geumgang, Buddhist imagery, journeys into the world, COSMOS, candlelight, and Arirang once again—under the unifying theme of "the Road." Featured works mentioned include Arirang, Light of Okryudong, Samādhi (2014), The Road to Jangche No. 3, and Candles Sparkle Like Stars in the Night Sky (2016). The artist also recalls that his Buddhist subject matter began in 2007 after encountering the Myogilsang Buddha statue in inner Mt. Geumgang.

#Newspaper Coverage #Gallery DOS #Solo Exhibition #Path #Arirang #Mt. Geumgang #Buddha Image #Candle #Hyunbul (Contemporary Buddhism)

Newsis — Shin Jang-sik, the 'Mt. Geumgang Artist,' Spotlighted with Manhattan Solo Exhibition (2015)

Newsis

A report by Roh Chang-hyun, New York correspondent for Newsis, on Shin Jang-sik's invitational solo exhibition 〈12 Scenes of Mt. Geumgang〉 at SPACE IN ARTS (SIA NY) in Chelsea, New York, from April 30 to May 13, 2015. The show featured paintings rendering Mt. Geumgang across twelve months in acrylic on canvas, alongside ten of the artist's representative woodblock prints from 1992 and 1996.

#Mt. Geumgang #12 Scenes #뉴욕 #첼시 #초대전 #Exhibition Coverage #Overseas Coverage #특파원

Beyond Longing, Hand In Hand (2015)

Shin Dong-in

A critical essay tracing Shin Jang-sik's 22-year body of Mt. Geumgang work through the lens of reunification and peace, starting from the 1988 Seoul Olympics anthem 'Hand In Hand'. Shin Dong-in charts the shift from gwannyeom sansu (conceptual landscape, 1993–98) to jingyeong sansu (true-view landscape, post-1998) and positions the 2015 New York exhibition as the threshold of a new question — what would a 'unified-Korean value' look like.

#Criticism #Mt. Geumgang #Peace #Unification #12 Scenes of Mt. Geumgang of Longing

Art Basel Miami Beach 2014 — 〈Mt. Geumgang Pine Tree〉 (2014)

Artist's Blog

Shin Jang-sik's 〈Mt. Geumgang Pine Tree〉 (2014) shown at Art Basel Miami Beach 2014 through a gallery — installation views of the booth.

#Art Basel #마이애미 #아트페어 #Mt. Geumgang #소나무

Beopbo News Coverage — Shin Jang-sik Solo Exhibition "To That Shore"

Beopbo News

Beopbo News (June 25, 2014, issue 1250) coverage of Shin Jang-sik's solo exhibition "To That Shore" (June 25–29, 2014, Noam Gallery, Insadong, Seoul). The exhibition is themed on the artist's "interpretation and practice of pāramitā" — the artist explains that "To That Shore" derives from "crossing over to the shore of enlightenment," and offers his own readings of the Arirang Pass, Mt. Geumgang, and Samādhi. Art critic Choi Tae-man analyzes the artist's Buddhist imagery — "Perhaps it is not the Buddha statue itself, but a means to understand the deep contemplative essence dwelling within it."

#Newspaper Coverage #Noam Gallery #Solo Exhibition #To That Yonder Shore #Paramita #Enlightenment #Samādhi #Choi Tae-man #Buddha Image #Beopbo Newspaper

〈To the Other Shore〉 — Artist Note and Choi Tae-man Review (2014)

Shin Jang-sik; Choi Tae-man

A combined artist note and critical review by art critic Choi Tae-man for Shin Jang-sik's solo exhibition 〈To the Other Shore〉 at Noam Gallery in June 2014. The artist explains that 'To the Other Shore' derives from the Buddhist phrase 'crossing over to the other shore of awakening' (pāramitā 波羅蜜), and that the other shore can be the 'Arirang Pass,' 'Mt. Geumgang,' or 'samādhi — the completion of practice.' It is, in his framing, the artist's own 'Arirang of hope' that moves from the suffering of this shore to the ideal of the far shore. Choi then traces the artist's self-identification as a 'wanderer on the path,' arguing that Shin's arc from Arirang through Mt. Geumgang to Buddhist iconography ultimately follows the same trajectory — a search for the 'Arirang of hope.'

#To That Yonder Shore #On the Path #Samādhi

Kookmin University 'The Professor's Study' Episode 32 — Interview with Prof. Shin Jang-sik (2013)

Artist's Blog

Episode 32 of Kookmin University's in-house interview series for students, 'The Professor's Study,' featuring Prof. Shin Jang-sik of the College of Fine Arts. The professor reflects on what a 'study' means to him as an artist and shares motivational advice for students. Visible in the studio background are the work-in-progress of Mt. Geumgang Pine Tree and a painting from the Samādhi series.

#Kookmin University #Professor's Study #Artist Interview #College of Arts #Department of Fine Arts #Study #Education #Artist Video #2013

Buddhist Enlightenment at Its Peak in 'Samādhi' Paintings

Hyunbul News

Coverage of Kookmin University professor Shin Jang-sik's solo exhibition 〈Samādhi〉 (Nov 2012 — Nov 27, Space Sun+, Seoul). Eleven works depicting the Buddha in samādhi, drawn from the artist's pilgrimage research across India, Pakistan, Tibet's Gandharan ruins, Gyeongju, and Mt. Geumgang. The article traces how the artist's encounter with Myogilsangam relief at Mt. Geumgang led him into Buddhist imagery, and how Joseon star charts, Gyeongju Namsan pines, Dunhuang flying figures, and Yongjusa temple bells appear as backgrounds — positioning the artist as a 'practitioner on the road' in his fifties.

#Newspaper Article #Buddhist Art #Samādhi #Solo Exhibition #Gandhara

The Mind, My Mind, Our Mind — Buddha-nature Spreading Through the Universe (2012)

Shin Jang-sik

A short artist's note written alongside the 〈Samādhi〉 series — reflections on mind, dependent origination, and samādhi, in poetic form.

#Artist's Note #Poem #Samādhi #Buddhism

〈Pilgrim on the Road, or One Who Searches for the Path〉 — Choi Tae-man review (2012)

Choi Tae-man

A critical essay by art critic Choi Tae-man written for Shin Jang-sik's solo exhibition 〈Samādhi〉 at Space Sun+ in November 2012. Choi reads the artist's Buddha-image paintings through the concept of "samādhi" and the figure of a "wayfarer on the path." After 〈Inner Geumgang Myogilsang〉 (2007), the artist's Buddha-image motif evolved through his 2011 Silk Road pilgrimage (Xi'an–Pamir–Gandhāra), moving from icons of worship governed by the 32 major and 80 minor marks toward an externalization of the artist's own "reverent awe." Choi traces references across Gupta-period Sarnath, Gandhāran and Mathurā styles, the Maitreya Triad at Samhwa-ryeong in Gyeongju, the Maijishan grottoes, and others; he analyzes how the artist applies paper pulp to render the granite texture of the Buddha figures while flatly combining apsaras and candle motifs, producing a picture plane where "representation and expression, three-dimensional and flat, figurative and abstract" coexist. The essay closes by likening the artist's path to the three Buddhist practices of vipassanā, sati (mindfulness), and samādhi, ultimately framing his pursuit as the "Arirang of hope."

#Samādhi #Buddha Image #On the Path

Preparing for the 〈Samādhi〉 Solo Exhibition — At Work in the Kookmin University Studio (2012)

Shin Jang-sik

A photograph of the artist at work in his Kookmin University studio while preparing for the 2012 〈Samādhi〉 solo exhibition (Space Sun+, 15–27 Nov 2012). It records the studio where the exhibited works took shape, and is linked from each exhibited work's page to show that process of preparation.

#Samādhi #samādhi #Studio Process #Production Process #Kookmin University #스페이스선플러스 #2012 #Shin Jang-sik

Artist Note — 'In My Life, the 50s Are Pilgrims on the Road' (2011)

Shin Jang-sik

A short artist note posted by Shin Jang-sik on his own blog — under the self-identifying declaration "In my life, my fifties are those of a practitioner on the road," the note unfolds four short reflections on the identity of the artist's path and the practitioner's path, and the artist's wish to sing an 'Arirang of Hope.' Captions for two key works — Arirang — Joyful Day and Mt. Geumgang Manmulsang — accompany the text.

#Artist's Note #On the Path #Fifties #Arirang #Arirang of Hope #Mt. Geumgang Manmulsang #Light #Practice #The Artist's Path

Okinawa International University Symposium — 'Mt. Geumgang Paintings' (Shin Jang-sik) (2011)

Shin Jang-sik

Shin Jang-sik's symposium presentation at Okinawa International University titled 'Mt. Geumgang Paintings.' The main text comprises six sections — (1) Tradition of Mt. Geumgang painting, (2) Division and Mt. Geumgang, (3) Mt. Geumgang Found Again, (4) Ideational Mt. Geumgang painting, (5) Realistic Mt. Geumgang painting, (6) Prospects of Mt. Geumgang painting — followed by a sequence of the artist's Mt. Geumgang works (1993-2007) in scholarly order. Several works carry the artist's own commentary or quoted critical text by art critic Kang Tae-seong.

#Academic Presentation #Okinawa International University #Mt. Geumgang #Jingyeongsansu #Ideational Sansu #True-view Sansu #Artist Presentation #Kang Tae-seong #2011

〈Shin Jang-sik's 'Mt. Geumgang' and Cézanne's 'La montagne Sainte-Victoire'〉 — Kim Jin-a review (2010)

Kim Jin-a

A critical essay by aesthetician Kim Jin-a (Seoul National University) written for Shin Jang-sik's solo exhibition 〈Spring, Summer, Autumn, Winter〉 at Gallery INDECO in October 2010. While noting the apparent similarity — both artists having spent years painting a single mountain — Kim argues that Shin's 〈Mt. Geumgang〉 stands at the opposite pole from Cézanne's 〈Sainte-Victoire〉. Cézanne distorted the actual shape of the mountain to render it as it appeared to his individual sensation; Shin's 〈Mt. Geumgang〉, by contrast, is painted as the mountain anyone can see and recognize — a mountain of "us" rather than of an individual's perception.

#Mt. Geumgang #Jingyeongsansu #Four Seasons

〈Beyond the Yellow Line〉, former President Roh Moo-hyun Memorial Exhibition — Installation View (2010)

Installation views of 〈Beyond the Yellow Line〉, a 2010 memorial exhibition for former President Roh Moo-hyun held at Kyunghyang Gallery, Seoul, in which the painter Shin Jang-sik took part.

#노무현 #노란선을 넘어서 #경향갤러리 #전시 풍경 #추모전 #Shin Jang-sik

Installation Views of the 2009 Collection Exhibition at the Jeju Museum of Contemporary Art

Photographs of the 2009 collection exhibition at the Jeju Museum of Contemporary Art, recording the gallery in which Shin Jang-sik's large-scale 〈Manmulsang, Mt. Geumgang〉 (2001, 502×172 cm), held in the museum's collection, was displayed.

#제주현대미술관 #소장품전 #Installation Views #Mt. Geumgang #Manmulsang #2009 #Shin Jang-sik

Official Posters of the 13th Busan International Film Festival — 〈Arirang-Hope I〉 (2008)

Artist's Blog

Official poster of the 13th Busan International Film Festival and Asian Film Market poster, designed by BIFF art director Choi Sun-dae using Shin Jang-sik's 〈Arirang-Hope〉 (1991) as the original artwork.

#Busan International Film Festival #Official Poster #Arirang #Hope #Asian Film Market

Interview with Shin Jang-sik for the 13th Busan International Film Festival (2008)

Artist's Blog

An interview with Shin Jang-sik, whose 〈Arirang-Hope〉 was selected as the original artwork for the 13th BIFF official poster. Six topics include the meaning of the painting, his 1988 Seoul Olympics art experience, his collaboration on Kang Woo-suk's film 〈Hanbando〉, and his future creative direction.

#Interview #Busan International Film Festival #Arirang #Hope #Korean Peninsula #Kang Woo-suk

Installation Views of the 2008 Paris Solo Exhibition 〈Vitality〉 — Cité Internationale des Arts

Installation photographs of Shin Jang-sik's solo exhibition 〈Vitality〉 (Peinture-Gravure) held 20–25 May 2008 at the Cité Internationale des Arts (l'espace musique) in Paris. They record the artist's painting and printmaking exhibition at the Cité Internationale des Arts, the Paris residency community that hosts artists from around the world.

#Paris #씨떼데자르 #Vitality #Vitality #Solo Exhibition #Installation Views #France #Shin Jang-sik

An Art Critic and a Painter's Tibet Travels — Book: Five Colors of Lungta and White Khata

Yonhap News

News coverage of the Tibetan art guidebook 〈Five Colors of Lungta and White Khata〉 (Dahal Media) co-authored by critic Choi Tae-man and painter Shin Jang-sik, along with the accompanying solo exhibition at Moran Gallery, Insadong. Covers the book's content, the travel context, and the exhibition schedule.

#Coverage #Yonhap News #Tibet #Five-Color Lungta #Dahal Media #Moran Gallery

'From Lhasa to Kathmandu' — Tibet's Nature and Culture in Clear, Translucent Color (2007)

Choi Tae-man

An accompanying critique by critic Choi Tae-man, who traveled with Shin Jang-sik through Tibet in 2005. Covers the Friendship Highway route from Lhasa to Kathmandu, the meaning of lungta and mani stones in Tibetan life, and the artist's clear translucent colors.

#Criticism #Tibet #Lhasa #Kathmandu #Lungta #Mani Stone #Friendship Highway #Choi Tae-man

Film 〈Hanbando〉 Cheong Wa Dae Set — Installation of Shin Jang-sik's Works (2006)

Artist's Blog

Behind-the-scenes photographs of the Cheong Wa Dae presidential office set in Kang Woo-suk's film 〈Hanbando〉 (2006), with Shin Jang-sik's 〈Mt. Geumgang Manmulsang〉 and 〈Trees of Manmulsang〉 installed as backdrop. Visual evidence of works the artist later mentioned in the 2008 Busan International Film Festival interview.

#Korean Peninsula #Kang Woo-suk #Cheongwadae (Blue House) #Film #Film Set #Mt. Geumgang #Manmulsang

Artist Note by Shin Jang-sik — "Between the Northeast Project and Yasukuni" (2006)

Shin Jang-sik

An artist note by the painter Shin Jang-sik. Reflecting on Korea's situation between China's Northeast Project (Dongbuk-gongjeong) and Japan's Yasukuni, with parallel attention to its Tibet Project, the essay places contemporary interest in Mt. Baekdu and Goguryeo within the larger question of national identity. Inseparable from the country's division, Shin argues for an active engagement with our identity and history, threading the reflection through his own painting 〈Mt. Baekdu〉.

#Artist's Note #Mt. Baekdu #Northeast Project #Yasukuni #Identity #Division #Unification #2006

'Light of Mt. Geumgang' — Review by Choi Tae-man (2005)

Choi Tae-man

A 2005 essay by art critic Choi Tae-man on Shin Jang-sik's solo 〈Light of Mt. Geumgang〉 at Moran Gallery. Reading the advance from his 2004 〈Ten Years of Longing〉, Choi traces the move toward the broad grand-scene landscape (daegyeong-sansu), the spiritual rather than physical dimension of light, Mt. Geumgang's political and historical weight as witness to a divided peninsula, and the lineage of Gyeomjae Jeong Seon's true-view landscape tradition.

#Criticism #Mt. Geumgang #Light #Jingyeongsansu #Choi Tae-man #Moran Gallery #Gyeomjae Jeong Seon #Division

"The Joy of Having a Painter Friend, Shin Jang-sik, the Aesthetics of His Communication" — Yoo Si-min Critique (2005)

Yoo Si-min

A critical essay by political commentator Yoo Si-min on Shin Jang-sik. Contrasting the common stereotype of painters as 'unfathomable eccentrics' with Shin's "exceptionally common-sense" persona, Yoo reads the artist's work through the lens of 'aesthetic communication' (소통의 미학). He recalls Shin's 1970s entrepreneurial New-Year-card business at Sim-In High School in Daegu, the legendary case of submitting an oil painting to the Gyeongbuk provincial competition under his older brother's name, and the 1977 reading-room conversation with friends that convinced his parents to let him enter art school. The piece argues that Shin's recurring motifs since 1988 — flags, cheongsachorong lanterns, lotus patterns, Bukhansan, Gwanghwamun, and Mt. Geumgang — are ultimately tools of communication rather than expressions of a particular nationalism.

#Review #Yu Si-min #Political Commentator #Aesthetic of Communication #Shin Jang-sik #2005

2005 Light of Mt. Geumgang — Shin Jang-sik Artist Video (2005)

Artist's Blog

An artist documentary directed and produced by Shin Jang-sik with editing by Sohn Kyung-hwan (2005). Featuring photographs and footage from the artist's actual visits to Mt. Geumgang during the brief window of inter-Korean tourism — ship voyage, on-site bus transit, mountain hiking, and a poetry-and-painting exhibition held at Mt. Geumgang itself. Music — cellist Mischa Maisky performing "Longing for Mt. Geumgang" (from Best of Mischa Maisky).

#Moran Gallery #Solo Exhibition #Mt. Geumgang #Mt. Geumgang Tourism #Artist Video #Field Survey #Poetry-Painting Exhibition #Son Gyeong-hwan #Mischa Maisky #Mt. Geumgang of Longing #2005

Mt. Geumgang Seen Between Sashil (Realism) and Sa-eui (Idealism) (2004)

Lee Ji-ho

A critical essay by art critic Lee Ji-ho analyzing Shin Jang-sik's Mt. Geumgang paintings between Sashil (realism) and Sa-eui (idealism). Traces the artist's journey from conceptual to true-view (jingyeong) Mt. Geumgang, his use of hanji texture and yin-yang five-element colors, and comparisons with Western landscape traditions — Cezanne, Turner, Delacroix — while honoring the lineage of Gyeomjae Jeong Seon. Three works are analyzed individually: 〈Mt. Geumgang Cheonhwadae〉 (paired with Cezanne's Mont Sainte-Victoire), 〈Mt. Geumgang Cheonhwadae Pine〉 (linked to Chusa Kim Jeong-hui's Sehando), and 〈Baekdudaegan Seen from Mt. Geumgang〉 (with Delacroix and Gyeomjae).

#Criticism #Mt. Geumgang #Jingyeongsansu #Lee Ji-ho #Cézanne #Delacroix #Gyeomjae Jeong Seon #Yin-Yang and Five Elements

10 Years of Longing for Mt. Geumgang — Shin Jang-sik Solo Exhibition (Artist's Video) (2003)

Artist's Blog

A video edited and uploaded by the artist on his own blog — introducing his 2003 solo exhibition "10 Years of Longing for Mt. Geumgang" at Savina Museum of Contemporary Art, Seoul (November 17 – December 27, 2003), commemorating the 5th anniversary of Mt. Geumgang tourism. The video weaves together field photographs from the artist's travels to Mt. Geumgang, sketches, and works featured in the exhibition.

#Savina Museum #Solo Exhibition #Mt. Geumgang #Mt. Geumgang Tourism #Artist Video #Field Survey #Sketch #2003

Shin Jang-sik 〈10 Years of Longing for Mt. Geumgang〉 — Installation Views (2003)

Artist's Blog

Installation views of Shin Jang-sik's solo exhibition 〈10 Years of Longing for Mt. Geumgang〉, held at Savina Museum of Contemporary Art in November 2003. The set documents both the paintings — a survey of the artist's ten-year Mt. Geumgang practice since 1993 — and the accompanying 〈10 Years of Longing, Mt. Geumgang — Video Installation〉 (video and installation, 700×600×300 cm).

#Mt. Geumgang #Jingyeongsansu #Installation

Korean Press Coverage — Shin Jang-sik Solo Exhibition '10 Years of Longing for Mt. Geumgang'

The Hankyoreh

Five Korean newspaper reports on Shin Jang-sik's solo exhibition '10 Years of Longing for Mt. Geumgang' at Savina Museum (Nov 17–Dec 24, 2003). Three Hankyoreh articles — Roh Hyung-suk (Nov 14, 2003) introduces the joint exhibition project organized by Hankyoreh and Hyundai Asan for the 5th anniversary of Mt. Geumgang tourism, Son Won-je (Nov 14, 2003) an artist interview, and Kim Bo-geun with photography by Hwang Seok-ju (Nov 16, 2003) another interview foregrounding the artist's quote 'Mt. Geumgang is an Arirang Pass to be crossed.' Kukmin Ilbo, Lee Gwang-hyung (Nov 17, 2003) — a survey of three simultaneous exhibitions (Savina · Kumho Museum · Gallery Art Side) under the heading 'Mt. Geumgang Encounters and Hopes.' Weekly Hankook, Jang Byeong-uk (Dec 18, 2003) — a 'Korean Profile' interview spotlighting Shin's signature 'oil-brush textural method' and the 'Geumgang Meditation' suspended paper sculptures.

#Domestic Coverage Collection #The Hankyoreh #Kookmin Daily #Weekly Hankook #Savina Museum #10 Years of Longing #Mt. Geumgang #No Hyeong-seok #Son Won-je #Kim Bo-geun #Hwang Seok-ju #Lee Gwang-hyeong #Jang Byeong-uk #5th Anniversary of Mt. Geumgang Tourism #2003

"10 Years of Longing for Mt. Geumgang" — Kim Jun-gi Critique (c. 2003)

Kim Jun-gi

A critical essay on Shin Jang-sik's 〈10 Years of Longing for Mt. Geumgang〉 by art critic Kim Jun-gi. Set against the political backdrop of the unification movement of 1988–89, the start of Mt. Geumgang tourism in 1998, and the opening of the overland route in 2003, the essay traces a decade-long arc — from when Shin first painted Mt. Geumgang in 1993 through five solo exhibitions — and reads his trajectory as a shift from conceptual landscape (gwannyeom sansu) toward true-view landscape (jingyeong sansu). Tracking pictorial shifts in the most recent works (a 'oil-brush textural method,' restrained splatter, emphasis on point and line over color-field), Kim argues that Shin's painting moved from a phase where 'painterly aim suspended signified content' to one of 'authenticity secured through the union of substance and symbol.'

#Review #Kim Jun-gi #Mt. Geumgang #10 Years of Longing #Jingyeongsansu #Ideational Sansu #Division #2003

"Shin Jang-sik Exhibition" — Yang Jeong-mu review (2001)

Yang Jeong-mu

A review by Yang Jeong-mu (Professor at Korea National University of Arts), published in the EXHIBITION HIGHLIGHTS section of Monthly Art Magazine, October 2001. Yang frames 〈Meditation — Mt. Geumgang〉 as "the eighth game Shin Jang-sik has played around the subject of Mt. Geumgang," and tracks the shift from the artist's borrowed eighteenth-century Joseon brush methods and nineteenth-century folk-painting forms toward realistic composition, chiaroscuro, and clearly defined ridges. The essay reads the exhibited 〈Mt. Geumgang Manmulsang — 1998.11.21〉 (a painting disassembled across eight canvases) and the eleven hanji seated figures as "the beginning of the destruction of mystery and a turn toward the artist's own interior," and suggests that Mt. Geumgang can again become a source of inspiration for Korean artists' self-expression.

#Mt. Geumgang #Meditation #Jingyeongsansu

Shin Jang-sik 〈Meditation — Mt. Geumgang〉 — Installation Views (2001)

Artist's Blog

Installation views of Shin Jang-sik's solo exhibition 〈Meditation — Mt. Geumgang〉, which opened as the inaugural show of Kookmin University Art Gallery in September 2001 and continued at Wooduk Gallery. The set includes views of the eight-canvas 〈Mt. Geumgang Manmulsang — 1998.11.21〉, 〈Mt. Geumgang from Sangpaldam〉 (681×181 cm), the eleven seated hanji 〈Meditation〉 figures, and exhibition-related materials (including the Monthly Art Magazine advertisement preserved by the artist).

#Mt. Geumgang #Meditation #Jingyeongsansu

"Mt. Geumgang, 'para-doxa'" — Kang Tae-seong review (2001)

Kang Tae-seong

A review by art critic Kang Tae-seong, written for Shin Jang-sik's solo exhibition 〈Meditation — Mt. Geumgang〉 (September 2001). The essay reads the artist's Mt. Geumgang paintings alongside the new sculptural series 〈Meditation〉 (eleven hanji figures) through the framework of "parallelism and paradox (para-doxa)." Mt. Geumgang is read as a paradoxical site "no longer reachable yet now reachable," and Kang traces how the differences between "drawing" and "flinging," between distant and close viewing, and between the "first-painted layer" and "the later-flung layer" — an "a and b" structure — produce what Plato called "alteration."

#Mt. Geumgang #Meditation #Jingyeongsansu

"Spaces of Affirmation, Negation, and Recollection" — Kang Tae-seong review (1999)

Kang Tae-seong

A review by art critic Kang Tae-seong, written for Shin Jang-sik's solo exhibition 〈Mt. Geumgang — Life Force〉 at Pyo Gallery (September 1999) and also published in the October 1999 EXHIBITION section of Monthly Art Magazine. The essay observes how the artist's expression shifted from a photograph-based conceptual idiom to representation rooted in direct observation following his two visits to Mt. Geumgang in 1998 and 1999, framing the change through the concept of "appropriate ornament (decoratif)" — rooted in the Latin 'decere' (to be fitting). The "scattered lines" the artist has developed since his 1989 woodblock work are read as a practice unfolding across three spatial registers — affirmation, negation, and recollection.

#Mt. Geumgang #Vitality #Jingyeongsansu

Press Coverage — 'Dream Journey to Geumgang: 300 Years of Mt. Geumgang Paintings' at Ilmin Museum of Art (1999)

Artist's Blog

A collection of newspaper coverage photographs documenting the 1999 group exhibition 'Dream Journey to Geumgang: 300 Years of Mt. Geumgang Paintings' at the Ilmin Museum of Art in July 1999. Shin Jang-sik participated as one of the contributing artists; his work 'Mt. Geumgang — Vitality' (1999, 728×227cm, acrylic and hanji on canvas) is mentioned in the coverage.

#Mongyu Geumgang (Dream Journey through Mt. Geumgang) #Ilmin Museum of Art #300 Years of Mt. Geumgang Paintings #Group Exhibition #Newspaper Coverage #Mt. Geumgang #July 1999 #Mt. Geumgang Vitality #1999

Munhwa Ilbo, "Mt. Geumgang Essay — Majestic Form, Canvas Falls Short" — Shin Jang-sik Artist Essay (1999)

Shin Jang-sik

An artist essay by Shin Jang-sik published in the Munhwa Ilbo culture section's 'Mt. Geumgang Essay' column. Reflecting on his first visit to Mt. Geumgang in November 1998 and the renewed thirst it triggered, the artist meditates on the union of content and form in painting, then describes his second visit on 16 April 1999 — encounters with Manmulsang, Okryudong, and Guryongpokpo in spring. Written shortly before his participation in the Ilmin Museum's "Dream Journey to Geumgang — 300 Years of Mt. Geumgang Paintings" exhibition, the essay traces his transition from five Mt. Geumgang solo shows held between 1993 and 1998 (without direct experience of the mountain) to working from on-site sketching. He closes with a wish to one day paint and present together with North Korean artists.

#Artist Contribution #Artist's Essay #Munhwa Ilbo #Mt. Geumgang Essay #Mt. Geumgang Found Again #Ilmin Museum of Art #Mongyu Geumgang (Dream Journey through Mt. Geumgang) #Mt. Geumgang #1999

[Interview] Western Painter Shin Jang-sik Presents Mt. Geumgang Sketches

Munhwa Ilbo

Interview with Professor Shin Jang-sik, who visited Mt. Geumgang in person on the first tourism cruise on November 18, 1998. He shares his impressions of the landscape he had painted since 1995 in the Mt. Geumgang — Vitality series, and his plans for new work. The sketches from this trip became the 15 ink-on-paper works.

#Interview #Mt. Geumgang #Plein-air Painting #Munhwa Ilbo #Yang Seong-hui #Mt. Geumgang Tourism

Mt. Geumgang — Vitality (1998)

Kim Yu-suk

Critical essay by art theorist Kim Yu-sook on Shin Jang-sik's 1998 solo exhibition 〈Mt. Geumgang — Vitality〉 at Hanwon Museum of Art. Traces the shift in his work — from traditional patterns (cheongsachorong, lotus motifs) to the 1992 〈Arirang — Vitality〉 turn beyond decorativeness toward direct vitality of subject matter, and from 1995 onward a reinterpretation of Eastern landscape (sansu) spirit through Mt. Geumgang. Analyzes his signature dripping technique, yin-yang chromatic simplification, grid lines and silkscreen Bodhisattva objects as contemporary landscape language.

#Criticism #Mt. Geumgang #Vitality #Sansu (Landscape) #Dripping #Dripping #Hanwon Museum #Kim Yu-suk

Inside the 〈Meditation — 97.10.7〉 Exhibition at Hwarang Sagye (1997)

Artist's Blog

Five photographs from the artist's record of the 〈Meditation — 97.10.7〉 solo exhibition (November 12 – 22, 1997) at Hwarang Sagye, capturing the gallery interior during the show.

#Meditation #Hwarang Sagye #Installation Views #Solo Exhibition

The Korea Economic Daily — 'Embodying the Korean Spirit Reflected in Mt. Geumgang: Shin Jang-sik' (1997)

The Korea Economic Daily

A Korea Economic Daily article (March 24, 1997) titled 'Embodying the Korean Spirit Reflected in Mt. Geumgang: Shin Jang-sik' — covering Shin Jang-sik's solo exhibition 'Arirang — Mt. Geumgang' at Pyo Gallery (March 25 – April 7, 1997).

#The Korea Economic Daily #Newspaper Coverage #Pyo Gallery #Arirang — Mt. Geumgang #Solo Exhibition #National Spirit #1997

Artist Note by Shin Jang-sik — "Beyond the Sorrow-Soaked Arirang Pass: Toward a Lively Homecoming" (mid-to-late 1990s)

Shin Jang-sik

An artist note by the painter Shin Jang-sik. Beginning with personal memories of his childhood landscape — the Suseong stream, the front mountain, the village shrine, the cave, and his middle-school participation in the Silla Cultural Festival painting competition at Gyerim, Gyeongju — the essay frames the recovery of a 'homeland of the heart,' lost in Korea's rapid industrialization, as the core of his artistic work. Confronting the limits of imitating Western art, he proposes a return to Korean visual language rooted in folk culture (shamanism, geomancy, folk painting, the playful instruments of common people) as the foundation of his 〈Arirang〉 series — redefining Arirang not as lament (han) but as the will and hope of crossing the pass.

#Artist's Note #Arirang #Hometown #Substratum Culture #Traditional Plastic Language #Reminiscence #Gyeongju #Silla Cultural Festival #1990s

Shin Jang-sik 〈Mt. Geumgang〉 (1996 INDECO Gallery) — Studio Process and Installation Views (1996)

Shin Jang-sik

A bundle of working materials from the 1996 〈Mt. Geumgang〉 solo at INDECO Gallery. The set comprises one studio shot of the large 〈Mt. Geumgang〉 (1996-004, now in the National Museum of Modern and Contemporary Art collection) and three views of installation works from the same series shown in the gallery space. Together they show the artist's distinctive process — affixing hanji to canvas in tessellated planes, then drawing the mountain in acrylic over them — alongside the spatial sense of the 〈Mt. Geumgang〉 installation as it unfolded at INDECO Gallery.

#Studio Process #Installation #Mt. Geumgang #Indeco Gallery

Shin Jang-sik's Paintings of Mt. Geumgang — Park Eun-soon review (1995)

Park Eun-soon

A critical essay by art historian Park Eun-soon on Shin Jang-sik's Mt. Geumgang series (1993–1995). Examines how the artist — who had never visited Mt. Geumgang — discovered the mountain through colonial-era photo albums, contemporary video footage, and the Mt. Geumgang paintings of Joseon masters such as Gyeomjae Jeong Seon; explores the rocky-peak forms of the outer Geumgang Manmulcho, the symbolism of blue, cobalt and white, the texture of mulberry paper underlay and dripping technique, and the meaning of the grid frame with bolt-and-nut motifs.

#Criticism #Mt. Geumgang #Jingyeongsansu #Park Eun-sun #Ideational Sansu #Manmulcho #Dripping

Press Coverage — Shin Jang-sik Solo Exhibition 'Mt. Geumgang' at Pyo Gallery (1995)

Artist's Blog

Five photographs of newspaper articles (February 1995) and one exhibition poster covering Shin Jang-sik's solo exhibition 'Mt. Geumgang' at Pyo Gallery (February 21 – March 3, 1995). The media include JoongAng Ilbo, Chosun Ilbo, and the Korea Times.

#Newspaper Coverage #JoongAng Ilbo #The Chosun Ilbo #The Hankook Ilbo #Pyo Gallery #Mt. Geumgang #Solo Exhibition #February 1995 #1995

SPACE Magazine, January 1995 — Shin Jang-sik's Artist Essay "Drawing Mt. Geumgang" (1995)

SPACE Magazine

An artist essay 'Drawing Mt. Geumgang' contributed by Shin Jang-sik to the January 1995 issue of SPACE (Arts & Architecture & Environment) magazine. Following his earlier 'Arirang' series, the artist describes turning toward 'the vitality of nature' as a subject and arriving at Mt. Geumgang — drawing inspiration from the iconography of Jeong Seon, Korean folk paintings, and Kim Gyu-jin's Mt. Geumgang painting at Huijeongdang Hall (Changgyeonggung), while also addressing the nation's longing for a mountain made inaccessible by division. The essay is accompanied by an English translation by Park Hyun-Joo, and the magazine's cover features Shin's 〈Mt. Geumgang〉 (1994, paper and acrylic on canvas).

#Space #SPACE #Magazine Contribution #Artist's Essay #Mt. Geumgang #Park Hyun-ju (translator) #Pyo Gallery #1994 #1995

Monthly Art Magazine, April 1994, "Reinterpreting Tradition, Expressing Life and Rhythm" — Seo Jeong-geol Critique (1994)

Seo Jeong-geol

A critical feature published in the April 1994 issue of Monthly Art Magazine (월간미술), in the 'Young Vision' column. Reporter Seo Jeong-geol visits Shin Jang-sik's studio (a collective studio at the boundary of Seoul and Seongnam) and identifies 'rhythm and vitality' as the core aesthetic propositions of the artist's work. The piece traces Shin's interest in traditional and folk motifs ('Arirang,' 'Cheongsachorong') back to his role as Assistant Art Director for the 1988 Seoul Olympics opening and closing ceremonies, and reads his woodblock printmaking — together with his splatter and string-collage techniques — as a search for new formal language rooted in Korean sensibility. It also notes the artist's expanding traditional vocabulary as it moves from folk objects toward natural subjects (pine, dandelion, wild chrysanthemum, cockscomb).

#Monthly Art #Magazine Review #Suh Jung-geol #Rhythm #Vitality #Traditional Beauty #Cheongsachorong #Arirang #1988 Seoul Olympics #1994

Magazine Coverage — 'Painter Shin Jang-sik: Lanterns of Hope That Light the Darkness' (1994, estimated)

Artist's Blog

A magazine article titled 'Painter Shin Jang-sik: Lanterns of Hope That Light the Darkness.' The article discusses the artist's cheongsachorong (Korean traditional lantern) motif works.

#Magazine Coverage #Cheongsachorong #Arirang #Hope #1994

"Shin Jang-sik's Formal Method Concerning 'What Is Ours'" — Chung Young-mok review (1993)

Chung Young-mok

A review by art critic Chung Young-mok (Professor at Sookmyung Women's University; Western art history, art criticism) written for Shin Jang-sik's solo exhibition 〈Mt. Geumgang〉 at Gallery Icon (April 30 – May 11, 1993). Drawing extensively on earlier essays by Park Shin-ui, Choi Tae-man, Kim Young-jae, Kang Sung-won, Seo Sung-rok, and Oh Byung-uk that had accompanied Shin's solo exhibitions at Toh Gallery (1989) and Gallery Icon (1992), Chung traces the artist's path away from the direct iconography and folk reference of the 〈Arirang〉 period toward an objectified handling of "what is ours." After citing 〈Arirang — Morning〉 (1988, with its frontal-symmetrical janggo motif) and the 〈Arirang〉 works of 1991–92 (using mosquito coils as a formal substitute) as instances of "neutralizing the thematic," he renames the 1993 〈Mt. Geumgang〉 series as 'images of vegetable life' — analyzing, in terms of form and structure, how Jeong Seon's 〈Geumgangsan-do〉, a Japanese-colonial-era 〈Geumgang Photo Album〉, and 1990s North Korean broadcast footage shaped Shin's landscape form.

#Review #Chung Young-mok #Gallery Ikon #Mt. Geumgang #Jeong Seon #Sansuhwa

Misulbipyeong, Shin Jang-sik 〈Mt. Geumgang〉 — Review by Kim Jin-a (1993)

Kim Jin-a

A review by art critic Kim Jin-a of Shin Jang-sik's solo exhibition at Gallery Icon (30 April – 11 May 1993), published in Misulbipyeong no. 11-8. Centered on the Arirang theme, it reads Shin's 〈Mt. Geumgang〉 work as moving beyond traditional motifs—flags, cheongsacho lanterns, janggu and drums, obangsaek colors—toward a spiritual formal language, finding the life force of trees and grasses themselves, the Arirang longing for reunification, and a living energy that expands to the stars and the cosmos.

#Shin Jang-sik #Mt. Geumgang #Arirang #Kim Jin-a #미술비평 #Review #Gallery Ikon #1993

"On Lighting a Candle" — Artist Essay by Shin Jang-sik (1992)

Shin Jang-sik

A short painted essay "On Lighting a Candle" contributed by Shin Jang-sik to a 1992 newspaper culture page (publication unconfirmed) on 12 August 1992. The piece reflects on the artist's painterly stance — 'like the start of a ritual, let us light a candle and brighten our hearts' — published with the artist's portrait and reproductions of two works from the 〈Arirang-Prayer〉 series.

#Artist's Essay #Painting Essay #Newspaper Contribution #Arirang #Print #Candle #1992

〈Begegnung mit den Anderen / Encountering the Others〉 — International Group Exhibition, University of Kassel, 1992

Artist's Blog

Records of two works submitted to 〈Begegnung mit den Anderen / Encountering the Others〉 — an international group exhibition held in 1992, organized by 'Group Stoffwechsel' at the University of Kassel and staged across multiple venues in Kassel, Göttingen, and Hannoversch-Münden. A separate exhibition from documenta IX, which was running in the same city during the same season: where documenta IX focused on North American and Western European artists, Encountering the Others centered the work of artists from Australia, Africa, Asia, and South America. The two exhibited works were 〈Arirang — A Joyful Day〉 (1991, 130×194cm) and 〈Arirang — Prayer〉 (1992, 300-ho).

#Exhibition Documentation #Encountering the Others #Begegnung mit den Anderen #카셀대학교 #Group Stoffwechsel #Kassel #Germany #Arirang #1992

"The Virtues of Tradition and Historicity" — Seo Sung-rok review (1992)

Seo Sung-rok

A review by art critic Seo Sung-rok written for Shin Jang-sik's solo exhibition at Gallery Icon (Reopening Exhibition, May 12–24, 1992). Within the trajectory from his 1989 Toh Gallery show and 1991 Shinsegae Gallery show, the review traces how the artist redeploys hanji, the obangsaek colors, and folk iconographies — cheongsachorong lanterns, cockscombs, the taegeuk, Buddhist flame patterns, old coins, mosquito coils — as indicators of a Korean cosmology. The large-scale Gwanghwamun-Government-General composition is read as a visualization of the artist's historical consciousness around "the lost national fortune," while the review identifies clarity and analytical precision as strengths and notes the need for a more folkloric filter in formal device as a future task.

#Review #Suh Sung-rok #Gallery Ikon #Arirang

Shin Jang-sik Print Exhibition 〈Arirang〉 Essay — Anonymous (1992)

Artist's Blog

A short essay written for the 1992 touring print exhibition that travelled across Gallery 21, Sangmundang, and Gallery Icon. The author is presumed unknown — no name appears in the surviving text. The piece reads the artist's practice through the concepts of "rhythm" and "vital force," quoting the artist's own statement that locating where one's breath meets the rhythm of materials is his research task — so that, when contrivance is set aside, nature's vital force and the artist's emotion emerge of their own.

#Review #Catalog #Arirang #Print #Rhythm #Vitality #Unknown Author

Magazine Covers Featuring Shin Jang-sik's Works (1991-1993)

Artist's Blog

A compilation of five magazine covers from June 1991 through June 1993 that featured Shin Jang-sik's paintings — Wolgan Misool (Monthly Art), Cho Heung News (Cho Heung Bank), Hyundai Department Store, Kumho Culture Monthly, and Book & Life. The span of media types (art journal, bank newsletter, department-store magazine, corporate cultural review, general-readership monthly) illustrates the breadth of the artist's reception across Korean publishing in the early 1990s. The use of 〈Where Do Our Hearts Go?〉 (1992) and 〈Vitality〉 (1992) is identified on the covers.

#Magazine Cover #Work Reference #Art Magazine #Corporate Newsletter #Monthly Art #Joheung Newsletter #Hyundai Department Store #Kumho Munhwa #Books and Life #1991 #1992 #1993

〈Decorative Painting and the Pursuit of Tradition〉 — Oh Byung-uk review (1991)

Oh Byung-uk

A review by art critic Oh Byung-uk, written for the Shinsegae Gallery 〈Arirang〉 exhibition (March 1991) and also published in Wolgan Misool (Monthly Art) 1991. Reading Shin Jang-sik's painting as 'decorative,' it traces where pure painting meets the emotional fabric of Korean culture. After surveying the trajectory of Western painting from the Goncourt brothers through Neo-impressionism, Cubism, and abstraction — and locating decorativeness as the essential property of twentieth-century pure painting — Oh frames the artist's participation in the 1988 Seoul Olympics art team as the decisive turning point toward pure painting, and reads the 〈Arirang〉 series as a unified theme expressing joy rather than sorrow, the challenge of the future rather than hardship.

#Review #Oh Byeong-uk #Arirang #Shinsegae Museum #Monthly Art

1st Sapporo International Contemporary Print Biennale Catalogue — Shin Jang-sik's 〈Arirang-Prayer II〉, Sponsors' Prize (1991)

Artist's Blog

A page from the 1st Sapporo International Contemporary Print Biennale catalogue (p. 24, 1991) featuring Shin Jang-sik's 〈Arirang-Prayer II〉, the Sponsors' Prize (レナウン 賞, sponsored by Renown Incorporated) winning work, with Japanese and English biographies — listing the 2nd Seoul International Miniature Print Exhibition (1982), the 8th Korea National Art Exhibition Grand Prize (1989), and the 4th Wakayama Print Biennale prize (1991).

#Sapporo Print Biennale #Print Biennale #Patron's Prize #Japan #Arirang #Print #1991

Choi Tae-man Critique in 'Field of Creation' Magazine (1990)

Choi Tae-man

A critique by art critic Choi Tae-man published in 1990 in the magazine 'Field of Creation' (창작의 현장). Focusing on Shin Jang-sik's woodblock print series 'Arirang,' the essay discusses the optimistic and progressive sentiment rooted in Korean folk tradition, the meaning of the artist's choice of woodblock as medium, and a dialectical attitude toward overcoming the contradictions of reality. The artist's blog preserves photographs of the printed magazine article alongside two photographs of the artist's print-making process.

#The Site of Creation #Magazine Review #Choi Tae-man #Arirang #Print #Woodblock #Review #1990

Hankyoreh Press Coverage — 'Expressing Distinctive Vitality through the Arirang Theme' (1989)

The Hankyoreh

A Hankyoreh newspaper article (August 25, 1989) covering Shin Jang-sik's work — titled 'Expressing Distinctive Vitality through the Arirang Theme.'

#The Hankyoreh #Newspaper Coverage #Arirang #Vitality #1989

Artist Note — Shin Jang-sik "Arirang" Print Exhibition (1989)

Shin Jang-sik

Artist note for the 〈Arirang〉 series. Inspired by the cheongsachorong (blue-and-red lanterns) procession at the 1988 Seoul Olympics closing ceremony. Reinterprets Dankook University Museum lanterns with a somyeolbeop (reduction method) multi-color woodblock technique. The series emphasizes 'will and hope crossing the Arirang pass' rather than the lament of 'han (the deep Korean sentiment of unresolved sorrow and resilience born of historical hardship)'.

#Artist's Note #Arirang #Print #Woodblock #Cheongsachorong #Soyeolbeop (Reduction Technique) #Olympics

Arirang: Self-Affirmation and Generosity (1989)

Choi Tae-man

Critical essay by art critic Choi Tae-man on Shin Jang-sik's 1989 〈Arirang〉 print exhibition. Argues that Arirang represents not passive lament ('han (the deep Korean sentiment of unresolved sorrow and resilience born of historical hardship)') but a future-oriented consciousness overcoming contradictions of reality, and analyzes how Shin reinterprets traditional symbols — cheongsachorong lanterns, candles, taegeuk — through his optimistic worldview, especially via the somyeolbeop (reduction method) woodblock technique.

#Criticism #Arirang #Print #Woodblock #Soyeolbeop (Reduction Technique) #Choi Tae-man #Optimistic Worldview

Art Post, "Metalinguistic Possibilities of Arirang" — Kim Young-jae Critique (1989)

Kim Young-jae

A critical essay by art critic Kim Young-jae, published in Art Post No. 16 (July 1, 1989). In the context of Shin Jang-sik's 1989 〈Arirang〉 exhibitions at Toh Gallery and The 3rd Gallery, the essay reads the artist's practice through the lens of Meta-Language. Tracing a deepening movement — 〈Tal-Ⅱ〉 (designation) → 〈Ⅰ — Banishing Spirits Ⅲ〉 (meaning) → 〈Arirang — Joyful Day〉 (concept) → 〈Arirang — Morning〉 (meta-language) — Kim frames Shin's choice of woodblock printmaking by the reductive method as a natural and inevitable outcome for the Korean disposition.

#Review #아트포스트 #메타언어 #Soyeolbeop (Reduction Technique) #목판화 #Arirang #Kim Young-jae

Daily Sports, "Today's Perspective: A Search for Tradition" — Park Shin-ui Critique (1989)

Park Shin-ui

A critique by art critic Park Shin-ui published in the daily newspaper Ilgan Sports (Daily Sports) on 22 June 1989, in the "Notable Works of the Month" column. Reviewing Shin Jang-sik's May 1989 solo exhibition 〈Arirang〉 at Toh Gallery, the essay examines the artist's aesthetic search for tradition — analyzing the principle of contracting and emanating vitality in 〈Arirang-Morning〉 and the playful reconciliation of opposites in 〈Arirang-Unity〉, while noting both Shin's achievements and the limits of his interpretive partiality toward tradition. The same newspaper page also carried the selection note (panel: Park Yong-sook, Yun Bum-mo, Park Shin-ui) and an interview with the artist by reporter Lee Nam — both preserved in the body text as printed.

#Ilgan Sports #Park Shin-eui #Newspaper Review #Arirang #Review #1989

Der Tagesspiegel, "Die Koreaner kommen" — Shin Jang-sik's First Berlin Solo Exhibition Coverage (1989) and an Exhibition Photograph

Der Tagesspiegel

A review published in the Feuilleton (culture) section of the Berlin daily Der Tagesspiegel on 17 January 1989. The article covers the simultaneous solo exhibitions of three Korean artists — Shin Jang-sik, Bae Sung-hwan, and Lee Sang-bong — at Galerie Roho (Sesenheimer Straße 19, Berlin), running through 23 January 1989. The critic reads Shin Jang-sik's flag- and mask-images on fibrous Korean paper as a reinterpretation of folkloric origins, and highlights a shared 'courage of empty surface' and 'utmost economy of means' across the three painters. Coming shortly after the 1988 Seoul Olympics, the piece marks a moment when Berlin's art scene actively expanded its exchange with Korean art — and stands as a record of Shin Jang-sik's first overseas solo exhibition.

#Berlin #Germany #First Overseas Exhibition #Galerie Roho #3인동시개인전 #Newspaper Review #DerTagesspiegel #Print #1989

Installation View of Shin Jang-sik's First Solo Exhibition — Galerie Roho, Berlin (1989)

Installation views of Shin Jang-sik's first solo exhibition, held in 1989 at Galerie Roho in Berlin. Mounted as a simultaneous showing of three Korean artists in the wake of the 1988 Seoul Olympics, it was the artist's first solo exhibition abroad. The views show his hanji flags and mask paintings on the gallery walls, together with a photograph of the artist standing before his own work.

#Berlin #갤러리 로호 #첫 개인전 #해외 개인전 #전시 풍경 #Shin Jang-sik

Magazine Coverage — 'Expressing the Universality of Our Own': Shin Jang-sik (1989)

Artist's Blog

A 1989 magazine article titled 'Expressing the Universality of Our Own' — covering Shin Jang-sik's artistic world and his work with Korean motifs. The article discusses 〈Arirang -Soul〉 and 〈Arirang-Unity〉.

#Magazine Coverage #What Is Ours #Universality #Korean Motif #1989

Grand Prize, Printmaking Division — 〈Arirang-Happy Day V〉, 8th Korea National Art Exhibition — Korean Press Coverage of Shin Jang-sik (1989)

Artist's Blog

A compilation of Korean newspaper coverage on Shin Jang-sik's 〈Arirang-Happy Day V〉, the Grand Prize winner of the printmaking division at the 8th Korea National Art Exhibition (1989). The Chosun Ilbo featured all four grand-prize-winning works (Western painting, Korean painting, sculpture, printmaking) on a single page under the heading 'Grand Prize Works on Paper'; three other newspapers center on the artist's interview, addressing his role as Assistant Art Director for the 1988 Seoul Olympics opening/closing ceremonies, the iconography of the cheongsachorong lantern, and his vision of Arirang as a 'symbol of resilience and hope, not lament.'

#Korea National Art Exhibition #Grand Prize #Newspaper Coverage Collection #The Chosun Ilbo #Arirang #Print #1988 Seoul Olympics #Cheongsachorong #1989

"Searching for the Pulse of Tradition" — Choi Tae-man Critique (1989)

Choi Tae-man

A 1989 critical essay by art critic Choi Tae-man on Shin Jang-sik. Divided into two sections — "The Question of Tradition in Korean Art" and "The Possibilities and Limits of Searching for Tradition" — the essay traces how Shin's role on the art team for the 1988 Seoul Olympics opening and closing ceremonies led him into a sustained exploration of tradition. It analyzes the iconography of 〈Arirang — Morning〉(its five directional colors, flame-tooth motif, and Goguryeo mural references), Shin's use of flag forms drawn from agricultural and military traditions, and his deployment of folk-painting motifs (taegeuk, gogok, bangsangsi mask). Choi also identifies limits in Shin's diagrammatic and explanatory tendencies and the open question of how such motifs hold persuasive power within industrial society.

#Review #Choi Tae-man #Tradition #Flag #Minhwa (Korean Folk Painting) #Obangsaek (Five-Direction Colors) #Hwayeomgak (Flame Pattern) #1988 Seoul Olympics #Arirang #1989