Shin Jang-sik's First Berlin Solo Exhibition
- Type
- Solo
- Period
- 1989-01 — 1989-01-23
- Venue
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- Galerie Roho, Berlin1989-01 — 1989-01-23
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Overview
The artist's first solo exhibition abroad. In January 1989 at Galerie Roho in Berlin, the artist presented works from the 〈Arirang〉 series. Marking an early international introduction of his practice to a German audience, the Berlin daily Der Tagesspiegel published R.F.'s review titled 〈Die Koreaner kommen〉, which engaged Shin's work as a meeting point of Korean traditional motifs and a contemporary pictorial idiom.
Related materials
(1)- Mixed News 1989-01-17 · Der Tagesspiegel
Der Tagesspiegel, "Die Koreaner kommen" — Shin Jang-sik's First Berlin Solo Exhibition Coverage (1989)
The Koreans Are Coming — Three Artists from Seoul at Roho
The Western world knows little of East Asian art — Chinese ink painting, Japanese color woodcuts, and not much else. In truth the scene is far more differentiated. Korea, geographically located between the two countries, played an important role in the art history of the Far East — both as a mediator of Chinese achievements and through its own work.
Korean artists too are eager to engage. Apart from the Seoul Olympics, the Berlin Galerie Roho continues to expand those relations. An exhibition of paintings by three young Koreans now marks the prelude to intensive exchange, to be followed by other Berlin institutions with exhibitions, workshops, and seminars.
The three painters are inspired by the various possibilities of Korean art — from the classical Far-Eastern to the progressive Western. Jang-Sik Shin draws on originally folkloric beginnings, working on fibrous rice paper with strongly colored flag- and magically mystical mask-images said to summon good spirits. Sung-Hwan Bae carries on the tradition of his forebears' classical ink painting, and it is astonishing to see that this path too leads to a contemporary, gesturally abstract manner. The pictures by Sang-Bong Lee feel Western-surrealist. Vessel-like medical imagery is arranged spatially on bare tables, with light and shadow falling across. Especially striking is 'Light and Shadow on a Clear Day,' in which the branches of a leafless tree before a white wall combine into a multilayered composition through highly original shadow and spatial effects.
All three share certain qualities — a courage of empty surface, a refusal of artistic acrobatics, an utmost economy of means. From this, interesting perspectives emerge — and there is more to be said about Korean art and creativity.
Galerie Roho — Sesenheimer Straße 19, through 23 January 1989; Monday to Friday 3:00–6:30 PM.
Coverage (1)
- Der Tagesspiegel 1989-01-17 · R.F.
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