국립현대미술관 주최 [ 장식과 환영 – 현대장신구의 세계 ] 展

장식과 환영 – 현대장신구의 세계

Ornament and Illusion – Spectrum of Contemporary Jewelry

 

전시기간 : 2013. 6. 12 – 2014. 2. 28

장소 : 국립현대미술관(과천) 제2원형 전시장

전시기획 : 전용일. 국민대학교 교수

참여작가 : 장신구작가 44명

국립현대미술관

주관 : 국립현대미술관

전시총괄 : 최은주 학예사/ 팀장

전시진행 : 이수연 학예사

개막리셉션 : 2013. 6. 12 (수) 오후 5시- 6시 30분. 전시장

 

특강 : ‘현대장신구의 세계와 한국의 작가들’ / 전용일

6월 12일 오후 3시- 4시 30분

국립현대미술관 본관 소강당

 

Ornament and Illusion – Spectrum of contemporary jewelry is the first jewelry exhibition organized by the MMCA. As the first in-depth exploration of xontemporary jewelry at one of Korea’s most representative art institutions, this is truly a landmark exhibition, featuring 44 contemporary jewelry artists who are active both domestically and internationally, and a total of about 270 works that estmplify the aforementioned major features of contemporary jewelry.
The exhibited works are categorized into four sections according to their main characteristics: “Materials: Endless Panorama”; “Aesthetics: Beauty through Abstract Forms”; “Narrative: Scenes of Expression and Allusion”; “Process: Exploring Texhniques.” Each category includes works by eleven artists.

The “Materials” section presents works that demonstrate the expansion of materials at play in contemporary jewelry, revealing how today’s artists employ new and various materials to undermine conventions and produce wondrous visual configurations. This section also explores how the individual materials can be effectively combined to create the most exquisite compositions within the limited realm of jewelry.
The “Aesthetics” section includes works that attempt to embody pure or compressed aesthetics through abstract forms. The jewelry in this section is primarily made of metal, yet it displays an amazing thematic and formal diversity. Through their refined, dense forms, these stunning works create a subtle but enduring emmotional resonance with viewers.
The “Narrative” section offers works that highlight some experimental and conceptual approaches to contemporary jewelry, including pieces that examine jewelry’s limitations and identity, the artist’s own psycholigy, and a variety of social interests.
Finally, the “Process” section features works that epitomize the depth and mastery of porduction techniques, including both eastern and western traditional methods, such as the inlaid wire technique the “marriage of metal” technique, and new industrial techniques like RP and Todigital printing.

Today’s jewelry artists are using their craft to freely express their ideas and make important artistic statements. But even as contemporary jewelry has developed into an independent and autonomous field, it remains somewhat subsidiary in certain respects. Although jewelry has freed itself from some of the structural restrictions associated with other daily necessities and household items, it still has one remaining limitation: the human body. Jewelry must always function in harmony with the person wearing it. It is, by nature, an accessory, which implies a level of restriction and subordination. In addition, jewelry can never completely free itself from the techniques needed to process the materials. But this duality is the source of the true beauty of contemporary jewelry. Its functional and technical dependence may be seen as an obstacle or limitation, but it also provides endless opportunities for exploration and experimentation with the very identity of jewelry.
The radical movements within contemporary jewelry have recognized these dependencies as shackles, and have recognized these dependencies as shackles, and have naturally tried to escape from them. Inevitably, of course, such efforts are doomed to failure, because any attempt to cast off these shackles results in objects that have been transformed into something other than jewelry.
Contemporary jewelry, which seems primarily concerned with pursuing new forms and methods, still represents the continuation of a very long human tradition; yet remarkably, despite this longevity, this field, which produces such fascinating and dazzling objects, is still not very well known or understood. This exhibition aims to capture viewers’ imagination and ignite a fresh appreciation for these brilliand works of art, which materialize the inner mind of the artist while embodying the height of expert craftsmanship.

 

국립현대미술관에서 처음으로 기획하는 이번 현대장신구전에 여러분을 초대합니다.

이번 전시회는 국내의 장신구작가 44명의 270여점의 장신구 작품을 통해

현대 장신구의 진면목을 소개하는 기회가 될 것입니다.

정교한 작품들 속에 구현된 작가들의 정신세계와 물질에 대한 장인적 탐구는 미술애호가들과

일반인들에게 새롭고 흥미로운 미적 체험을 제공할 것입니다.

 

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초대작가

 

Ⅰ부 ( 물질성 – 재료와 물성의 파노라마 )

김지민, 문춘선, 박정혜, 백자현, 신혜림, 윤상희,이광선, 이동춘, 장정은, 최정선, 홍영희

 

Ⅱ 부 ( 형상성 – 추상과 함축의 조형미 )

김수연, 김정후, 김희주, 심현석, 우진순, 이영임, 이정규, 조성호, 최지은, 현지연, 홍지희

 

Ⅲ 부 ( 서술성 – 발언과 암시의 장면들 )

강연미, 김계옥, 김소연, 김혜원, 박정은, 서예슬,신문영, 오세린, 이정화, 이진아, 최재욱

 

Ⅳ 부 ( 가공성- 기술의 천착과 응용 )

김신령. 김연경, 김유라, 민복기, 박주현, 안승태,이진경, 장미연, 장정숙, 장희방, 정용진

 

계 44명

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