PRESS

Korean artist Kim Hyun-Jung who aims 'coyness coordinating with society, art keeping in tune with the public' is introduced to domestic and foreign media by active work.

  • [Artist Hyun-Jung Kim] THE SOOKMYUNG TIMES MAGAZIN

    2018 / 01 / 17 / 17:11:151 view
    [Artist Hyun-Jung Kim] THE SOOKMYUNG TIMES MAGAZIN

    [Artist Hyun-Jung Kim] THE SOOKMYUNG TIMES MAGAZIN


    [ 숙명타임즈 ] THE SOOKMYUNG TIMES_ 2013.09월호



    숙명타임즈는 1973년에 첫 출간된 역사있는 숙명여대의 영문잡지입니다.


    Everyone Has Faux-Naif





    Think about oriental painting. What comes to mind? Scenes of mountains? A bird sitting on a branch? Perhaps even an orchid? One young oriental drawing artist who drew a woman wearing Hanbok sitting on a chair focused on her I-Pad quite differs from normal images of oriental paintings, right? Kim Hyun Jung (KIM) is this artist of a different colour. She has drawn lots of paintings and calls them the Series of Faux-Naif (in Korean (Nae-sung). The Sookmyung Times (SMT) met up with her to uncover secrets behind her Series of Faux-Naif.


    SMT Your paintings differ greatly from other oriental paintings. I wonder what sparked your unique oriental painting style, in particular the Series of Faux-Naif.


    KIM Personally, I don’t feel the Series of Faux-Naif to be unlike more traditional oriental paintings. I was trying to express myself in the paintings. As a student I
    was concerned a lot about how others saw me. I lived life, not according to my wants, but trying to look for others. The eyes of others became the standard of
    my life, and I suffered for it. Because I pursued life according to others’ view of me lost the inner me. I often wondered who I was. It was during those days that
    I began the Series of Faux-Naif. At first, I started to make caricatures of Faux-Naif people. However, as I drew, I realized I resembled those people in my works, so
    I started to draw caricatures of myself. The Series of Faux-Naif is not only a reflection of outward self, but also my desire to escape from the eyes of others and social convention.


    SMT When I first heard about the Series of Faux-Naif, I pondered the meaning of Faux-Naif. Can the word Faux-Naif in your painting be the
    same term with the word used in
    daily life?


    KIM In my work, Faux-Naif is a concept wider than more commonly used connotation. For me, it entails every action that is different from what I have
    in mind. A Faux-Naif person is on that pretends to be shy. The word Faux-Naif is a term applied mostly to women, but I think it can have a wider usage. It is just
    a discrepancy between the desire to be accepted from others and to hide what I cannot do well. Actually, instinct is what compels us to behave a certain way.


    SMT You have drawn lots of paintings and held numerous exhibitions including a showcase at the Asian Students and Young Artists Art Festival (ASYAAF). Do you have a drawing that is most precious to you?


    KIM My first piece in the Series of Faux-Naif Narcissus is very dear to me. It was my very first Faux-Naif painting. I drew it to express the moment a woman
    immerses herself in eye makeup in front of a small hand mirror. I won the Gold Prize in Oriental Painting at the 12th Korea Women’s Grand Art Exhibition
    with the piece. So Narcissus means a lot to me. Also, Familiar but Unfamiliar is important and precious as well. As I told you just before, at first my Faux-
    Naif style paintings were caricatures of other people. However, Familiar but Unfamiliar is the painting that started me down my path of creating selfportrait
    caricature works. Two women in the painting hold game consoles, but are not engaged in the game. I tried to express the times when people feel familiar yet unfamiliar with others. After this piece, I began seriously working on the Series of Faux-Naif with a focus on myself.


    SMT From whom or what do you get inspiration mostly?


    KIM Inspiration for my drawings usually comes from my life. Because the Series of Faux-Naif is self-portrait based, my ideas came from my daily life. Also, communication with my audience or fan base through SNS is important. I upload posts on my blog and Facebook.
    Through the Internet, I can meet a variety of people, learn, and be inspired by unexpected ideas.


    SMT From whom or what do you get inspiration mostly?


    KIM Inspiration for my drawings usually comes from my life. Because the Series of Faux-Naif is self-portrait based, my ideas came from my daily life.
    Also, communication with my audience or fan base through SNS is important. I upload posts on my blog and Facebook.
    Through the Internet, I can meet a variety of people, learn, and be inspired by unexpected ideas.


    SMT Your paintings have soared in popularity. The art world credits your years of experience. However, you are much younger than other Oriental drawing artists. I am curious as to the keys to your success.


    KIM It’s true my paintings sold out in just two days, but there is no special key. I never drew with the intent of making money. I drew because I drew.
    It’s who I am. Buyers of my work often say my work is easy to understand and is unique. Also, lots of people have seen my work on SNS, so I can’t deny that
    SNS has helped my popularity. I think an artist must communicate with his/her audience through the paintings.
    The most important thing in my mind as I paint is sympathy. If the voice of the artist is conveyed to the audience, the audience will feel comfortable being in the gallery. When people feel comfortable they sympathize with an art piece more easily.


    SMT Besides private exhibitions, what else would you like to do in the future?


    KIM I hope to be known as an artist who communicates with her public. Also, I am interested in showing the Series of Faux-Naif through installation art and video.
    By visualizing and touching my Series of Faux-Naif, people will accept Faux-Naif more intuitionally and directly. So, I have started to learn sculpture, which
    was not my major. I keep considering new topics. At the moment, though, I feel really happy holding exhibitions, so I would like to maintain this life style
    for a bit longer. Having said that, I am studying and putting on exhibitions continuously. My ultimate goal is to establish authority in this field and make
    art something everyone enjoys. Also, I hope to become a traditional culture preacher who explains Korean traditional culture thought art.






    Editor : Kim Jo Dana
    좋은 인터뷰 진행해주신 Kim Jo Dana 에디터님 감사합니다.

    내숭이야기는 
    고상하고 비밀스러운 한복을 입고 
    일상적인 행동들을 하고 있는 
    여인의 장면을 포착하고 있습니다. 
    인물을 누드로 표현한 후 
    서양의 콜라주와 동양의 수묵담채 기법을 
    이용하여 독특한 대비성을 주었습니다. 
    상의 부분에 직접 염색한 한지를 붙여 
    한복의 서걱거리는 질감과 
    하의 부분의 치마는 먹을 이용하여 
    반투명하게 그려내 몸의 라인을 
    비치게 드러냄으로 
    ‘그 속이 훤히 들여다보인다.’ 
    는 메시지를 담고 있습니다.


    #김현정#김현정
     #김현정작가#김현정작가 #한국화#한국화 #한국화가#한국화가 
    #동양화#동양화 #동양화가#동양화가 #내숭이야기#내숭이야기 #내숭#내숭 
    #한복#한복 #회화#회화 #일러스트#일러스트 
    #Kimhyunjung#Kimhyunjung
     #Hyunjungkim#Hyunjungkim #Art#Art 
    #Artist#Artist #Hanbok#Hanbok #Feign#Feign #OrientalArt#OrientalArt 
    #Fineart#Fineart #Painting#Painting #illust#illust 

     김현정 Kim, Hyun - Jung / Artist

    Email : artistjunga@kimhyunjung.kr
    Homepage : www.kimhyunjung.kr   
    Blog : www.artistjunga.blog.me 
    Facebook: www.facebook.com/artistjunga
    Instagram: www.instagram.com/hyunjung_artist 
    Youtube: www.goo.gl/CXB509 
    Twitter : www.twitter.com/artistjunga
    Weibo : www.weibo.com/koreartist

    Copyright  By 한국화가 김현정 All pictures
    Cannot be copied without permission.

    ...
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  • [Artist Hyun-Jung Kim]ELOQUENCE MAGAZIN

    2018 / 01 / 17 / 17:11:152 view
    [Artist Hyun-Jung Kim]ELOQUENCE MAGAZIN

    [Artist Hyun-Jung Kim] ELOQUENCE MAGAZIN


    [ELOQUENCE]

    김현정 작가 내숭이야기 _ 2013.09

    ELOQUENCE MAGAZINE은 전세계
    크리에이터스와 함께 만들어나가는
    인터내셔널 크리에이터스 매거진입니다.

    각국의 크리에이터스와 함께 협업하여
    글로벌 콘텐츠를 제작하고,
    공동 작업의 기회를 제공하고 있습니다.
    단순한 매거진이 아닌 예술, 음악, 건축,
    패션, 영화, 테크놀러지 등
    각기 다른분야의 크리에이터들이 서로
    아이디어를 교환하고 영감을
    교류할 수 있는 플랫폼 역할을 지향합니다.


    ELOQUENCE는 서울을 기점으로 아시아
    각국의 크리에이터와 아카이브를 발굴,
    소개, 지원하고 있습니다.
    특히 아시아의 크리에티브 컨텐츠를
    유럽과 미주에 알리는 윈도우
    역할을 하고 있으며, ELOQUENCE는
    런던, 파리, 뉴욕, 도쿄, 암스테르담,
    바르셀로나, 방콕, 도쿄 등에 배포망을
    구축하고 있습니다.
    http://www.eloquence.co.kr/

    ▼ 아래는 잡지, ELOQUENCE에 실린 인터뷰의 일부를 발췌하였습니다.
    LOQUENCE

    전통 의상인 한복을 대할 때 흔히 기대하는 관념적 이미지가 있다.
    하지만 김현정의 그림은 한복에서 오는 긴장감을 철저히 무시한, 너무나도 일상적인 자신의 모습을 보여준다.
     
    아이러니함과 동시에 인물이 더 사랑스럽게 보이는 이유는 쇼핑을 좋아하고
    휴대폰을 달고 사는 그녀의 자화상이 영락없는 한국 현대 여성의 모습이기 때문일 것이다.
    엘로퀀스는 재치와 통찰력이 돋보이는 26세의 젊은 작가 김현정을 만나 이야기를 나눠 보았다.


    When people think about Hanbok, a traditional Korean outfit, they have certain expectations. Hyunjung Kim deliberately defies those expectations by painting a picture that shows Hanbok in an unstressed everyday-life manner. Responsible for an ironically even lovelier look is probably the designer's own persona, a modern Korean woman who enjoys shopping and can't live without her phone. Eloquence met the young, witty artist for an insightful chat.
     
     
    Hanbok elements play a significant role in your work. How did that come about?
      The most important function of the hanbok is to highlight 'the impact of common expectations'. The series Feign started with my personal thoughts about false assumptions and people who act differently on the inside and the outside, and I'm slowly developing that into a more personal confession and a general statement undermining stereotypes. The works depict delicate garments that are usually worn to festive occasions, in rather atypical, often humorous situations, as well as in combination with modern items that take away the entitlement to judge. These contrasts are, of course, present in other outfits, but I really do pattern and accessories of the Korean hanbok. Those unique attributes are more than enough to spark my expressiveness as an artist.
     
     
    Your paintings often depict women’s two-sideness. Is there something being ‘feigned’ there?
      If you look up the word ‘feign’ it will say something like, ‘acting shy on the outside, but really being deceptive.’ But, as you can see in your question, most people will naturally associate the word ‘feign’ with the picture of a woman, even though it is, of course free of gender. While I do agree that it is an expression that in our society suits a woman better than a man, I don’t think that it is an exclusively female characteristic. I think that it is a rather common social urge of people to gain confirmation from one another and hide personal weaknesses that result in ‘discordance;. Sometimes it appears almost instinctively, but I also believe that people will sacrifice part of their own selves, their own identities for social convenience. While I planned Feign as an expression of dissatisfaction with pretentious people and a desire for pictorial expression, it has now become a psychological and philosophical topic for me.
     
     
    The pieces that show nude body parts underneath the hanbok are particularly memorable. They could be interpreted sexually.
      I often think that women have to hide their inherent desires and true nature more than men. As mentioned before, I think that pretention is more connected to women and frankly, I think that it is reality. There’s a part of me that chose to draw women because I’ve experienced such things first-hand. However, the nudity is there to express that people wear clothes only to adorn themselves, to show that they have a clean core. It’s a very important element. The viewer can see through the half transparent textile the essence of the person, and the silhouettes to indicate the character’s possibility to reach that core. Seen from the ‘female’s essential core’ in my paintings, could one really think I was sending a sexual message?
     
     
    The Feign series is fairly well known, but what other works have you previously done?
      The Feign series can be seen entirely as a study of my own personality. Before that I was preparing for that process of searching. I,E, my own version of The Thinker. When I was in that self-defining of elements of Korean beauty make me nod along to his insightful explanations. I would like to take our art, our hanboks and hanji (Korean traditional paper) and present their subtle beauty proudly all over the world. And Takashi Murakmi is an artist whose works have taught me that art can coexist with capitalistic industrialization and still be a part of our everyday lives. One of my dream is to see art being as much a part of everybody’s life as music, to see it being a base for joy that anybody can easily pick up. He showed me that art can become a way to nestle on industrialized territory.
     
     
    It seems as if one can see your own lifestyle depicted in your works. What kind of person are you?
      That’s something I would completely leave up to the spectator. I actually like shopping and very lively things, but on the other hand I enjoy being by myself and like any other artist I am a rather emotional person This might be the right time to unburden myself  as a girl who likes lively things  from something I’d like to say about the expression ‘drawing (spoiled) girl.’ I think that it is denigrating and suppressing women’s hopes of a bright and vivid life. Everybody has those desires, not just women. I would like to see more confidence and acceptance of people’s tastes and preferences. That’s one of the things I realized about myself during my working process.
     
     
    What kind of artist would like to be come?
      I would like to be an artist who scratches people where it itches. I usually answer this question with, ‘artists are people who express other people’ desires’. Artists are more sensitive and emotionally charged than other people. They are able to express what others might not be able to understand in the first place or issues they can identify with but don’t know how to let out. Artists are professional. I try to be a sensitive, worldly person, interactive and keen on life.


    내숭이야기는 
    고상하고 비밀스러운 한복을 입고 
    일상적인 행동들을 하고 있는 
    여인의 장면을 포착하고 있습니다. 
    인물을 누드로 표현한 후 
    서양의 콜라주와 동양의 수묵담채 기법을 
    이용하여 독특한 대비성을 주었습니다. 
    상의 부분에 직접 염색한 한지를 붙여 
    한복의 서걱거리는 질감과 
    하의 부분의 치마는 먹을 이용하여 
    반투명하게 그려내 몸의 라인을 
    비치게 드러냄으로 
    ‘그 속이 훤히 들여다보인다.’ 
    는 메시지를 담고 있습니다.


    #김현정#김현정
     #김현정작가#김현정작가 #한국화#한국화 #한국화가#한국화가 
    #동양화#동양화 #동양화가#동양화가 #내숭이야기#내숭이야기 #내숭#내숭 
    #한복#한복 #회화#회화 #일러스트#일러스트 
    #Kimhyunjung#Kimhyunjung
     #Hyunjungkim#Hyunjungkim #Art#Art 
    #Artist#Artist #Hanbok#Hanbok #Feign#Feign #OrientalArt#OrientalArt 
    #Fineart#Fineart #Painting#Painting #illust#illust 

    김현정 Kim, Hyun - Jung / Artist

    Email : artistjunga@kimhyunjung.kr
    Homepage : www.kimhyunjung.kr   
    Blog : www.artistjunga.blog.me 
    Facebook: www.facebook.com/artistjunga
    Instagram: www.instagram.com/hyunjung_artist 
    Youtube: www.goo.gl/CXB509 
    Twitter : www.twitter.com/artistjunga
    Weibo : www.weibo.com/koreartist

    Copyright  By 한국화가 김현정 All pictures
    Cannot be copied without permission.



    ...
    READ MORE
  • [Artist Hyun-Jung Kim] Hanyootong(韓遊通) Four Young Artists promote Korean Painting in the world

    2018 / 01 / 17 / 17:11:151 view
    [Artist Hyun-Jung Kim] Hanyootong(韓遊通) Four Young Artists promote Korean Painting in the world

    .

    [Artist Hyun-Jung Kim] Hanyootong(韓遊通) Four Young Artists promote Korean Painting in the world

     [한유통]_한국화를 세계에 알리는 영아티스트 4인 열전 김현정 작가_2015.01.14


    한유통은 중앙일보미디어플러스가 발행하는 중문(中文)판 한국관광정보 온/오프라인 통합 플랫폼입니다.
    한유통(韓遊通 )의 '통(通)'은 ‘전문가·통하다·소식을 전하다’라는 뜻입니다.
    중국 관광객을 주 대상으로 신뢰성 있고, 깊이 있는 관광정보를 제공합니다!


    ▽아래에는 인터뷰 내용입니다.
    이 기사는 http://blog.naver.com/hanyoutong/220240030230 에서 보실 수 있습니다.


    한국화를 세계에 알리는 영아티스트 4인 열전 김현정 작가

     
    한국과 중국은 오랜 동안 문화를 함께 공유해 온 문화적 동지이자 공감자이다. 
    한국화를 중국에 나아가 세계에 알리고자 하는 영아티스트 4인을 <한유통>에서 직접 만나
    그들의 작품과 화풍을 소개한다.  

    글_서영주
    사진_이호영(studio A1)


     팬텀 문화를 이끌어낸, 한국 동양화의 아이돌 김현정  
     
    아직 소녀 같은 이미지의 동양화가 김현정(27,金炫廷)은 작가적 이미지 보다는 발랄하고 사랑스러운, 대학원생 같은 느낌이다. 그러나 그녀와 30여 분 정도 대화를 나누다보면, 왜 김현정 작가의 작품이 세상 밖 사람들에게 회자되며 큰 인기를 끌고 있는지 자연스레 알 수 있게 된다. 여느 아이들처럼 크레파스를 집어들고 그림을 그리기 시작한 김작가가 한국화의 매력에 흠뻑 빠져들게 된 것은 선화예고 1학년에 재학 중인 때로 거슬러 올라간다. 한지 위에 투명하고 부드럽게 자리잡은 수묵이 주는 안정감, 말하자면 먹색의 매력에 빠져들면서 한국화 전공으로 마음을 굳혔다. <무동>, <씨름> 등에 나타난 김홍도 선생의 걸작을 통해 한국적인 정서를 표현한 풍속화의 세계로 빨려들어가게 된다. 뜻하지 않았던 재수를 거쳐 서울대학교 동양화과에 입학하며 화가로서의 꿈을 더욱 키워나갔다. "수묵은 여러 번 덧칠을 해도 화면이 탁해지거나 두꺼워지지 않고 오히려 투명감을 준다는 게 너무 신기했어요. 농담의 묘미를 살릴 수 있는 매력적인 도구가 바로 수묵이죠. 획 하나가 작품의 인상을 결정지을 만큼 중요하고, 고도의 집중력과 섬세함을 필요로 합니다." 평균 20번 정도 먹색을 덧그리는데 얇게 여러번 반복해야 그림 상태를 오래 보존할 수 있다. 동일한 작업을 반복하다 보면 자신도 모르게 물 밑의 생각을 읽게 되는 시간을 마주하게 된다. 한복을 입고 대외활동한 것만 해도 그렇다. 한복 입은 인물 동양화를 그리다보니, 관객의 시선을 끌기 위해? 둘다 틀린 답이다. 시초는 작품 속 한복 여밈을 잘못 그렸었던 것, 누군가에게 그것을 지적 받고는 너무 속이 상했다. 이왕 그리려면 제대로 그리자. 그러려면 한복을 입은 채 자장면도 먹고, 운동도 하고, 오토바이도 타보자 생각했던 것이다. 많이 입어봐야 한복의 어떤 실루엣이 만들어지는지 알 것 같았다. 그래서 이제는 방송 출연, 전시회 큐레이션, 매체 인터뷰에도 한복을 곱게 차려 입게 된 것이다. ‘ 


    SNS를 통한 관객과의 열린 소통법도 그렇고 예쁜 구두, 명품백, 오토바이, 맥도날드 같은 상업화된 브랜드를 화풍 속에서 만나면서 커머셜 작가라는 편견을 가질 수 있고 기자 역시 그렇게 오해했다. 하지만 모든 그림 속의 주인공이 작가 자신이라는 즉, 자화상 시리즈를 줄곧 그려왔다는 점에서 그리고 작가가 스물 일곱살의 신세대 여성이라는 점에서 오히려 편견은 솔직한 매력으로 탈바꿈한다. "인물화를 그리기 시작해서 얼마 지나지 않아서부터 모델 구하는 게 정말 힘들었어요. 그래서 거울에 비친 저를 그리기 시작했어요. 작가인 제가 모델인 저한테 요청하니 못할 것이 없어졌어요. 저는 그림 소재를 정하면 일단 2컷의 사진을 남겨요. 타이트한 상의와 레깅스를 착용하고 운동 중이거나, 오토바이에 올라앉은 제 모습이 그 하나구요.  1컷은 한복을 입은 채 똑같은 동작을 취한 제 모습이죠. 화폭에는 누드인 나를 그리고, 옷을 입듯 한복을 차려입은 나를 다시 한번 덧그리는 방식으로 그림은 완성됩니다." 한복은 마치 인형 놀이를 하듯, 직접 염색한 한지를 사용해 꼴라쥬(Collage) 방식으로 작업한다. 오묘한 먹색은 동양을, 꼴라쥬 기법은 서양을 대표하는 미술기법이다. 동양화라고 해서 한지에 산수화만 그릴 수는 없다는 것이다. 김현정 작가는 자신이 좋아하는 미국 작가 제프 쿤스(Jeff Koons, 키치 미술의 스타)처럼 예술성과 상업성을 넘나드는 작가로 한국의 동양화계에 새바람을 넣고 있다.  
     
    대표 작품 : 자화상 시리즈인 '내숭이야기'를 통해 신세대 작가 김현정을 알렸다. 시선과 통념으로부터 일탈하는 자유의 상태를 표현하는 컨셉이다. <나르시스> '내숭'을 표현한 첫 작품. 뒤이어 '내숭올림픽'을 통해 대중적으로 많은 이들의 사랑을 받게 되었다. 그중 <순정녀>는 당구를 주제로 한 작품, <낯선 혹은 익숙함>은 내면적으로 전환점을 이룬 작품. 초기 내숭시리즈는 겉과 속이 다른 사람들의 모습을 희화한 것에서 비롯되었으나 내숭시리즈부터 자화상에 몰입하게 되었다. '네가 아무리 내숭을 부려도 네 자신은 그 속을 모두 알고 있어' 하는 마음을 표현.  


    프로필 : 선화예술고등학교 미술학부를 거쳐 서울대학교 동양화과 졸업. 동대학원 동양화과 석사 졸업. 2011 세계평화미술대전 한국화 부문 최우수상 수상. 2013년 아시아프 단체전 전시. 2014 2014 내숭올림픽 가나아트센터 개인전, 아트서울 초대전 한가람미술관 전시. 2013년 스투트가르트, 홍콩, 뉴욕 등에서 해외 전시.



     
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    https://www.facebook.com/hanyoutong.kr


     
    글_서영주
    사진_이호영(studio A1)
     

    감사합니다.

    내숭이야기는 
    고상하고 비밀스러운 한복을 입고 
    일상적인 행동들을 하고 있는 
    여인의 장면을 포착하고 있습니다. 
    인물을 누드로 표현한 후 
    서양의 콜라주와 동양의 수묵담채 기법을 
    이용하여 독특한 대비성을 주었습니다. 
    상의 부분에 직접 염색한 한지를 붙여 
    한복의 서걱거리는 질감과 
    하의 부분의 치마는 먹을 이용하여 
    반투명하게 그려내 몸의 라인을 
    비치게 드러냄으로 
    ‘그 속이 훤히 들여다보인다.’ 
    는 메시지를 담고 있습니다.


    #김현정#김현정
     #김현정작가#김현정작가 #한국화#한국화 #한국화가#한국화가 
    #동양화#동양화 #동양화가#동양화가 #내숭이야기#내숭이야기 #내숭#내숭 
    #한복#한복 #회화#회화 #일러스트#일러스트 
    #Kimhyunjung#Kimhyunjung
     #Hyunjungkim#Hyunjungkim #Art#Art 
    #Artist#Artist #Hanbok#Hanbok #Feign#Feign #OrientalArt#OrientalArt 
    #Fineart#Fineart #Painting#Painting #illust#illust 

    김현정 Kim, Hyun - Jung / Artist

    Email : artistjunga@kimhyunjung.kr
    Homepage : www.kimhyunjung.kr   
    Blog : www.artistjunga.blog.me 
    Facebook: www.facebook.com/artistjunga
    Instagram: www.instagram.com/hyunjung_artist 
    Youtube: www.goo.gl/CXB509 
    Twitter : www.twitter.com/artistjunga
    Weibo : www.weibo.com/koreartist

    Copyright  By 한국화가 김현정 All pictures
    Cannot be copied without permission.


    ...
    READ MORE
  • [Artist Hyun-Jung Kim] Korean Cultural Centers Germany

    2018 / 01 / 17 / 17:11:152 view
    [Artist Hyun-Jung Kim] Korean Cultural Centers Germany

    [Artist Hyun-Jung Kim] Korean Cultural Centers Germany "21 Century’s Genre Painting the Story of Prudery"

    GESCHICHTE DER VORGETÄUSCHTEN UNSCHULD 
    21세기의 풍속화 내숭 이야기 

    AUSSTELLUNG VON KIM HYUN JUNG 
    19.05.25.06.2016 
    VERNISSAGE IN ANWESENHEIT DES KÜNSTLERS 
    AM 19.05.2016 UM 18.00 UHR 

    EINTRITT FREI. 
    KOREANISCHES KULTURZENTRUM

    bild 독일 일간지
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany
    "21 Century’s Genre Painting the Story of Prudery"Korean Cultural Centers Germany

    AUSSTELLUNG VON KIM HYUN JUNG

    In Korea, das von der Philosophie des Konfuzianismus geprägt ist, wurde 
    traditionell die Zurschaustellung des eigenen „Verlangens“ abgelehnt, 
    aber heute wird es ganz oen gezeigt. Auch im Werk Kim Hyun Jungs 
    ndet sich diese Strömung. Die Menschen der Gegenwart, die ihr Verlangen 
    ausleben und es oen zeigen, präsentiert sie in Form des „Mädchens mit 
    der vorgetäuschten Unschuld“. Das Mädchen, das einen Hanbok, ein 
    traditionelles Kleidungsstück, trägt, umgibt sich mit modernen Alltagsgegenständen 
    und legt ein freimütiges Verhalten an den Tag, wie es mit 
    traditionellen Vorstellungen von der Weiblichkeit völlig unvereinbar ist. 
    Die Künstlerin bezeichnet dies als „vorgetäuschte Unschuld“, bei der die 
    Protagonistin dabei ertappt wird, wie sie ihr Verlangen entweder bewusst 
    oen zeigt oder es zumindest nicht verbirgt. Dieses Bild passt zwar nicht 
    zum Verhaltenskodex der traditionellen Gesellschaft, aber es ist ein Gefühl, 
    das wir alle kennen. Dabei handelt es sich um eine ehrliche Darstellung, die 
    den Großteil der Menschen betrit, die ihre verborgenen Begierden oen 
    nach außen tragen. Indem die Künstlerin ein solch widersprüchliches 
    Verhalten der „vorgetäuschten Unschuld“ auf humorvolle und manchmal 
    schrille Weise porträtiert, kann es passieren, dass sie damit Unbehagen 
    auslöst. Gleichzeitig erreicht sie bei der Betrachterin oder dem Betrachter 
    ein Verstehen und eine Erkenntnis, die Euphorie auslösen. 
    Zugleich verschmilzt sie in ihren Bildern Erscheinungen des modernen 
    Zeitalters mit der gesellschaftlichen Situation im heutigen Korea. Deshalb 
    können sich viele Menschen mit den Arbeiten Kims identizieren. Sie 
    stehen für die andere Identität Koreas. 
    Der Orientalismus ist immer noch der weitere Kontext, in dem die Länder 
    des fernen Ostens gesehen werden. Diese verzerrte Perspektive auf den 
    fernen Osten sorgt dafür, dass er nach wie vor mystiziert wird und dass 
    sich diese Sichtweise zu einer Gewalt entwickelt, die die Realität verkennt. 
    Kim Hyun Jung zerstört in ihrem Werk existierende einseitige Vorurteile 
    und präsentiert ein neues Bild vom fernen Osten. Ihren Arbeiten wohnt die 
    Kraft einer Erzählung inne, in die nicht nur formale Seiten wie die 
    koreanische Malerei einießen, sondern auf ganz natürliche Weise auch 
    das Bild der modernen Gesellschaft. Das Verhalten der „vorgetäuschten 
    Unschuld“ wird abweichend von traditionellen Abbildungen auf 
    erfrischende und neue Weise gezeigt.


    내숭이야기는 
    고상하고 비밀스러운 한복을 입고 
    일상적인 행동들을 하고 있는 
    여인의 장면을 포착하고 있습니다. 
    인물을 누드로 표현한 후 
    서양의 콜라주와 동양의 수묵담채 기법을 
    이용하여 독특한 대비성을 주었습니다. 
    상의 부분에 직접 염색한 한지를 붙여 
    한복의 서걱거리는 질감과 
    하의 부분의 치마는 먹을 이용하여 
    반투명하게 그려내 몸의 라인을 
    비치게 드러냄으로 
    ‘그 속이 훤히 들여다보인다.’ 
    는 메시지를 담고 있습니다.


    #김현정#김현정
     #김현정작가#김현정작가 #한국화#한국화 #한국화가#한국화가 
    #동양화#동양화 #동양화가#동양화가 #내숭이야기#내숭이야기 #내숭#내숭 
    #한복#한복 #회화#회화 #일러스트#일러스트 
    #Kimhyunjung#Kimhyunjung
     #Hyunjungkim#Hyunjungkim #Art#Art 
    #Artist#Artist #Hanbok#Hanbok #Feign#Feign #OrientalArt#OrientalArt 
    #Fineart#Fineart #Painting#Painting #illust#illust 

    김현정 Kim, Hyun - Jung / Artist

    Email : artistjunga@kimhyunjung.kr
    Homepage : www.kimhyunjung.kr   
    Blog : www.artistjunga.blog.me 
    Facebook: www.facebook.com/artistjunga
    Instagram: www.instagram.com/hyunjung_artist 
    Youtube: www.goo.gl/CXB509 
    Twitter : www.twitter.com/artistjunga
    Weibo : www.weibo.com/koreartist

    Copyright  By 한국화가 김현정 All pictures
    Cannot be copied without permission.


    ...
    READ MORE
  • [Artist Kim Hyun-Jung]EBS Knowledge of the Channel e - Story of feign

    2018 / 01 / 17 / 17:11:152 view
    [Artist Kim Hyun-Jung]EBS Knowledge of the Channel e - Story of feign

    [Artist Kim Hyun-Jung]EBS Knowledge of the Channel e - Story of feign

    {Nae-soong}
    Pretend to be innocent but sly.

    Story of feign

    The most peaceful time of the day.

    The perfect table in the world.

    Affection for beauty.

    Desire for beauty is my instinct.
    It's always in the back of my mind.

    Elegant and somewhat mystical things in the skirt.

    We need to live a life at ease
    but it is not easy as it tells.

    All around us...
    common notions, view points, roles, expectations

    Inner conflicts are like fierce games.

    With a beating heart!

    I get nervous, when people stare at me.

    Breakaway!

    Common notions disappear
    and the new game begins.

    Hidden

    aspects of me

    Careless

    and easygoing

    Actually,
    strong enough to lift heavy things.

    Familiar
    but sometimes unfamiliar

    Just the way I am

    I comfort myself.

    Drawing self-portraits is a process of finding real-me.

    The more I paint, the more my life becomes beautiful.
    -<'story of feign' series> artist Hyun-jung Kim

    Written and painted by Hyun-jung Kim
    Vice-produced by June-young Jang
    Produced by Jeong-won Hwang

    {Nae-soong}
    Pretend to be innocent but sly.
    Story of feign
    The most peaceful time of the day.
    The perfect table in the world.
    Affection for beauty.
    Desire for beauty is my instinct.
    It's always in the back of my mind.
    Elegant and somewhat mystical things in the skirt.
    We need to live a life at ease
    but it is not easy as it tells.
    All around us...
    common notions, view points, roles, expectations
    Inner conflicts are like fierce games.
    With a beating heart!
    I get nervous, when people stare at me.
    Breakaway!
    Common notions disappear
    and the new game begins.
    Hidden
    aspects of me
    Careless
    and easygoing
    Actually,
    strong enough to lift heavy things.
    Familiar
    but sometimes unfamiliar
    Just the way I am
    I comfort myself.
    Drawing self-portraits is a process of finding real-me.
     
    The more I paint, the more my life becomes beautiful.
    -<'story of feign' series> artist Hyun-jung Kim
     
    Written and painted by Hyun-jung Kim
    Vice-produced by June-young Jang
    Produced by Jeong-won Hwang
     


    내숭이야기는 
    고상하고 비밀스러운 한복을 입고 
    일상적인 행동들을 하고 있는 
    여인의 장면을 포착하고 있습니다. 
    인물을 누드로 표현한 후 
    서양의 콜라주와 동양의 수묵담채 기법을 
    이용하여 독특한 대비성을 주었습니다. 
    상의 부분에 직접 염색한 한지를 붙여 
    한복의 서걱거리는 질감과 
    하의 부분의 치마는 먹을 이용하여 
    반투명하게 그려내 몸의 라인을 
    비치게 드러냄으로 
    ‘그 속이 훤히 들여다보인다.’ 
    는 메시지를 담고 있습니다.


    #김현정#김현정 #김현정#김현정 작가 #한국화#한국화
     #한국화가#한국화가
     #동양화#동양화
     #동양화가#동양화가
     #내숭이야기#내숭이야기
     #내숭#내숭 
    #지식채널e 
    #KimHyunJung#KimHyunJung #HyunJungKim#HyunJungKim
     #Art#Art #Artist#Artist #Hanbok#Hanbok #Feign#Feign #OrientalArt#OrientalArt #Fineart 
    #EBS#EBS

    김현정 Kim, Hyun - Jung / Artist

    Email : artistjunga@kimhyunjung.kr
    Homepage : www.kimhyunjung.kr   
    Blog : www.artistjunga.blog.me 
    Facebook: www.facebook.com/artistjunga
    Instagram: www.instagram.com/hyunjung_artist 
    Youtube: www.goo.gl/CXB509 
    Twitter : www.twitter.com/artistjunga
    Weibo : www.weibo.com/koreartist

    Copyright  By 한국화가 김현정 All pictures
    Cannot be copied without permission.


    ...
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