2019年11月10日

イム・グヌ(林 根右)展 [絶ゆまぬ宇宙] | IM GOONOO Exhibition [The Restless Cosmos]

 



イム・グヌ(林 根右)展
「絶ゆまぬ宇宙」

大阪展 2019年11月18日(月)〜30日(土)
☆オープニングパーティー: 11/18 (月) 17:00頃〜@天野画廊
その後移動して、 ウーニーポンポンカウカウにてイム・グヌ パフォーマンス (19:30頃〜)
京都展 2019年11月20日(水)〜12月1日(日)

[大阪展第一会場]
天野画廊
〒530-0047 大阪市北区西天満4-3-3星光ビル2F
http://amanogallery3.tonosama.jp/
Tel/Fax 06-6364-0784
Open 11:00 - 19:00 (日曜休み・土曜17時まで)

* オープニングパーティー
11/18 17:00 - 19:00

[大阪展第二会場]
ウーニーポンポンカウカウ・アートプロジェクトスペース&バー
〒530-0027 大阪府大阪市北区堂山町13-5
http://www.unipon2kau2.com
Tel 06-6313-2644
Open 17:00-3:00am (日曜休み / 19:00〜チャージ¥300)

*イム・グヌ ライブペインティング @ウーニーポンポンカウカウ
11月18日(月) 19:30 - 20:30
(当日はドリンク等のオーダーはキャッシュオンデリバリー制です。)

[京都展会場]
芦屋画廊Kyoto
〒606-8354 京都市左京区頭町357-8
https://www.ashiya-garo.com/
Tel 075-754-8556
Open 12:00 - 19:00 (月曜・火曜休み)

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IM GOONOO Exhibition
[The Restless Cosmos]

Exhibition in Osaka
Date: 11/18 (Mon) - 11/30 (Sat), 2019
Exhibition in Kyoto
Date: 11/20 (Wed) - 12/1 (Sun), 2019

[The 1st venue in Osaka]
AMANO GALLERY
Seiko Bld. 2F, 4-3-3 Nishitemma Kita-ku, Osaka-shi, Osaka-fu, 530-0047, Japan
http://amanogallery3.tonosama.jp/
Tel/Fax 06-6364-0784
Open 11:00 - 19:00 (Closed on Sunday / Saturday 11:00 - 17:00)

* Opning party
11/18 17:00 - 19:00

[The 2nd venue in Osaka]
Venue: unipon2kau2 art project space & bar
13-5 Doyamacho, Kita-ku, Osaka-shi, Osaka-fu, 530-0027, Japan
http://www.unipon2kau2.com/
Tel 06-6313-2644 
Open 17:00 - 3:00 AM (Closed on Sunday / 19:00 - Charge 300JPY)

* 11/18 (Mon) 19:30 - 20:30 IM GOONOO Live-painting performance @unipon2kau2 art project space
(*On the day, drink orders will be provided by cash on delivery and no charge.)

[Venue in Kyoto]
ASHIYAGARO Kyoto
357-8 Kashiracho Sakyo-ku, Kyoto-shi, Kyoto-fu 606-8354, Japan
https://www.ashiya-garo.com/
Tel 075-754-8556
Open 12:00 - 19:00 (Closed on Monday and Tuesday)
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より大きな地図で ウーニーポンポンカウカウ unipon2kau2 を表示

今後の予定はカレンダーを御覧ください。



The Restless Cosmos of IM GOONOO

Robert C. Morgan

​IM GOONOO is an important Korean artist. His work brings together the vernacular of everyday life with deeply felt historical and mythic sources. His paintings and installations are both unique and intriguing. IM GOONOO aligns his work with important founding modernists, such as Park Seo Bo, Paik Nam Jun, and Kim Tschang Yeul. While he does not follow directly their stylistic orientations, IM’s passion and presence as a poetic imagist in a contemporary context continues to hold its own engaging appeal. For example, his multicolored banners blowing in the wind reveal the artist’s awareness of energy – the sacred, luminous qi –as it carries a subtle and evocative knowledge of historical sources going back to the Koryo Dynasty.

​In observing IM’s work, I recognize a quality of “pattern recognition,”
a term used by the Canadian media analyst Marshall McLuhan in the 1960s whereby recurrent themes could be identified in an artist’s work. McLuhan applied his ideas primary to the medium of television; but I maintain they could be applied to contemporary painting as well. IM GOONOO is a primary example. As one begins to look at the vast repertoire of IM’s paintings, it becomes evident that many of his works are related to not only the media of the present but to Korean history and culture going back over the centuries. These might include a rich color field of bright flowers with animals taken from hybrid fantasies and conjugations using the leopard’s spots in relation to the black and white stripes of the zebra or where the contours of small horses interact with the blossoming of trees within a scattered field of polka dots. This might also include his banners of brilliant intersecting colors that IM GOONOO has employed over the years on various celebratory locations, always for the purpose of projecting a heightened manifestation of spiritual values within the material world.

​This is the crux of the matter. Indeed, IM GOONOO is interested in the connections between spiritual values and the material manifestations of the everyday world. Both hemispheres of knowledge relate to the process of making art and the fact that some aspects of art never really change. The art of the past is not entirely divorced from the present even as different materials and technologies have intervened. IM GOONOO is fully aware of the continuity between life and art. Therefore, one might ask: How can the cosmos or the galaxies fit into a category? IM GOONOO’s cosmologies are indeterminate spiritual compositions. They do not fit our preconceptions. They are not simply patterns, as McLuhan’s theory proposed. Rather, they are diverse patterns. IM’s cosmic paintings refer to the interior self and, in doing so, suggest transcendent features presence in the universe. Within the living potency of Korean shamanism, the artist recognizes the spiritual equivalence to nature. As I have observed in IM’s work, his ability to recognize and enter into the life force of these pattern recognitions is a substantial, ongoing theme in his work, a central component in his art.

​In the paintings of IM GOONOO the universe is restless. The planets, stars, suns, and moons appear to function in a relative state of interactive equilibrium. The universe of IM GOONOO is never static any more than the familiar yin-yang stays in one place. It doesn’t. Rather these forces are continually shifting back and forth, circling in their axes around one another. One motion affects another, as do the feelings that reside within and between human beings. These patterns are in constant flux, moving between light and darkness, perpetually attracting and repelling other spheres in motion until they strike a balance within this vastly infinite cosmic theater. This is how I read and understand the art of IM GOONOO, an art that never stops moving.

____________________________________________________________

​Artist and author of many books and catalogs, Robert C. Morgan continues to teach at Pratt Institute and the School of Visual Arts in New York. He was awarded the Arcale award in International art criticism in Salamanca (Spain) in 1999, and in 2011 was inducted into the European Academy of Sciences and Arts in Salzburg (Austria). Last year, he was invited to lecture at Peking University in China on “The Storage and Retrieval of Idea-based Art.”


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