Journey Santiago

 de Compostela


๋ฌด์šฐ์ˆ˜๊ฐค๋Ÿฌ๋ฆฌ ๊น€๋งŒํฌ ๊ธฐํš์ดˆ๋Œ€์ „ Meditation in K-Art S. 2

์ผ์‹œ : 2024.0327 - 0506

์žฅ์†Œ : ๋ฌด์šฐ์ˆ˜๊ฐค๋Ÿฌ๋ฆฌ / ์ธ์‚ฌ๋™๊ธธ 19-2 ์™€๋‹ด๋นŒ๋”ฉ 3,4F

์‹œ๊ฐ„ : 10:00 - 18:00

๋ฌด๋ฃŒ์ „์‹œ


์‚ฌ์ง„๊ณผ ์žฌํ™œ์šฉ๋œ ์ด๋ฏธ์ง€์˜ ํ’์š” ์†์—, ๊น€๋งŒํฌ ์ž‘๊ฐ€์˜ ์ž‘ํ’ˆ๋“ค์€ ์‹ ์„ ํ•˜๊ณ , ๋ฏธ๋ฌ˜ํ•œ ๋‰˜์•™์Šค๋ฅผ ํ’๊ธฐ๋Š” ์ž‘ํ’ˆ์œผ๋กœ ๋ณด์—ฌ์ง€๊ณ  ์žˆ๋‹ค.

์ง€๋‚œ 60๋…„์— ๊ฑธ์ณ, ์ž‘๊ฐ€๋Š” ํ•œ๊ตญ ๋ฟ ์•„๋‹ˆ๋ผ ํŒŒ๋ฆฌ์™€ ๋‰ด์š• ๋“ฑ์„ ์˜ค๊ฐ€๋ฉฐ ์™•์„ฑํ•œ ์ž‘์—… ํ™œ๋™์„ ์ด์–ด์˜ค๊ณ  ์žˆ๋‹ค.

๊น€๋งŒํฌ ์ž‘๊ฐ€์˜ ์ดˆ๊ธฐ ์ž‘ํ’ˆ ์„ธ๊ณ„๋Š” ํ”„๋ž‘์Šค ๋ฆฌ์–ผ๋ฆฌ์ฆ˜, ์ธ์ƒ์ฃผ์˜, ํ›„๊ธฐ ์ธ์ƒ์ฃผ์˜์— ๊นŠ์€ ์˜ํ–ฅ์„ ๋ฐ›์•˜์œผ๋ฉฐ, ๊ทธ๋Ÿฌํ•œ ๊ธฐ๋ฐ˜์—์„œ ์ถœ๋ฐœํ•ด ์ง€๊ธˆ์—๊นŒ์ง€ ์ด๋ฅด๊ณ  ์žˆ๋‹ค.

๊ฒฝํ—˜์„ ํ†ตํ•ด ๊ทธ๋Š” ๋™์„œ์–‘์˜ ๋‹ค๋ฐฉ๋ฉด์ ์ธ ์˜ํ–ฅ์„ ๋ฐ›์•˜์ง€๋งŒ, ๊ทธ์˜ ์ž‘ํ’ˆ๋“ค์€ ๊ฒฐ์ฝ” ์–ด๋Š ํ•˜๋‚˜์˜ ๊ตญ๊ฐ€ ๋˜๋Š” ๋ฌธํ™”๋กœ ํŠน์ •๋  ์ˆ˜ ์—†๋‹ค.

๊ทธ๊ฐ€ ์ž‘์—…์„ ํ•  ๋•Œ ์˜๊ฐ์„ ๋ฐ›๋Š” ํฌ์ธํŠธ๋Š” ์˜ค๋Š˜๋‚  ๋Œ€๋ถ€๋ถ„์˜ ์ถ”์ƒ ํ™”๊ฐ€๋“ค๋ณด๋‹ค ํ›จ์”ฌ ๋” ๊ฐœ์ธ์ ์ด๋ฉด์„œ๋„ ๊ตญ์ œ์ ์ธ ๊ด€์ , ์‹œ๊ฐ์ด๋ผ๊ณ  ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ๊ทธ๋ ‡๊ธฐ์—, ๊ทธ์˜ ์ž‘ํ’ˆ๋“ค์ด ํ™˜๊ธฐ์‹œํ‚ค๋Š” ํŠน์œ ์˜ ๊ฐ์„ฑ๊ณผ ์ •์„œ๋Š” ์–‘์ชฝ ์„ธ๊ณ„ (๋™์–‘๊ณผ ์„œ์–‘)์˜ ์žฅ์ ์„ ๋ชจ๋‘ ๋‹ด๊ณ  ์žˆ์œผ๋ฉฐ, ๋™์‹œ์— ํ†ตํ•ฉ์‹œ์ผœ ์•„์šฐ๋ฅธ๋‹ค๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค. ๊น€๋งŒํฌ ์ž‘๊ฐ€๋Š” ๋Œ€์ƒ์ด ๋ณด์œ ํ•œ ์ผ๊ด€๋œ ๋‚ด์šฉ์˜ ์ด๋ฏธ์ง€๋ฅผ ๋น„์›Œ๋‚ด๋Š” ๊ณ ๋„์˜ ์ง๊ด€์ ์ธ ๋Šฅ๋ ฅ์„ ๋ฐ”ํƒ•์œผ๋กœ, ์˜ค์ง ๊ทธ๋งŒ์ด ์„ ๋ณด์ผ ์ˆ˜ ์žˆ๋Š” ์„ฌ์„ธํ•จ๊ณผ ์„œ์ •์ ์ธ ๊ธฐ๊ต๋ฅผ ํ™œ์šฉํ•ด ๋Œ€์ƒ์˜ ์ˆœ์ˆ˜ํ•œ ํ˜•ํƒœ์— ์ง‘์ค‘ํ•œ๋‹ค. ๊น€๋งŒํฌ ์ž‘๊ฐ€์˜ ์ž‘ํ’ˆ์€ ์ •ํ™•ํ•œ ๋ฌ˜์‚ฌ๋ฅผ ํ”ผํ•˜๊ณ  ๋ฌธ์ž ๊ทธ๋Œ€๋กœ์˜ ํ•ด์„์œผ๋กœ๋ถ€ํ„ฐ ์ž์œ ๋กœ์›Œ์ง€๋ฉฐ ๋‹ค์–‘ํ•˜๊ณ  ๊นŠ์ด ์žˆ๋Š” ์‹ฌ๋ฆฌ์™€ ๊ฐ์ •์˜ ์ƒํƒœ๋ฅผ ์•”์‹œํ•˜๋Š” ํž˜์„ ๊ฐ€์ง„๋‹ค.

๋ฏธ์ˆ ์— ๊ด€์‹ฌ์ด ๋งŽ์•˜๋˜ ๊น€๋งŒํฌ ์ž‘๊ฐ€๋Š” ๋ง์„ ๋ฐฐ์šฐ๋ฉด์„œ ๋™์‹œ์— ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค.

์ดˆ๋“ฑํ•™๊ต ์‹œ์ ˆ์—๋Š” ์„ ์ƒ๋‹˜๋“ค์ด ๊ต์œก์•„๋ž˜, ๊ทธ๋ฆผ์— ๋Œ€ํ•œ ๊ด€์‹ฌ์ด ๋Š˜์–ด๋‚ฌ๊ณ , ๊ณง ์ˆ˜์ฑ„ํ™”์™€ ํ”Œ๋ ˆ์ธ ์—์–ด ์ž‘์—…์œผ๋กœ ๋ฐœ์ „ํ–ˆ๋‹ค.

ํ•œ ์ผํ™”๋กœ, ์—ด ์‚ด ๋•Œ ๊ทธ๋Š” ๋Œ€ํ•œ๋ฏผ๊ตญ ์ „๊ตญ ์‚ฌ์ƒ๋Œ€ํšŒ์— ์ฐธ๊ฐ€ํ•˜์—ฌ 1๋“ฑ์— ์ž…์ƒํ•˜๋Š” ์พŒ๊ฑฐ๋ฅผ ์ด๋ฃจ๋ฉฐ ๋ธŒ๋ฆฌํƒœ๋‹ˆ์ปค ๋ฐฑ๊ณผ์‚ฌ์ „์„ ์ƒ์œผ๋กœ ๋ฐ›์•˜๋‹ค.

๊ทธ ๋•Œ๋ถ€ํ„ฐ ๊ทธ๋Š” ์™ธ๊ตญ์— ๋Œ€ํ•œ ๊ฒฌ๋ฌธ์„ ๋„“ํžˆ๋ฉฐ ์ด๋“ฌํ•ด์—๋Š” ๊ฐ™์€ ๋Œ€ํšŒ์—์„œ 2๋“ฑ์ƒ์„ ์ˆ˜์ƒํ•˜๋ฉฐ ๋‹ค๋ฅธ ๋งค์ฒด์— ๋Œ€ํ•œ ์‹คํ—˜์„ ์‹œ์ž‘ํ–ˆ๋‹ค.

 ๊ทธ๋Š” ์„œ์ •์ ์œผ๋กœ ๊ณ ์กฐ๋œ ๋™์–‘ ๋ฏธํ•™์˜ ๋ฌผ๋ฆฌ์ , ํ˜•์‹์  ์š”์†Œ๋ฅผ ์กด์ค‘ํ•˜๋ฉฐ ์œ ๋Ÿฝ๊ณผ ๋ฏธ๊ตญ์˜ ๋ชจ๋”๋‹ˆ์ฆ˜์—์„œ ๋ฐฐ์šด ๊ธฐ๋ฒ•์„ ๋™์„œ์–‘ ์ „ํ†ต์˜ ์ฃผ์š” ํŠน์„ฑ์œผ๋กœ ํ†ตํ•ฉํ•˜์˜€๋‹ค.

 Robert P. Metzger, PhD. (Art Critic)


In an era dominated by photography and recycled images, Man Hee Kim (1948-) evokes a fresh, dazzling vision in his subtly nuanced paintings. For over sixty years Kim has painted in his native Korea, as well as in Paris and New York where his work became deeply rooted in modernist traditions.

Kim began as a painter in the manner of French Realism, Impressionism and Post-Impressionism. Throughout his career he has absorbed a myriad of influences from both the East and the West, yet his work eludes being defined by a single nationality or culture. His points of reference are both more individual and more international in outlook than most abstract painters working today.

His evocative transliterations encompass the best of both worlds. Kim has a highly intuitive ability to empty the image of all coherent narrative content, concentrating on pure form with exceptional delicacy and lyrical finesse. By avoiding precise description and freed from literal interpretation, the paintings suggest variable states of mind and mood.

Kim was keenly interested in art from a very young age and began drawing at about the same time he learned to speak. In elementary school, his teachers encouraged his compulsion to draw and soon he had advanced to watercolors and plein air work. At the age of ten, he entered a state level art challenge, the Korean national drawing competition and succeeded in winning first prize. His award was Encyclopedia Britannica which he eagerly consumed. The next year he won second prize in the same competition which encouraged him to experiment with other media.

Respecting the physical and formal elements of a lyrically heightened Asian aesthetic, yet learning from European and American modernism, Kim has synthesized the key qualities of both Eastern and Western traditions.

Robert P. Metzger, PhD. (Art Critic)




๊น€๋งŒํฌ์˜ ๋ชจ์…˜์ถ”์ƒ์€ 20์„ธ๊ธฐ ์ €์ž‘์˜ ์˜๋ฏธ์—์„œ ๊ต์กฐ์ ์ธ ๊ฒƒ ๋ฟ๋งŒ์€ ์•„๋‹ˆ๋‹ค.

๊ทธ์˜ ์‹œ๋Œ€์— ๋งž์ถ”์–ด์ง„ ๊ฒƒ์ด๊ธฐ๋Š” ํ•˜์ง€๋งŒ ์–ด๋–ค ํŠน์ •ํ•œ ์„ ์–ธ์— ๊ทผ๊ฑฐํ•œ ๊ฒƒ์€ ์•„๋‹ˆ์—ˆ๋‹ค.

์ด ์ƒˆ๋กœ์šด ์ถ”์ƒํ™”์—๋Š” ์™„๋ฒฝ์— ๋Œ€ํ•œ ์ฃผ์žฅ์„ ๋’ค์ง‘๋Š”, ๊ณต๊ฒฉ์ ์ด๋ฉด์„œ๋„ ํ†ต์ œ๋œ ์˜๋„์ ์ธ ์›€์ง์ž„์ด ์žˆ๋‹ค. ๋ถˆ์™„์ „ํ•จ, ์ œ์Šค์ฒ˜์˜ ๋Œ€์กฐ, ๊ทธ๋ฆฌ๊ณ  ์ผ๋ณธ์˜ ‘์™€๋น„์‚ฌ๋น„’ ์‚ฌ์ƒ๋“ฑ์ด ๊ทธ์˜ ์ž‘ํ’ˆ์†์— ๋…น์•„๋“ค์–ด์žˆ๋Š”๋ฐ, ์ด๋Š” ๋ถˆ์™„์ „ํ•จ์— ๋Œ€ํ•œ ๊ฐ์‚ฌ์™€ ์œ ์‚ฌํ•œ ๋ฏธ์™„์„ฑํ’ˆ์˜ ๊ฒฝํ–ฅ์— ๊ด€ํ•œ ๊ฒƒ์ด๋‹ค.

ํ•œ๊ตญ์—์„œ์˜ ‘ํ•œ’์˜ ๊ฐœ๋…๊ณผ ๋น„์Šทํ•˜๋ฉฐ ์˜ํ˜ผ์˜ ์‹ ๋น„ ๋˜๋Š” ์ˆ˜๋ฐฑ ๋…„ ๋™์•ˆ ๊ณต์œ ๋œ ๋ฌธํ™” ๋ฐœ์ „์—์„œ ์œ ๋ž˜๋œ ๊ฒฉ์ •๊ณผ ๊ฐˆ๋ง๊ณผ ๊ฐ™์€ ๋Š๋‚Œ์ด๋‹ค.

๊น€๋งŒํฌ์˜ ์ž‘ํ’ˆ์˜ ํŠน์„ฑ์€ 'ํ™”์ดํŠธ ์˜จ ๋ธ”๋ž™'๊ณผ ๊ฐ™์€ ๊น€๋‚จ์ค€์˜ ์ž‘ํ’ˆ์—์„œ ์ž…์ฒด๋งŒํผ์ด๋‚˜ ๋งŽ์€ ๋นˆ ๊ณต๊ฐ„์„ ๋‹ด๊ณ  ์žˆ๋Š” ๋‚ ์•„๋‹ค๋‹ˆ๋Š” ํฐ์ƒ‰ ๋ถ“์งˆ๋กœ ๋‚˜ํƒ€๋‚œ๋‹ค. ์ด๋Ÿฌํ•œ ํ์‡„์„ฑ์˜ ์ „๋ณต์€ ํ˜„์žฌ ๋…๋‹จ์ ์ธ ์—ญ์‚ฌ๋ฅผ ๋ถ€์ •ํ•˜๋ฉด์„œ๋„ ์ž์‹ ์˜ ๋ฟŒ๋ฆฌ์— ๋Œ€ํ•œ ๋ฌธ์ œ๋ฅผ ๋‹ค๋ฃฐ ์ˆ˜ ์žˆ๊ฒŒ ํ•ด์ค€๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ด๋Ÿฌํ•œ ์ผํƒˆ ์†์—์„œ๋„ ๊น€ ์ž‘๊ฐ€๋Š” ๋ฌด์‹ฌํ•˜์ง€ ์•Š๊ณ  ์˜คํžˆ๋ ค ์œ ํฌ์ ์œผ๋กœ ์˜ˆ์ธกํ•  ์ˆ˜ ์—†๋Š” ํƒœ๋„๋ฅผ ์ทจํ•˜๊ณ  ์žˆ๋‹ค.

๊ทธ๋Ÿฌ๋‚˜ ์ด๋Ÿฐ ์ง๊ด€์ ์ธ ์š”์†Œ๋„ ์กด์žฌํ•˜์ง€๋งŒ, ๊น€ ์ž‘๊ฐ€์˜ ์ž‘์—… ๋ฐฉ์‹์€ ๋งค์šฐ ์ง„์ง€ํ•˜๋‹ค. ๊น€ ์ž‘๊ฐ€๋Š” ์ž‘์€ ์ž‘ํ’ˆ๋“ค์„ ํ•™๋ฌธ์˜ ์žฅ๋ฅด์— ๊ตญํ•œ ์‹œํ‚ค์ง€ ์•Š๊ณ  ๋‹ค์–‘ํ•œ ํฌ๊ธฐ์˜ ์Šค์ผ€์ผ๋กœ ์ž‘์—…ํ•˜๋ฉฐ, ๊ฐ ์ž‘ํ’ˆ์— ๊ฐ€์น˜๋ฅผ ๋ถ€์—ฌํ•œ๋‹ค. ๊น€ ์ž‘๊ฐ€์˜ ์ž‘ํ’ˆ์€ ์ฐจ๋ถ„ํ•œ ํ•ด๊ฒฐ์ฑ…์„ ์ œ์‹œํ•˜๋Š” ๊ฒƒ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ ์•„๋‹ˆ๋ผ ์šฐ๋ฆฌ๊ฐ€ ์‚ด๊ณ  ์žˆ๋Š” ๋‹ค์›์ ์ด๊ณ  ์†Œ๋ž€์Šค๋Ÿฌ์šด ์„ธ์ƒ์— ๋Œ€ํ•œ ๋™์š”์™€ ํฅ๋ถ„์„ ๋ถˆ๋Ÿฌ์ผ์œผํ‚จ๋‹ค.

Thalia Vrachopoulos, Ph.D. (Curator)


Manhee Kim’s gestural abstraction is not doctrinaire in the sense of 20th Century work but rather is attuned to his time yet is not based on any particular manifesto.

In this new abstraction, there is a purposeful movement that is almost aggressive yet controlled, that subverts claims of perfection. It is about incompletion, gestural antithesis, and a tendency towards an unfinished quality analogous to the Japanese idea of Wabi-Sabi, the appreciation of imperfection. In Korean it is almost synonymous to the concept of Han that is like the mystery of the soul or a feeling of angst and yearning that developed over hundreds of years of shared cultural development.


In Kim’s work like the White on Black, these qualities appear in his flying white brushstrokes that contain as much void space as solid. This subversion of closure allows Kim to address issues in his own roots while being currently viable in denying dogmatic history. But, even in this departure, Kim is not being cavalier, but rather playfully unpredictable and informal.


Kim’s approach to his work is very serious however, although there is an intuitive element present. Kim works with different size scales without confining his smaller works to the genre of studies, but rather giving them their due democratically speaking. Kim’s works are not meant to produce calm resolution but rather agitation and excitement addressing the multivalent and tumultuous world in which we reside.

Thalia Vrachopoulos, Ph.D. (Curator)




๊น€๋งŒํฌ ์ž‘๊ฐ€๋Š” ์œ„๋Œ€ํ•œ ์ถ”์ƒํ‘œํ˜„์ฃผ์˜ ํ™”๊ฐ€๋“ค์ฒ˜๋Ÿผ ๊ฐ•๋ ฌํ•œ ์—๋„ˆ์ง€๋กœ ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฐ๋‹ค. ๊น€๋งŒํฌ ์ž‘๊ฐ€์˜ ์ถ”์ƒ ํšŒํ™”๋Š” ๋„“์€ ์•ˆ๋ฃŒ์™€ ๊ตฌ์ฒดํ™”๋œ ์ œ์Šค์ฒ˜ ๋‰˜์•™์Šค๋กœ ๊ฐ€๋“ ์ฐจ ์žˆ์ง€๋งŒ, ์‹œ๊ฐ„๊ณผ ์žฅ์†Œ์— ๋Œ€ํ•œ ๊ธฐ์–ต์„ ๋‹ด๊ณ  ์žˆ๊ธฐ๋„ ํ•˜๋‹ค. ๋นจ๊ฐ•, ๊ฒ€์ •, ํŒŒ๋ž‘, ๋ณด๋ผ์ƒ‰ ๋“ฑ ์›์ƒ‰์„ ์ง์ ‘์ ์œผ๋กœ ์‚ฌ์šฉํ•˜๋Š” ๊น€๋งŒํฌ์˜ ์ž‘ํ’ˆ์—์„œ ๊ด€๊ฐ์€ ์ƒ์ƒํ•œ ๊ฐ์ •์˜ ์ „๋‹ฌ์ž๋กœ์„œ์˜ ์ƒ‰์ฑ„๋ฅผ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ด ์ƒ‰๋“ค์€ ์‚ฐ๊ธธ, ์–ธ๋•, ์ดˆ์›, ๊ณจ์งœ๊ธฐ ์‚ฌ์ด๋กœ ๋ถˆ์–ด์˜ค๋Š” ๋ฐ”๋žŒ ์†Œ๋ฆฌ๋ฅผ ์—ฐ์ƒ์‹œํ‚จ๋‹ค. ๊น€ ์ž‘๊ฐ€์˜ ํ™•์žฅ๋œ ๋ถ“์งˆ์ด ์บ”๋ฒ„์Šค ํ‘œ๋ฉด์„ ๊ฐ€๋กœ์ง€๋ฅด๋ฉด์„œ ๋ฆฌ๋“ฌ๊ฐ ์žˆ๋Š” ํ‘œํ˜„์˜ ๊ฐ„๊ฒฉ์„ ๋Š๋‚„ ์ˆ˜ ์žˆ๋‹ค. ๊ฑฐ์น ๊ณ  ํœ˜๋ชฐ์•„์น˜๋Š” ์ž‘๊ฐ€์˜ ์ œ์Šค์ฒ˜ ์†์—์„œ ์ƒ‰์ฑ„์˜ ์ง‘ํ•ฉ์ฒด๊ฐ€ ๋ฐ”๋žŒ์˜ ๋Š๋‚Œ์„ ์•”์‹œํ•œ๋‹ค. ๊ทธ์˜ ๊ทธ๋ฆผ์—๋Š” ํž˜์ด ๋„˜์ณ๋‚˜๋ฉฐ, ์ž์‹ ์„ ๋“œ๋Ÿฌ๋‚ด๋Š” ๊ณผ์ •, ์‚ด์•„๋‚˜๊ธฐ ์œ„ํ•œ ๋ฌธํ„ฑ์—์„œ ์•„๋ฆ„๋‹ค์›€์˜ ํž˜์ด ๋Š๊ปด์ง„๋‹ค.

Robert C. Morgan (Art Critic)


ManHee Kim paints with the high energy of the great Abstract Expressionists. While the abstract paintings of Kim Man Hee are filled with broad sweeps of pigment and embodied gestural nuances, they also hold memories of time and place. The viewer will see the direct use of primary color in Kim’s work – the reds, blacks, blues, and violets – as carriers of vivid emotion. They suggest the sound of wind blowing through the mountain passes, the hills, meadows, and vales. As Kim’s extended brushwork moves across the surface of his canvases, intervals of rhythmic notation and expression can be felt. In the process of being seen, they suggest feelings of the wind being consumed by aggregates of color within the artist’s wild, sweeping gestures. There is force in these paintings: the force of beauty in the process of revealing itself, on the threshold of coming alive.

Robert C. Morgan (Art Critic)