Poster of Good Labor Bad Art

Internationally known as an established Korean installation artist and one of the three members constitute the project based collaborative “The Xijing Men”, Gimhongsok’s latest solo exhibition is on view at PLATEAU, Samsung Museum of Art, as part of their continuing commitment to broadening the discourse of Korean contemporary art by introducing its most controversial and dynamic developments. Curated by Soyeon Ahn, Chief Curator of PLATEAU, it will remain on view until May 26.

Examining Gimhongsok’s unique oeuvre marked by its juxtaposition of acute criticism of reality and shrewd sense of humor, the title of the exhibition suggests ethical judgment of two seemingly disparate realms, but at the same time opens up the potential gaps between the two and the possibility of their coexistence that is constantly revisited by the artist in his works.

Gimhongsok, Public Blank (2006-2008)

Gimhongsok, Public Blank (2006-2008)

Gimhongsok, Good Critique Bad Critique Strange Critique (2013)

Gimhongsok, Good Critique Bad Critique Strange Critique (2013)

Focusing on the inevitable consequences of culture translation within the globalized capitalist system, Gimhongsok has consistently explored the issues of translation and appropriation, as well as the public and private through a wide variety of medium. As a result, the dynamics between the center and margin, along with the subject and object confronted in the process has prompted the artist to propose the ethical politics of contemporary art as his new agenda. Probing the void between the mythicized artist and the artwork as his creation, the artist delves deep into the question of the ‘subject of the artwork’ by examining issues such as the changing value of artwork based on its material or collaborators replacing the artist’s physical labor. Consequently, the artist attempts to foreground the ethical issues outside the contemporary art practice into its realm. The artist’s new lecture performance, Good Critique Bad Critique Strange Critique (2013), in particular, highlights the process of social consensus between the artist and others, revealing their transaction of intellectual labor and financial compensation, by implementing the practice of art criticism and lecture as part of the work itself.

Gimhongsok, People Objective-Of Ordinary Art (2011)

Gimhongsok, People Objective-Of Ordinary Art (2011)

Gimhongsok, People Constructive

Gimhongsok, People Constructive

Testing the boundaries of contemporary art by constantly shifting between the realms of reality and fiction, the artist appears to willingly volunteer the role of the ‘trickster’ through his often contradictory and controversial strategies. However, beneath the surface lies his grave introspection on the issues of ethical practice and the artistic subject in the age of postcapitalism. His direct yet unconventional ways of examining the contemporary art practice will not only provoke a sense of simultaneous discomfort and curiosity, but also constantly stimulate the limits of our own perception.

PLATEAU, Samsung Museum of Art was first inaugurated in 1999 as Rodin Gallery, presenting its permanent installation of Auguste Rodin’s monumental masterpieces The Gates of Hell and The Burghers of Calais, and has established itself as one of the central institutions in the Korean contemporary art scene.

In May 2011, Rodin Gallery reopened its doors under the new name, PLATEAU, aspiring to a broader scope of program, as well as higher artistic grounds for artists and patrons alike. With the new name, PLATEAU expresses our renewed commitment to embracing the dynamic developments in Korean and international contemporary art, in continuation with our permanent display of the Rodin masterpieces.

Courtesy of the artist and PLATEAU, for further information please visit www.plateau.or.kr or contact  Lee Kyoung Ock, Public Relations Team: T +82-2-2014-6552 / kyoungock81.lee@samsung.com.

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