GWON OSANGPOSTMODERN T IMES

This catalogue is published by HADA Contemporary to accompany the exhibition:

GWON OSANGPOSTMODERN TIMES

4 APRIL - 31 MAY 2013

No part of this publication may be reproduced in any form or by any mean, electrical, mechanical or otherwise without prior written permission from HADA Contemporary Ltd.

GWON OSANG SOLO EXHIBITION

POSTMODERN TIMES

HADA Contemporary is pleased to announce the solo exhibition by Gwon Osang (b.1974, South Korea) presenting

his three series Deodorant Type, The Flat and The Sculpture bringing the genealogy of his ar tistic practice into

perspective. Gwon’s ar tistic oeuvre has been driven by his aspiration towards the exploration of the concept of

sculpture pushing its traditional boundary as an ar tistic medium. Through closely interconnected three different

series, he keenly aims to depict and testify on the temporality and futility of the contemporary lives and society

through sculpting postmodern sculptures.

In his celebrated Deodorant Type series, Gwon effor tlessly creates sculptural three-dimensionality through weightless

two-dimensional photographs. From the fascination of the commonality between photographic negatives and the

plaster molds, he conver ts the weightness, volume and density of traditional sculptures from marble and bronze

with the fragile lightness of photography. The title, Deodorant Type references on the deceptive and misperceptual

mechanism of the product as it conceals the odour without eliminating the fundamental cause. Similarly, his photo-

sculptures por traiting lifelike figures from reassembled photography captured from living models, cease to represent

what is being represented devoid of its true essence yet transforming them into another beings. The early stage

of his photographic sculptures were characterised by their mutative bodies and objects exploring the possibilities

how the figures can express different meanings in different contexts through their gestures and expressions. In

accordance with the development of other series, his photo-sculptures gradually evolve to reflect intensively on

contemporary life through the product of modernisation as the internet and adver tisement to source his ar tistic

pursuits.

The Flat series originates from the ar tist’s question on ‘still life.’ From his belief that any freestanding objects can be a

sculpture, he adheres wires onto magazine adver tisement cut-outs and photographs his flat sculptures into a frame.

His recent works are constructed by versatile compositional images from the magazines that seem to investigate

the architectural and structural relationship of the discrepant planar objects vividly elaborating and refining his initial

02 | 03

works that were collection of high-end mass products. To question

the validity as a sculpture is futile, yet the impor tance remains on

his effor ts to broaden the possibilities of the medium by constant

oscillation between two dimensionality and three dimensionality -

the act of conversion from a conversion which in par t coincides

with the deconstructive nature of postmodern society. He not

only hovers between sculpture and photography, but also fur ther

extends his quest on the still life that was primarily governed by

two dimensional mediums as painting. The cyclical nature of the

images and information that the ar tist employs disorient us from

the originality as Walter Benjamin similarly states that ‘even the most

perfect reproduction of a work of ar t is lacking in one element: its

presence in time and space, its unique existence at the place where

it happens to be.’ As a magnified and intensified display of a show

window, The Flat series comments on the transience of excess in

contemporary society which is filtered through the adver tisements

of today.

04 | 05

In The Sculpture series, Gwon reilluminates traditional mode of sculpting to reflect his ongoing investigation to

procreate sculptures that inevitable reflects contemporary lives. The history of sculpture and industrial designs were

significantly founded upon to study of human bodies. As Rodin pursued his belief on the aesthetical possibilities of

fragmented body such as ‘torso,’ Gwon focuses on the contemporary industrial design such as high-end automobiles

and motorbikes that exemplify the height of commercial society as pure ar tistic materials. His thick glossy painterly

surfaces analogous to the expressive gestural paintings repeatedly imply the frail boundary of the ar tistic mediums.

The use of images and information accessible only via internet - vir tual reality - without thorough observation or

physical engagement also highlights the notion to create an object which reflects the current.

As Charlie Chaplin’s por trait of modern industrialised world through newly developed technology of moving

pictures in culturally significant film, Modern Times (1936), Gwon ceaselessly attempts to por trait contemporary

society and life through the sincere observation and usage of the materials that are fruits of modernisation. Modern

and postmodern societies has been developed, judged and classified by the aspects as convenience, technological

developments, efficiency, mass production and adver tising which also played a major par t in cultivating ar tistic

developments. These attributes play as key catalysts for Gwon as well in his creations as he seeks to produce

convenient, efficient and light sculptures. Dada ar tists believed the intense necessity for ar t to engage with the

modern world and that the work of ar t could be gather from the modern life itself. If Dada ar tists’ practices were

the profound ethical response to the historical circumstances of world wars and the seismic shifts in the modern

world during the time, Gwon’s ar tistic practices may perhaps share the similar attitude in displaying the abundance

of fantasical images and information, which manifest the transience of overflow of the contemporary world. As

he ardently claims The Flat as a sculpture, which reminds us of Duchamp’s statement of urinal as an aesthetical

object, Gwon inherits this legacy to explore and enlarge the scopes and definitions of mediums showcasing the

contemporary society. The photomonatge has been prevalent since early 20th century as an active interdisciplinary

agent to foster the dialogue between ar tistic mediums, movements and society at large by ar tists such as El

Lissitzky and Kur t Schwitters and continuously tantalises many contemporary ar tists as David Hockney and Richard

Hamilton. Gwon fur ther focuses on photography’s nature to magnify, reduce and multiply which simulatenously

are the essential traits of the current society that one can also observe in adver tising. All of his sculptures are

clear representation of contemporary society where nothing is truly what you see, as Baudrillard argues regarding

simulacrum, which ‘bears no relation to any reality whatsoever’ yet ‘becoming truth in its own right’.

Gwon Osang (b. 1974) received MFA and BFA in sculpture at Hongik University, Seoul, Korea. He exhibited

internationally as Seoul Museum of Ar t, Leeum Samsung Museum of Ar t Seoul, PLATAEU Seoul, Saatchi Gallery

London, Manchester Ar t Gallery, National Museum of Fine Ar ts Buenos Aires, Arken Museum for Modern Ar t

Copenhagen, The National Por trait Gallery Canberra, The National Ar t Museum of China, Singapore Ar t Museum.

He par ticipated in various residency programmes as National Ar t Studio Changdong and collaborated with ar tists

as Keane and fashion and spor ts brands as Vogue and Nike.

THE SCULPTURE SERIES

The Sculpture 9 | acr ylic , resin and aluminum on stoneclay | 48 x 182 x 91 cm | 2008

08 | 09

The Sculpture 9 | acr ylic , resin and aluminum on stoneclay | 48 x 182 x 91 cm | 2008 (detail)

10 | 11

12 | 13

Torso (The sculpture 11) | acr ylic on stoneclay, resin, aluminum on stoneclay | 142 x 185 x 70 cm | 2008-9

14 | 15

Torso (The sculpture 12) | acr ylic on stoneclay, resin, aluminum on stoneclay | 142 x 160 x 70cm | 2008-10

16 | 17

THE FLAT SERIES

2009, Apr il | l ightjet pr int, wood frame | 217.6 x 172 cm | 2011

20 | 21

22 | 23

2010, March | l ightjet pr int, wood frame | 231.6 x 186 cm | 2011

2011, November (Tumbler) | l ightjet pr int, wood frame | 146 x 97 cm | 2012

24 | 25

2011, November (Bird) | l ightjet pr int, wood frame | 146 x 97 cm | 2012

2011, October (3D) | l ightjet pr int, wood frame | 146 x 97 cm | 2012

26 | 27

DEODORANT TYPE SERIES

Harper’s Bazaar | resin coated C-print sculpture | 180 x 55 x 105 cm | 2008

30 | 31

Harper’s Bazaar | resin coated C-print sculpture | 180 x 55 x 105 cm | 2008 (detail)

32 | 33

Fuse | resin coated c-print sculpture | 165 x 47 x 71 cm | 2007-8

34 | 35

St. Sebastian | resin coated c-print sculpture | 173 X 55 X 70 cm | 2009

06 | 0738 | 39

St. Sebastian | resin coated c-print sculpture | 173 X 55 X 70 cm | 2009 (detail)

40 | 41

v

GWON OSANG (b.1974)

EDUCATION

2004 MFA, Graduate studies in Sculpture, HongIk University, Seoul, Korea

2000 BFA, Dep. of Sculpture, College of Ar ts, HongIk University, Seoul, Korea

SOLO EXHIBITIONS

2013 HADA Contemporary, London, UK

2012 Arario Gallery, Seoul, Korea

2011 Doosan Gallery, Seoul, Korea

Ando Fine Ar ts, Berlin, Germany

2010 Gallery 2, Seoul, Korea

Doosan Gallery, New York, USA

2009 Arario New York Solo Show, Arario Gallery, New York, USA

2008 Manchester Ar t Gallery, Manchester, UK

2007 Arario Beijing, Beijing, China

2006 Gwon, Osang, Union II (Opening show), London, UK

The Sculpture, Arario Gallery, Cheonan, Korea

2005 Deodorant Type & The Flat, Andrew Shire Gallery & 4-F Gallery, LA, USA

2001 Deodorant Type, Insa Ar t space, The Korea Culture& Arts foundation, Seoul, Korea

SELECTED GROUP EXHIBITIONS

2012 Thoughts on Body, Soma Museum of Ar t, Seoul

RE-OPENING DOOSAN GALLERY, SEOUL, Doosan Gallery, Seoul

Jin (to Advance). Tong(to Communicate), Contemporary Korean Ar t Since the

1990s, Gwangju Museum of Ar t, Gwangju

On Manner of Forming, Edwin Gallery, Jakar ta

2011 The Korean Miracle: A Cultural Evolution, Asia House, London, UK

In association with HADA Contemporary, London, UK

Embracing the Void, Hada Contemporary, London, UK

The Purpose of Life, Pohang Museum of Steel Ar t, Pohang

Chopping Play, ION Gallery, Singapore

Collector’s stage, Singapore Ar t Museum, Singapore

2010 A POSITIVE VIEW, Summerset House, London, UK

Korean Eye, Fantastic Ordinary, Saatchi Gallery, London, UK

Seoul Museum of Ar t, Seoul, Korea

Korea Foundation, Seoul, Korea

Roundabout Collection, Museum of Wellington, New Zealand

2009 Ar t & Techne, Jeju Museum of Ar t, Jeju, Korea

Peppermint Candy: Contemporary Ar t of Korea, National Museum of Korea,

Gwacheon, Korea

Manipulating Reality, the Center for Contemporary Culture Strozzina,

Florence, Italy

Conflicting Tales - Inaugural Exhibition of the Burger Collection,

Zimmerstrasse, Berlin, Germany

Logic of Sensibility, Interalia Gallery, Seoul, Korea

2008 Youth Por traits, Avanthay Contemporary, Zurich, Switzerland

Peppermint Candy: Contemporary Ar t of Korea, The National Museum of Fine

Ar ts, Buenos Aires, Argentina

Asian Ar t Triennale, Manchester Ar t Gallery, Manchester, UK

Global EurAsia Special Exhibition, Ar t Cologne, Cologne, Germany

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2007 Contemporary Korean Ar t : Wonderland, National Ar t of Museum China,

Beijing, China

Peppermint Candy: Contemporary Ar t of Korea, Museo de Ar te

Contemporaneo, Santiago, Chile

Urban Reviews Seoul: Space, People, Institut für Auslandsbeziehungen,

Stuttgar t & Berlin, Germany

2006 Give Me Shelter, Union Gallery, London, UK

2005 Beautiful Cynicism, Arario Beijing, Beijing, China

Seoul; Until Now, Charlottenborg Udstillingbygning, Copenhagen, Denmark

Post IMF, Ar tArk Gallery, Shanghai, China

2004 Young Ar tists from Korea, China and Japan, National Museum of

Contemporary Ar t, Gwhachon, Korea

Officina Asia, Galleria d’ar te moderna, Bologna, Italy

Unusual Combination, Plus Gallery, Nagoya, Japan

Real Reality, Kukje Gallery, Seoul, Korea

Out the Window, The Japan Foundation Asia Center, Tokyo, Japan

2003 Unique, Gallery VU, Paris, France

Facing Korea-ID, FOAM- Fotografiemuseum, Amsterdam, Netherlands

Mobile, Alternative Space Care Of, Milano, Italy

2002 Orient-Extrime, Le Lieu Unique, Nantes, France

Area of Photograph, Museum of Ar t Saitama, Saitama, Japan

Area of Photograph, Sendai mediatheque, Sendai, Japan

Mirror of daily, Pusan Metropolitan Museum of ar t, Busan, Korea

2001 Silence of the city, Gwangju ART Museum, Gwangju, Korea

Alchemy, Sungkok Museum, Seoul, Korea

Family, Seoul Metropolitan Museum of Ar t, Seoul, Korea

2000 Disturbance Exhibition: Selected two person’s exhibition, Boda Gallery,

Seoul, Korea

Join & Expression, Youngeun Museum, Kwangju, Korea

Expression of the Times – eye & hand, Seoul Ar ts Center, Seoul, Korea

Error Interchange, Soungkok Museum, Seoul, Korea

Ji-Rok-Wi-Ma, Seonam Museum, Seoul, Korea

1999 Hoboo-Hohyung, Ar t Sonje Center, Seoul, Korea

Transtion of the Century, Sungkok Museum, Seoul, Korea

Vacuum-packed Exhibition, Alternative Space in the Loop, Seoul, Korea

COLLECTIONS

Singapore Museum of Ar t

Leeum

The National Museum of Contemporary Ar t, Korea

Busan Museum of Ar t, Busan

Gyeonggi Museum of Modern Ar t

Youngeun Museum of Contemporary Ar t, Gwangju

Art Sonje Center

Ssamsie Ar t Space, Seoul

Asano Institute, Japan

Laurence Geoffrey’s, Seoul

Embassy of Switzerland

David Rober ts Ar t Foundation

Zabludowicz Collection

Burger Collection

Roundbout Collection

Universal Music Group

Arario Collection

This catalogue is published by HADA Contemporary to accompany the exhibition:

GWON OSANGPOSTMODERN TIMES

4 APRIL - 31 MAY 2013

No part of this publication may be reproduced in any form or by any mean, electrical, mechanical or otherwise without prior written permission from HADA Contemporary Ltd.