Installation view of Korean Abstract Art – Kim Whanki and Dansaekhwa with works by Chung Chang-Sup, Chung Sang-Hwa, Ha Chong-Hyun, Kim Whanki, Kwon Young-Woo, Lee Ufan and Park Seo-Bo at Powerlong Museum, Shanghai, 2018-2019
What is Dansaekhwa?
Dansaekhwa is an art movement born in South Korea in the 1970s. The pioneers of Dansaekhwa are born between 1913 and 1936 and avoided any reference to Western realism in their works, creating primarily monochrome and minimalist paintings. Dansaekhwa has had a breath of new life, thanks to the efforts and talent of Octogenarian artists that stuck to this art style. Now, dealers, art fair organizers, museum curators and collectors can breathe a sigh of relief because what has been neglected for close to half a century has come to the public limelight. It was at a time of political strife and dictatorship1 that this painting technique sprouted. While the art had been practiced as a movement for all this time, it would not be until two years ago that the West got wind of its existence.
We are closing off 2018 with a selection of recent performances from our Silence Was Golden project. These golden balloons were blown up loosely around the Silk Road, including some of the most remote locations in Central Asia, such as the desert of Turkmenistan and other rugged and sparsely populated spots in Tajikistan and Kyrgyzstan.
Up until now, Silence Was Golden was performed 382 times in 288 cities in 95 countries.
Get in touch if you like to be involved.
See you in 2019!
Sea (#348), Astana International Airport, Astana
Walk (#370), Zenkov Cathedral in Panfilov Park, Almaty
Fan (#373), Bayterek Tower, Astana
Bjarke Ingels and Jakob Lange – The Orb, 2018, inflatable mirrored sphere, 32-metre inclined steel mast, approximately 100 feet (30 metres) in diameter. (one 500,000th the size of the earth’s surface), at Burning Man festival, Nevada desert 14
Photo: Laurian Ghinitoiu
In 2018, designers Jakob Lange and Bjarke Ingels embarked on a crowdfunding venture for their ORB, which was a giant reflective sphere that was to be erected at Burning Man. The ORB was an inflatable piece of art that was designed to represent the earth’s surface to scale. As such, with its diameter of approximately 30 meters, the ORB was one of the largest pieces of artworks at the increasingly popular festival. Conceived as a mirror for lovers of earth, the orb was created to reflect the sea of festival attendees and the growing desert community surrounding them.
THE ORB was created as a tribute to nature and to the human expression. The designers, Jacob and Bjarke designed it so that it could be spotted easily. The designers funded the majority of the structure and took over 2,500 hours to weld and sew the sphere in place. To complete the project, the designers turned to crowdfunding platforms to raise the additional money needed to bring it to life. The sphere was constructed from the same chromatic fabric that is used to create NASA weather balloons. It was held in place by a 105-foot-tall steel mast.
The architects and the designers intended the sphere to act as a landmark for future festival guests. Bjarke and Jacob planned the reflectiveness of the sphere for both practical and artistic reasons. The lights from the festival and the human life from the community would cast a luminous glow over the sphere in a manner that made it appear like a huge disco ball while to the outside world, the same sphere would serve as a landmark for future generations.
The burning man community is known for building a broad range of elaborate structures that follow a theme every year. The orb, which was installed in 2018, followed the theme of I Robot. This theme asked participants to respond to the alarming rise of technological power the effect of technology on the rest of the world.
Rirkrit Tiravanija – Untitled, 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Video/Film, Bronze tires, copper sheets, video, color, sound
Photo: Public Delivery
Rirkrit Tiravanija – Untitled, 2015 (bangkok boogie woogie, no. 1), 2015
“In 2010, Bangkok erupted in violence with protesters from both the Left and Right, battling the military in the streets. The main weapon on both sides was the tire, both as a barricade and as improvised Molotov cocktail, rolled instead of thrown. In 2015, Rirkrit Tiravanija created an installation, untitled 2015 (bangkok boogie woogie, no. 1), sourced from this particularly vernacular form of action, straight from the streets of his hometown. In what became the very last action at the old Gavin Brown’s enterprise space on Greenwich St. in New York before it was demolished, Tiravanija cast rubber tires into bronze doppelgängers, and rolled them flaming through the gallery filled with petroleum fuel; all of this was filmed, edited, and used as the backdrop for the installation. The mirrored copper floor reflects the rolling burning movement, while the metal tires produce a clanging soundtrack, conjuring a feeling of violent assault within the gallery space. Part political reflection, and part kinetic experiment, untitled 2015 (bangkok boogie woogie, no. 1) passes on messages from the protesters, and also from other brothers-in-arms: Fischli & Weiss, Allan Kaprow, and Jean Tinguely.”
Jetzer, Gianni (2018) retrieved from artbasel.com/artworks