서울 R e - O p e n i n g

서울 R e - O p e n i n g

서울 R e - O p e n i n g

Preface 저희는더새롭고, 넓고, 모던한전시공간으로새롭게이전한오페라갤러리서울을기념하기위하여준비한이대담한전시회에미술애호가들과컬렉터분들을초대할수있게되어기쁘게생각합니다. 오페라갤러리서울의새공간이갖춘잠재력을최대한활용하여이번전시는 3층에걸쳐세개의주제들을따르는여정으로구성되었습니다. 갤러리에위치한 Black Room 에전시될 Masters on Paper( 종이위에거장들 ) 는마크샤갈, 호안미로, 파블로피카소에서부터알렉산더칼더, 자오우키에이르기까지, 미술사에서가장유명한아티스트들의원작들을볼수있는특별한기회를방문객들에게제공합니다. 갤러리의또다른공간에서펼쳐지는 Contemporary Curated Artists ( 현대미술가기획전 ) 는오늘날현대미술계에서발견되는창의적인기법들과주제들을부각시키며관람객에게메시지를전달하는역동인전시입니다. 이전시는안젤름레일르의시각적, 형식주 의적효과들, 백남준의창조적인매스미디어설치물, 마놀로발데스의상징적모티프, 만화의영향을받은무라카미다카시와쿠사마야요이의팝유니버스 (Pop universe), 또한게오르크바젤리츠의원초적인에너지가한데모여우리를인도할것입니다. 또한이곳에서우리는신진태국아티스트인시티퐁로차이송이보여주는최신세대의작품들까지만나게될것입니다. 마지막으로, 이번전시의세번째주제는화가이자조각가인로베르콩바스의단독전시에초점을맞춥니다. 프랑스자유구상 (Figuration Libre) 운동의선구자인그는그래피티, 락앤롤, 펑크, 만화영화등의하위문화에영감을받았습니다. 그의열정적인그림은만화같은이미지와대담한색채를역설적으로사용함으로써캔버스를통해신랄한사회적메시지를던지고있습니다. 저희는새롭게변화된오페라갤러리서울에서여러분을만나뵐수있게되어기쁘게생각하고있으며, 앞으로도예술을통한이열정적이고창의적인모험에계속동참해주시길바랍니다. In celebration of Opera Gallery Seoul s relocation to a new, larger and more exclusive gallery space, we are delighted to invite art lovers and collectors to discover our exciting opening exhibition. Spanning three floors and making the most of the presentation potential of Opera Gallery Seoul s superb new space, the exhibition was compiled as a journey of three distinct parts. In the Black Room of the Gallery, Modern Masters on Paper offers visitors the unique opportunity to view original works on paper by some of the most established and revered names from modern art history, from Marc Chagall, Joan Miró and Pablo Picasso to Alexander Calder, Zao Wou-Ki and Keith Haring among others. Moving forward, Contemporary Curated Artists is a dynamic and thought provoking display that showcases some of the eclectic themes and techniques found on in the international contemporary art scene. We bring together the dazzling optical and formal effects of Anselm Reyle, the multimedia installation of Nam June Paik, the expressive iconic motifs of Manolo Valdés, the Manga influenced Pop universe of Takashi Murakami and Yoshitomo Nara and the raw energy of Georg Baselitz, through to the latest generation of artists, notably the young, emergent Thai artist Sittiphon Lochaisong, among a whole host of other suprises. Finally, the third part of our opening exhibition focuses on the painter and sculptor Robert Combas in a small solo presentation of his works. A pioneer of the French Figuration Libre movement, Combas was inspired by the graffiti, rock 'n' roll, punk and comic book sub-cultures. His energetic paintings are distinguished by their paradoxical use of cartoon imagery and bold colours to make acute, energetic and biting, social commentary. We look forward to welcoming you to the brand new Opera Gallery Seoul and thank you for joining us for the continued expansion of our creative adventure. 질디앙설립자, 회장오페라갤러리그룹 Gilles Dyan Founder and Chairman Opera Gallery Group 강현승오페라갤러리서울이사회고문 Chloe Kang Board Advisor of Opera Gallery Seoul 2 3

Modern Masters on Paper

Jean Dubuffet 장뒤뷔페 (1901-1985) 1901년프랑스 르아브르 에서태어난 Jean Dubuffet 는 아르브뤼 (Art Brut) 의창시자로평가받고있다. 전통적인예술과제도화된문화를거부하면서, 예술계를떠나겠다고두번씩이나공표했던 Dubuffet는 1942년부터예술에만전념했다. 아이들, 죄수, 정신병환자들처럼미적기준을알지못하는사람들의작품에대한관심은그의예술철학의핵심이되었다. 그는전후 ( 戰後 ) 프랑스역사상가장논란이많은예술가중한사람이다. Jean Dubuffet의작품에는회화, 콜라주, 조각및기념물등이있다. 베니스의 Palazzo Grassi, 런던의 Tate Gallery, Centre Georges Pompidou, 그리고뉴욕의 Solomon R. Guggenheim Museum 에서그의회고전이열렸다. 생의마지막 10년동안, Dubuffet는색연필과펠트펜으로종이에연작들을그렸다. 그의말을빌리자면, 이작품들은 아무도살지않는곳으로떠나는마음의여행 이었다. 활동초기부터다양한색깔과콜라주기법을자주사용했기때문에, 한층친밀감이드는이러한작품들에는색깔과형식에대한그만의체계적인접근방식이그대로남아있다. Born in Le Havre, France in 1901, Jean Dubuffet is considered the founding father of Art Brut. Rejecting traditional fundamentals of art and institutionalised culture, Dubuffet twice declared to leave the world of art before devoting himself full time in 1942. His interest in works of art produced by people working outside of aesthetic norms, such as children, prisoners and psychiatric patients, became the core of his artistic philosophy. He remains one of the most controversial post-war French artists in history. Dubuffet s oeuvre includes paintings, collages, sculptures and monuments. Retrospectives of his works have been held at the Palazzo Grassi in Venice, the Tate Gallery in London, the Centre Georges Pompidou in Paris and the Solomon R. Guggenheim Museum in New York. During the last ten years of his life, Dubuffet made a series of works with coloured pencil and felt-tip pen on paper. In the artist s own words, these works were excursions of the mind into no man s land. Expanding his colour palette and revisiting collage techniques from earlier periods in his career, these more intimate drawings embody the artist s signature structural approaches to colour and form. Site avec deux personnages, 10 septembre 1981 Acrylic on paper. 50 x 67 cm I 19.7 x 26.4 in Fondation Dubuffet, Paris Waddington Custot, London Private collection Literature Max Loreau, Catalogue des travaux de Jean Dubuffet, fascicule XXXIV: Psycho-sites, Les Éditions de Minuit, Paris, 1984, no. 293, p. 81 6 7

Site avec quatre personnages, 20 août 1981 Acrylic on paper. 50 x 67 cm I 19.7 x 26.4 in Site avec quatre personnages, 31 août 1981 Acrylic on paper. 50 x 67 cm I 19.7 x 26.4 in Fondation Dubuffet, Paris Waddington Custot, London Private collection Fondation Dubuffet, Paris Waddington Custot, London Private collection Literature Max Loreau, Catalogue des travaux de Jean Dubuffet, fascicule XXXIV: Psycho-sites, Les Éditions de Minuit, Paris, 1984, no. 261, p. 72 Literature Max Loreau, Catalogue des travaux de Jean Dubuffet, fascicule XXXIV: Psycho-sites, Les Éditions de Minuit, Paris, 1984, no. 275, p. 76 8 9

Alexander Calder 알렉산더칼더 (1898-1976) Alexander Calder는 1898년미국필라델피아에서태어났다. 그는유명한조각가인 Alexander Stirling Calder의아들이었고, Alexander Milne Calder의손자였다. Stevens Institute of Technology에서기계공학학위를받은후, Calder는여러직업을전전하다가 1923년에뉴욕시의 Art Students League에입학했다. 이곳에서미니어쳐서커스단을처음만들었고, 혁신적인추상조각가로서의명성을얻기시작했다. Calder는섬세하게균형을잡고있는형상이공기흐름에따라움직이도록매달아놓거나세워놓은 움직이는 조각을처음으로만들었다. Marcel Duchamp는이것을일종의 모빌 이라고불렀다. 그는 1952년베니스베엔날레의조각부문에서상을받았고, 1954년 Pittsburgh International에서는조각부문 1등을차지했다. Calder는자신의조각작업과병행하여 1953년에는프랑스 엑상프로방스 에서 1년정도머무르면서과슈 (gouache) 기법으로연작을그렸다. 그림을빨리그릴수있기때문에, Calder는과슈기법을통해자신의조각작품에서표현하고자하는언어를즉흥적으로구현하면서나중에그의작품에영향을주게되는각형태의구상 (angular figuratism) 을활용한다. 기하학적형태를기반으로하는 Calder의선 ( 線 ) 은자연의풍부함과다양성, 그리고이것이자연스럽게만들어내는분위기를의도적으로단순하게전달한다. 그의작품은전세계주요미술관에전시되어있다. Alexander Calder was born in Philadelphia, USA in 1898. He was the son of Alexander Stirling Calder and grandson of Alexander Milne Calder, both well-known sculptors. After obtaining his mechanical engineering degree from the Stevens Institute of Technology, Calder worked various jobs before enrolling at the Art Students League in New York City in 1923. It was here that he finished his first miniature travelling circus and began making a name for himself as an innovative abstract sculptor. Calder is known as the originator of the suspended or standing kinetic sculpture made from delicately balanced shapes and set in motion by air currents; a device Marcel Duchamp named mobiles. He was awarded the main prize for sculpture at the Venice Biennale in 1952 and first prize for sculpture in the 1954 Pittsburgh International. Calder created a series of paintings in gouache during a yearlong stay in Aix-en-Provence, France in 1953 in parallel to his sculptural practice. Painting quickly, the gouache allowed Calder to quickly translate the vocabulary of his sculpture into something more immediate, using an angular figuratism, which often served as inspiration for later sculpted works. Presenting a synthesis of geometric forms, Calder s lines convey, with considered simplicity, the abundance and diversity of nature and the spontaneous impressions it evokes. His works are held in almost every major museum collection worldwide. Cattails and Yellow Moon,1968 Signed and dated on the lower right Gouache on paper. 74.6 x 110.5 cm I 29.4 x 43.5 in Private collection Certificate This work is registered in the archives of the Calder Foundation, New York, under application number A06029 10 11

Untitled, 1953 Signed and dated on the lower right Gouache on paper. 48.3 x 63.5 cm I 19 x 25 in Private collection, Rome Sotheby s, New York, 25 September 2013, lot 316 Private collection, New York Certificate This work is registered in the archives of the Calder Foundation, New York, under application number A18039 12 13

Marc Chagall 마크샤갈 (1887-1985) 1887년벨라루스 비테부스크 의유대인가정에서태어난 Marc Chagall은가장존경받는 20세기미술가중한사람이다. 야수파, 입체파및초현실주의파와잘어울리던 Chagall은독창적인색깔과환상적인도상학 ( 圖像學 ) 을이용하여전통방식과다른자신만의상징적스타일을개발했다. 젊은시절에는상트페테르부르크와파리를오가면서공부와작업을병행한 Chagall 의몽상적인색조와기발한피사체 ( 예를들면말과바이올리니스트 ) 는당시입체파의작품과구별되었다. 그의작품들은동유럽시골의목가적인마을에서보냈던어린시절에서영감을얻었고, 유대교와유대문화, 러시아전통문화, 성경, 음악, 연극및그의부인 Bella에대한사랑의영향도많이받았다. Chagall은이러한영감의원천을자신의작품에, 캔버스에, 종이에, 때로는판화용에칭 (etching) 에담아냈다. 다작 ( 多作 ) 으로도유명하지만, 그의작품들은파리의 Opéra de Paris 또는뉴욕시의 Metropolitan Opera에랜드마크로장식되어있다. 1973년에는프랑스 니스 에 Musée National Marc Chagall이들어섰고, Musée du Luxembourg, 뉴욕의 Jewish Museum, 런던의 Tate Modern, 파리의 Grand Palais를포함하여세계주요미술관에서그의회고전이열렸다. 그의작품들은전세계주요공공 / 민간컬렉션에서도찾아볼수있다. Born in 1887 in the city of Vitebsk in Belarus to Jewish parents, Marc Chagall is one of the most admired artists of the 20 th century. Rubbing shoulders with Fauvism, Cubism and Surrealism, Chagall developed his own iconic style separately from conventions with a distinctive colour palette and fantastical iconography. Spending his early years studying and working between Saint Petersburg and Paris, Chagall s dreamlike hues and whimsical subjects, such as the horse and the violinist, distinguished his work from the Cubist artists of the time. His oeuvre drew inspiration from his childhood in the pastoral countryside of Eastern European villages, as well as from Jewish religion and culture, Russian folklore, the Bible, music and theatre and his love for his wife Bella. Chagall wove these sources of inspiration into his artworks - on canvas, on paper and occasionally in etchings for printing. In addition, his works can also be found adorning landmarks such as the Opéra de Paris and the Metropolitan Opera in New York City. The Musée National Marc Chagall in Nice was inaugurated in 1973 and retrospectives of his work have been held in major museums worldwide including the Musée du Luxembourg; the Jewish Museum of New York; the Tate Modern in London, the MoMA in New York and the Grand Palais in Paris. His works are found in the most important public and private collections in the world. L'Acrobate rouge, 1963-1964 Signed on the lower right Watercolour, pastel, gouache and India ink on Japan paper. 38.2 x 28.2 cm I 15 x 11.1 in Artist's studio Christie's, London, 8 February 2007, lot 719 Private collection, Hong Kong Exhibited Hommage à Chagall, Takashiyama Art galleries, Nihonhashi, 1986, no. 67 (titled as Le Cirque rouge) Certificate The Comité Marc Chagall has confirmed the authenticity of this work 14 15

Pablo Picasso 파블로피카소 (1881-1973) Pablo Picasso 는 1881 년에스페인 말라가 에서태어났다. 이후주로프랑스에서생활했다. 그는근대기의가장존경받고영향력있는미술가로평가받고있다. Pablo Picasso 의작품에는화가, 조각가, 판화가및도예가로서의천부적재능이고스란히담겨있다. 그는끊임없이다양한스타일과기술을개발하고실험하면서예술가운동을주도하여 20 세기미술과문화의혁신적발전에크게기여했다. Picasso 는어린시절부터그림에대한열정과재능을보여주었다. 7 세때부터아버지로부터정식미술교육을받았다. 그는 1900 년에처음파리를방문했고, 1901 년후반에귀국했다. 이시기를그의 청색시기 (Blue Period) 라고하는데, 1904 년까지지속되었다. 1906 년까지는그의 장미빛시기 (Rose Period) 라고부른다. 이후 Picasso 의작품은아프리카원시주의의영향을많이받았다. 이시기에그의걸작 아비뇽의처녀들 (Les Demoiselles d'avignon) 이발표되었다. 이때심취했던형식적관념론은이후입체파화가들에게직접적인영향을주었다. 분석적입체주의는 Picasso 가 Georges Braque 와함께발전시킨화법이다. 두화가들은사물을따로구분하여이것을자신들만의형태로분석했고, 이것은절단한종이조각들을붙여서하나의구성을표현하는 종합적큐비즘 으로발전했다. 순수미술에서콜라주를처음사용한것이다. 1930 년대에는미노타우로스 (minotaur; 사람의몸에소의머리를한괴물 ) 가그의작품모티프로자주사용되기시작했다. 초현실주의화가들과의만남이미노타우로스를사용하게된계기가되었다. 이들은미노타우로스를자신들의상징물로활용하는경우가많았다. 스페인내전당시독일군의 게르니카 폭격을묘사한 Picasso 의가장유명한작품인 Guernica 에도미노타우로스가등장한다. 생을마감할때까지, Picasso 의후기작품에는여러가지스타일과표현방식이다양하게시도되고있다. Pablo Picasso 작품전시회는자주열렸고, 전세계주요미술관, 재단및민간컬렉션에서그의그림들이전시되어있다. Pablo Picasso was born in Málaga, Spain in 1881. He spent most of his adult life in France. He is celebrated as one of the most respected and influential artists of the modern era. Pablo Picasso's artworks utilise his innate abilities as painter, sculptor, engraver and ceramist. He spent his career perpetually developing and experimenting with a range styles and techniques, pioneering artistic movements that contributed significantly towards revolutionary developments in twentieth century art and culture. Picasso showed a passion and a skill for drawing from an early age. From the age of seven, he received formal artistic training from his father. He made his first trip to Paris in 1900 and returned in late 1901. This period defined the beginning of his 'Blue Period 'which continued until 1904. His Rose Period followed until 1906 after which Picasso work became heavily influenced by African primitivism. This period is highlighted by his revolutionary masterpiece, the painting Les Demoiselles d'avignon. Formal ideas developed during this period lead directly into the Cubist period that follows. Analytic cubism is a style of painting Picasso developed with Georges Braque. Both artists took apart objects and analysed them in terms of their shapes, this then developed in to Synthetic Cubism, in which cut paper fragments were pasted into compositions, marking the first use of collage in fine art. During the 1930s, the minotaur became the common motif in his work. His use of the minotaur came partly from his contact with the Surrealists, who often used it as their symbol, and it appears in Picasso's Guernica, arguably Picasso's most famous work, his depiction of the German bombing of Guernica during the Spanish Civil War. Picasso's final works were a mixture of styles, his means of expression in constant flux until the end of his life. Pablo Picasso's exhibitions have been extensive, with paintings in key museums, foundations and private collections worldwide. Tête de femme, 21 July 1970 Signed and dated on the upper left Coloured ink on paper. 32.3 x 25 cm I 12.7 x 9.8 in Galerie Louise Leiris, Paris O Hana Gallery, London Samuel J. & Ethel LeFrak, New York Literature Christian Zervos, Pablo Picasso, vol. 32, œuvres de 1970, Éditions Cahiers d Art, Paris, 1977, no.235, ill. p.76 16 17

Joan Miró 호안미로 (1893-1983) Joan Miró 는 1893 년에스페인에서태어났다. Miró 는근대의가장영향력있는미술가중한사람으로평가받고있다. Joan Miró 의예술세계는수십년동안많은미술가들과애호가들에게영향을주었고이들을사로잡았다. 젊은시절부터 Miró 는미술에특별한관심을보였고, 불과 7 세때에데생학원에다니기시작했다. 이후 La Llotja 의순수미술학원에입학했고, The Cercle Artístic de Sant Lluc 에도다녔다. 1918 년에바르셀로나에서첫번째개인전을열었고, 1921 년에는파리로건너가몽빠르나스를중심으로형성된예술공동체의일원이될수있었다. 파리에서생활하는동안초현실주의대가중한사람인 André Breton 을만났고, 이를계기로 Miró 는초현실주의그룹에동참하게되었다. 정식회원은아니었기때문에미적표현에대한또다른형식과학파에대해연구할수있었다. 처음에는정물화와풍경화를그렸지만, 파리로이주하면서그의기술과스타일과구성에큰변화가나타났다. 야수파, 입체파, 초현실주의, 다다이즘과접하면서영향을받을수밖에없었던 Miró 는자신의작품이특정운동으로분류되는것을원치않았다. 과감한색채, 생명형태적형식, 기하학적형태, 반 ( 半 ) 추상적인사물등은점차그의작품을대표하는고유의스타일이되었다. 살아있는동안, 그리고그의사후에도자타가공인하는위대한미술가의작품들은세계곳곳에서전시되었고, 탄생 100 주년을기념하여유명미술관들이그의회고전을대규모로진행했다. Miró 는지금도현대미술에영향을주고있으며, 특히 Calder, Pollock 및 Rothko 와같은추상표현주의화가들의작품에많은영향을주었다. 학계와소장가들모두존경하는 Miró 의작품들은계속걸작으로남아있을것이다. Joan Miró was a Spanish artist born in 1893. Miró is recognised as one of the most influential artists of the modern era. Miró grew up in a family of craftsmen who immersed him in art and creativity. From a young age, Miró displayed a keen interest in art and began attending drawing classes at the tender age of 7. Later he was enrolled into the fine art academy at La Llotja, followed by The Cercle Artístic de Sant Lluc. In 1918, Miró had his first solo exhibition in Barcelona after which he moved to Paris in 1921, so that he could be part of the art community that has gathered in Montparnasse. It was during his stay in Paris that he encountered André Breton; one of the leading figures in Surrealism, who lead Miró to join the surrealist group - though not as an official member so that he could explore other forms and school of artistic expression. Though Miró initially painted still life and landscape, this move to Paris proved to be a pivotal change regarding his technique, style and composition. Exposed and receptive to influences from Fauvism to Cubism, Surrealism, and Dada, Miró refused to let his art be categorised into a precise movement. Boldly coloured strokes, biomorphic forms, geometric shapes, semi-abstract objects, gradually came to define Miró s signature style represented in his art. During Miró s lifetime and after, the works of this internationally acclaimed artist have exhibited extensively around the world with many large retrospective exhibitions at prestigious museums devoted to his works notably on the 100 th anniversary of his birth. Miró has continued to exert his influence in modern art, notably in the works of Abstract Expressionist artists such as Calder, Pollock, and Rothko. Sincerely appreciated by art academic and art collectors, Miró s works remains highly sought after. Untitled (from Grafikmappe Hochschule St. Gallen), 1967 Signed on the lower right Colour lithograph, edition of 150. 66 x 50.5 cm I 26 x 19.9 in German Auktionshaus, Zurich, 4 June 2013, lot 243 Private collection Literature Patrick Cramer, Miró Lithographs III, Maeght Publisher, Paris, 1967, no. 111 18 19

Zao Wou-Ki 자오우키 (1920-2013) Zao Wou-Ki는 1920년중국베이징에서태어났다. 그는전후미술계의거장으로동시대중국화가중가장잘알려진화자중한사람이다. Zao Wou-Ki는전통적인중국문인화에현대적회화기법을활용했다. 1948년파리로건너간 Zao는중국의흔적을버리고중국풍경화의영향을받은 Paul Klee의스타일로그림을그리기시작했다. 1954년, Zao는중국미술과혼재되어대비되는색깔과서정적인추상화이라는독특한분위기를보여주었는데, 중국의전통적인풍경을유럽서양화의렌즈로보는것같았다. Zao는객관적으로동양의영향을받은미술작품으로받아들여지는것을좋아하지않아먹 (ink) 사용을가급적으로피하면서캘리그라픽스타일로유화를그렸다. 중국의전통적인풍경화와마찬가지로, Zao의그림은장엄한경치들이모여자신의내부에너지가드러나듯유연함과투명함, 그리고품위있는화려함을보여주고있다. Zao Wou-Ki was a Chinese artist born in Beijing, China in 1920. He was a master of postwar art and one of the most collected Chinese painters of his generation, Zao Wou-Ki applied Modernist art making techniques to traditional Chinese literati painting. Zao moved to Paris in 1948, rejecting his Chinese heritage, and immediately began painting a style influenced by Paul Klee, who in turn was influenced by Chinese landscape painting. By 1954, Zao had developed a unique aesthetic that was marked by contrasting colours and lyrical abstraction which merged Chinese art, as viewed through the lens of European abstraction, with traditional Chinese landscapes. Zao remained wary of objectively Eastern-influenced art and avoided using ink for much of his career, preferring to work with oil paint in a calligraphic style. Like traditional Chinese landscape painting, Zao s paintings function as fragments of a larger scene, possessing fluidity, transparency, and a graceful luminosity representative of the artist s interior energies. Untitled, 2003 Signed and dated on the lower right India ink on paper laid down on paper. 117.6 x 97 cm I 46.3 x 38.2 in Marlborough Gallery, Madrid Private collection, Paris Artcurial, Paris, 3 June 2014, lot 76 Private collection 20 21

Fernand Léger 페르낭레제 (1881-1955) Fernand Léger 는 1881 년프랑스 아르장탕 에서태어났다. 1897 년부터 1899 년까지레제는건축교육을받았다. 자신의천직이미술이라고생각한그는 1902 년 -1903 년 School of Decorative Art 에입학했고, Académie Julian 에서도공부했다. Salon d'automne 에서열린 Cézanne 회고전에동참했던 1907 년은 Léger 에게전환점이되었는데, 이때부터자신의그림에데생과기하학을강조하기시작했다. 1909 년, 파리로건너간 Léger 는이곳에서 Robert Delaunay, Lipchitz, 그리고 Marc Chagall 과같은아방가르드운동을주도한대가들을만났다. 이기간에 Léger 는자신의그림에원통형태를주로사용하면서자신만의방식으로 Cubism 을해석하기시작했다 (Tubism). 1 차세계대전에참전한 1920 년부터, Léger 의그림은뚜렷한외곽선과골고루섞은색깔을이용하여한층기계적인방식을채택했다. 1927 년, 그의스타일은한층유기적이면서도불규칙한형태를띠기시작했다. 1945 년부터 Léger 는자신의그림에일상생활에서흔히접하는물건들을핵심피사체로삼는등, 평범한사람의모습을그리는일이많아졌다. 그림이외에도, Léger 는영화프로젝트, 도서삽화, 벽화, 스테인글라스창, 모자이크, 도자조각, 심지어는극장무대설계분야에서도활동했다. Léger 의작품은여러곳에서전시되었고, 전세계주요미술관에소장되어있다. Fernand Léger was a French artist born in 1881 in Argentan, France. Léger trained as an architect from 1897 to 1899. Knowing his calling was in art, he enrolled at the School of Decorative Art in 1902-1903 while he also studied at Académie Julian. A turning point in Léger s art was in 1907 when he attended the Cézanne retrospective at the Salon d'automne whereby he began to focus on drawing and geometry in his paintings. In 1909, Léger moved from Paris where he met leaders of the avant-garde movement such as Robert Delaunay, Lipchitz, and Marc Chagall. During this period, Léger began with his interpretation of Cubism typified with the predominance of cylindrical forms (Tubism) in his paintings. From 1920 after his military service in World War I, Léger s paintings took on a more mechanical approach with strong contours and evenly blended colours. In 1927, his style evolved to adopt a more organic and irregular form. From 1945, Léger paid a greater emphasis on the theme of the common man, such as the use of everyday objects in his paintings as the core subject. Besides painting, Léger was also involved in film projects, book illustrations, murals, stain glass windows, mosaics, ceramic sculptures and even set designs for the theatre. Léger s work has been exhibited widely and is held in many prestigious museum collections worldwide., Étude pour la façade de l église Notre-Dame-de-Toute-Grâce (plateau d Assy, Haute-Savoie), circa 1948-49 Stamped 'F.L' and inscribed 'Mosaïque Assy (étude)' on the lower right Gouache and India ink on paper. 48.5 x 97.8 cm I 19.1 x 38.5 in Sotheby s, New York, 14 May 1992, lot 146 Private collection Tajan, Monaco, 21 July 2012, lot 31 Private collection Certificate Irus Hansma has confirmed the authenticity of this work 22 23

Fernando Botero 페르난도보테로 (b.1932) Fernando Botero는콜롬비아 메데인 에서태어났다. 현재는프랑스파리에서살면서작품활동을하고있다. 조각과데생과그림을이용하는 Botero의작품들은조형미술에가깝지만추상적이다. Botero는콜롬비아 메데인 의식민지시대교회와도시생활에남아있는바로크스타일의영향을많이받았다. 1952 년, 일단의미술가들과함께바르셀로나를여행한 Botero는그곳에서잠깐체류하다마드리드로이동하여 Academia de San Fernando에서미술을공부했다. 1953년, 그는파리로자리를옮겨루브르박물관에서연구활동을하면서 1년동안머물렀다. 이후 1953 년부터 1954년까지이태리 플로렌스 에서생활하면서 Quattrocentro와르네상스시대거장들의조각과그림에대해연구했다. 1958년, Botero는 보고타 에서 9회 Salón de Artistas Colombianos 상을수상했다. 1960년, 그는뉴욕으로이주하여 14년동안살면서작품활동을이어나갔다. 최근에는프랑스파리에정착했지만, 매년 2달동안은메데인고향으로돌아간다. 그의독특한경험덕분에 Boterismo 라는이름으로알려진그만의독특한스타일이완성되었다. Boterismo 에등장하는인물들은다소과장되게, 체격이건장하게묘사되어풍자적이고유머러스하면서도친근한느낌을준다. Fernando Botero의전시회는사람들의관심을많이끌었고, 해외주요박물관, 기업및개인소장가들이수집한작품들과함께전세계적으로소개되었다. 2012년, Contemporary Sculpture Award 에서 International Sculpture Center's Lifetime Achievement 상을수상하면서 Fernando Botero의조각작품도인정을받았다. Fernando Botero was born in Medellín, Colombia. He currently lives and works in Paris, France. Botero s art is figurative yet abstracted, utilising sculpture, drawing and painting. Although relatively sheltered from fine art influences at an early age, Botero was heavily affected by the Baroque style of the colonial churches and the city life of Medellín, Colombia. In 1952, Botero travelled with a group of artists to Barcelona, where he stayed briefly before moving on to Madrid where he studied art at the Academia de San Fernando. In 1953, he moved to Paris for a year, where he spent most of his time studying in the Louvre, and then lived in Florence, Italy from 1953 to 1954, studying the painting and sculpture of the Quattrocentro and Renaissance masters. In 1958, Botero won the ninth edition of the prestigious Salón de Artistas Colombianos in Bogotá. In 1960, he moved to New York where he lived and worked for 14 years. More recently Fernando Botero has settled in Paris, France but returns home to Medellín for two months each year. His unique range of experiences have led to the development of his unique signature style, known as Boterismo, where figures are depicted with robust, enlarged and exaggerated volume to satirical, humorous or affectionate effect. Fernando Botero s exhibitions are high profile and have featured worldwide with works collected by many major international museums, corporations and private collectors. In 2012, Fernando Botero s sculpture was acknowledged when he received the International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award. La Toilette, 2009 Signed on the lower right Watercolour on paper. 106 x 74 cm I 41.7 x 29.1 in 24 25

Contemporary Curated Selection

André Brasilier 앙드레브라질리에 (b.1929) André Brasilier는 1929년프랑스 사뮈르 미술가집안에서태어났다. André Brasilier는현재프랑스파리에서살면서작품활동을하고있다. 주로캔버스에그린유화인 Brasilier의작품은표현적이고조형적이다. Brasilier는어린시절부터그림을좋아했고, 20세가되던해에파리로건너가 École des Beaux-Arts 에서그림을공부했다. 1952년, André는 Florence Blumenthal Foundation에서장학금을받았고, 다음해 23세의나이에그는 Premier Grand Prix de Rome을수상하면서이태리로마에있는 Académie de France에서공부할수있게되었다. André Brasilier 의그림에는일본판화의힘과평온함도느껴지면서표현주의화가들의영향을받은흔적들이나타나지만, 그는자신만의아름다움을보여주었다. 그의세련된구성은다양한주제와모티프, 특히말과자연과인물이자주등장하는데, 선명한색상으로피사체의순간적인동작을정서적으로잘표현하고있다. André Brasilier 의그림은삶과사랑과자연과친밀하고깊게교감하는모습을포착한다. André Brasilier는전시회를많이열었는데 1980년에는 1950년 ~1980년에발표한 100개의작품에대한첫번째회고전을 Château de Chenonceau에서열었고, 1988년에는코트다쥐르앙티브의 Musée Picasso-Château Grimaldi에서회고전을열었다. 이후 2005년에는러시아상트페테르부르크의유명한 State Hermitage Museum에서, 그리고 2007년에는독일의 Museum Haus Ludwig für Kunstausstellungen Saarlois에서회고전을열었다. André Brasilier was born into an artistic family in Saumur, France in 1929. André Brasilier currently lives and works in Paris, France. Brasilier's artworks are expressive and figurative, made primarily in oil paint on canvas. Brasilier possessed a natural inclination towards painting from an early age, and at twenty years old, he went to Paris to study art at the École des Beaux-Arts. In 1952 André received a grant from the Florence Blumenthal Foundation, and the following year, at the age of 23, he won the Premier Grand Prix de Rome, entitling him to study painting at the Académie de France in Rome, Italy. Whilst André Brasilier's paintings reflect the influence of Expressionist artists alongside the strength and serenity of Japanese print making, he has retained an idiosyncratic aesthetic. His stylised compositions feature a range of themes and motifs, notably horses, nature and the figure, each handled with luminous, liminal and emotional subjectivity. André Brasilier's paintings capture an intimate, deep and enchanted communion with life, love and nature. His exhibitions have been extensive. His first retrospective of one hundred artworks from 1950-1980 was exhibited at the Château de Chenonceau in 1980 and a retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes, the French Riviera, was compiled in 1988. He has since been honoured with major retrospectives at Russia s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlois in Germany in 2007. Courses en nocturne, 2016 Signed on the lower right Oil on canvas. 97 x 130 cm I 38.2 x 51.2 in 28 29

Manolo Valdés 마놀로발데스 (b.1942) Manolo Valdés 는 1942 년스페인바르셀로나에서태어났다. 현재는스페인마드리드와미국뉴욕을오가면서작품활동을하고있다. Valdés 의작품은추상과구상이혼재한다. 그는데생, 회화, 콜라주, 조각및판화등다양한분야에서활동하고있다. 1964 년, Valdés 는사회정치적분위기와미술자체의역사에의문을던지기위해팝아트를활용하는미술단체 Equipo Crónica 를결성하기위해 Rafael Solbes, Joan Antonio Toledo 등과힘을합쳤다. 1981 년해당단체가해산된후, Valdés 는스페인에서가장영향력있는미술가로다시태어났다. Manolo Valdés 의작품은스페인의예술적유산, 특히바로앞세대화가들인 Manolo Millares, Antonio Saura 와 Antoni Tàpies 가주도한 Informalismo 의영향을많이받았지만, Rembrandt, Goya, Picasso, Matisse 및 Rubens 와같은유럽의거장들을포함하여 Velázquez 의작품에서많은영향을받았다. 역사적걸작으로언급되는 Valdés 의작품들은친숙한이미지를다시살려내면서지적으로새롭게비틀어원래의도했던것보다한층의미있는작품을만들어냄으로써표현주의적이면서규모가크고극단적일정도의촉감이살아있다. Manolo Valdés 의회화와조각에등장하는인물은부풀어져있는경우가많아추상적이면서세부적인부분이최소화되어있지만, 투박한콜라주에물감을아낌없이칠하여바로크이미지에원시적인분위기가연출된다. 그의전시회는지금도끊임없이열리고있으며, 1965 년밀란의 Lissone 과 Biella 에서수상한상을비롯하여, 도쿄에서열린제 2 회 International Prints Biennial 에서은상수상, 리스본 Bridgestone Art Museum 에서수상, 발렌시아에서 Alfons Roig Award 수상, 스페인에서 National Award for the Fine Arts 수상, 바그다드에서 2 년마다열리는 International Festival of the Plastic Arts 에서수상, 그리고 1993 년에는베네주엘라에서 Medal of the Order of Andrés Bello 를수상했다. Manolo Valdés 의조각과회화는많은찬사를받았고대중들의인정을받았으며, 뉴욕의 Metropolitan Museum of Art 및파리의 Centre Georges Pompidou 등전세계주요미술관에소장되어있다. Manolo Valdés was born in Valencia, Spain in 1942. He currently lives and works between Madrid, Spain and New York, USA. Valdés artworks combine abstract and figurative elements. He has mastered multiple media including drawing, painting, collage, sculpture and printmaking in the making of his art. In 1964, Valdés collaborated with Rafael Solbes and Joan Antonio Toledo to form Equipo Crónica, an artistic group that utilised Pop Art to question the socio-political climate and the history of art itself. After the group dissolved in 1981, Valdés reinvented himself emerging as one of the foremost living Spanish artists. Manolo Valdés artworks draw heavily upon Spanish artistic heritage, particularly the Informalismo of his immediate predecessors Manolo Millares, Antonio Saura and Antoni Tàpies, but more specifically from the work of Velázquez, alongside other European masters including Rembrandt, Goya, Picasso, Matisse and Rubens. Often referencing historical masterpieces, Valdés creates expressive, large-scale, extremely tactile artworks, which revitalise familiar images, creating intellectual swerves that bring significant works out of their original context. The figure's in Manolo Valdés paintings and sculptures are often inflated, abstracting form and minimising detail, while incorporating an abundance of paint applied with rawness alongside crude collage material, giving the Baroque image a primitive twist. Manolo Valdés' exhibitions are extensive and he has received numerous awards, including the Lissone and Biella in Milan in 1965, the silver medal in the second International Prints Biennial in Tokyo, an award from the Bridgestone Art Museum in Lisbon, the Alfons Roig Award in Valencia, the National Award for the Fine Arts in Spain, a medal from the bienniale International Festival of the Plastic Arts in Baghdad and in 1993 the Medal of the Order of Andrés Bello in Venezuela. Manolo Valdés' sculptures and paintings have met with wide-scale critical acclaim and public recognition, featuring in important museums collections worldwide, including the Metropolitan Museum of Art in New York and the Centre Georges Pompidou in Paris. Retrato con fondo naranja, 2007 Signed, titled and dated on the reverse Oil on burlap. 222.3 x 166.4 cm I 87.5 x 65.5 in Marlborough Gallery, New York Private collection 30 31

Fiori, 2015 Bronze, unique piece. 124 x 180 x 71 cm I 48.8 x 70.9 x 28 in Artist's studio Galerie Forsblom, Helsinki Private collection, Europe 32 33

Georg Baselitz 게오르그바젤리츠 (b.1938) Georg Baselitz 는 1938 년동독에서태어났다. 그는독일의화가, 판화가겸조각가이다. 1950 년대후반부터 1960 년대초반까지초기작품에도당시유행하던추상화에대한반감이드러나있다. Georg Baselitz 의초기작품은상징적인인체, 장기, 성적 ( 性的 ) 강박관념과충격적인경계 ( 境界 ) 의모습을보여준다. 1960 년중반부터, 그는몇가지인물형태, 상처가있거나다친모습을주로그렸다. 그는우리가범접할수없는신비의나라에서찾아온사람들처럼이러한인물들을현대적영웅이라는세련된형태로표현했다. 1969 년부터 Baselitz 는피사체를거꾸로그렸다. 이러한방법을통해모티프를표면에그리고자신이중요하게생각하는부분을강조해서표현할수있었다. 1975 년에힐데스하임근처의 데른부르크 로거처를옮긴후, Baselitz 는카를수루에의 Staatliche Akademie der Bildenden Künste 에서 (1977 년 -1982 년 ), 그리고서 ( 西 ) 베를린의 Hochschule der Bildenden Künste 에서 (1983 년 -1988 년 ) 미술학과교수로재직했다. 지금도자신의주요표현수단으로매체자체를보여주지만, 1980 년대에들어서면서주제에더무게를두기시작했다. 1979 년, Baselitz 는자신의첫번째기념비적인목재조각을시작했는데, 자신이그리는인물과머리에전형적인강렬함을표현한기본적이면서도의도적으로다듬지않은기술을활용했다. 현대미술의주류에편승하지않고오랫동안자신만의스타일로작업했던그는, 독일의젊은신표현주의화가들 ( Neue Wilden ) 에게많은영향을주면서 1980 년대부터국제적으로명성을쌓는다. Georg Baselitz was born in East Germany in 1938. He is a German painter, draughtsman, printmaker, and sculptor. Even in his early work of the late 1950s and early 1960s, Baselitz rebelled against the dominance of abstract painting. The imagery in his early works consisted of symbolic bodies, organs, sexual obsessions and shocking boundaries. From the mid-1960s he concentrated on several figure types, sometimes portrayed as scarred or wounded. He presented them in a stylised form as modern heroes, as people from a mythical land beyond our questionable civilisation. From 1969 Baselitz painted his subjects upside down. Through this method, the possibility of stressing the realisation of the motif as a painted surface and the form as his primary concern. After moving in 1975 to Derneburg, near Hildesheim, Baselitz served as professor of painting at the Staatliche Akademie der Bildenden Künste in Karlsruhe (1977 82) and at the Hochschule der Bildenden Künste in West Berlin (1983 88). Although he continued to present the medium itself as his primary vehicle of expression, in the 1980s he again gave greater weight to subject-matter. In 1979, Baselitz began work on his first monumental sculptures in wood, for which he employed an elemental and deliberately unpolished technique that gave his figures and heads an archetypal forcefulness. Having worked for many years against the mainstream of contemporary art, by the 1980s he had established an international reputation through his influence on the young German Neo- Expressionist painters referred to in Germany as the Neue Wilden'. DAS MOTIV: 1950, 14 May 1988 Signed and dated on the lower centre, titled and dated on the reverse Oil on canvas. 162 x 130 cm I 63.8 x 51.2 in L.A. Louver Gallery, Los Angeles Private collection, Los Angeles Private collection, London Sotheby's, London, 29 June 2010, lot 228 Private collection, London Sotheby's, London, 13 February 2013, lot 207 Private collection, London 34 35

Yves Klein 이브클레인 (1928-1962) 1928년에태어난 Yves Klein은전후유럽미술계의가장중요한미술가중한사람이었고프랑스에서시작된 누보리얼리즘 (Nouveau Réalisme) 의핵심인물이기도했다. 누보리얼리즘은미술비평가 Pierre Restany 이 1960에처음주도한운동이었다. Klein은무엇보다파란색으로만그림을그리는것으로잘알려져있고, 인터내셔널클라인블루 (IKB) 는 Klein을트레이드마크가된밝은청색을의미한다. 선 ( 禪 ) 과기타형이상학적철학의영향을받은 Klein은자신의청색그림이순수관념 (pure idea) 와비슷한무형 ( 無形 ) 무한 ( 無限 ) 의공간을열었다고생각했다. Klein은 청색에는차원 ( 次元 ) 이없고차원을넘어서지만, 다른색들은그렇지않다 는유명한말을남기기도했다. Klein의작품들은여러미술관에전시되어있고, 전세계주요민간 / 공공컬렉션에서중요한부분을차지하고있다. Born in 1928, in Nice, France, Yves Klein was one of the most important artists in post-war European art and a key figure in the French artistic movement Nouveau Réalisme, which was founded in 1960 by the art critic Pierre Restany. Klein is known above all for his blue monochrome paintings, which were rendered in International Klein Blue, a bright blue pigment that was to become the artist s trademark. Influenced by Zen and other metaphysical philosophies, Klein believed his blue paintings opened onto an immaterial and infinite space that was akin to a pure idea. As the artist once famously said, "Blue has no dimensions, it is beyond dimensions, whereas the other colours are not". Klein s works have been exhibited in numerous museums and is part of important private and public collections across the world. Left: Table Monogold Gold leaf, glass, Plexiglas, wood and steel 38 x 100 x 125 cm I 15 x 39.4 x 49.2 in Above: Table Bleu Klein International Klein Blue pigment, glass, Plexiglas, wood and steel 38 x 100 x 125 cm I 15 x 39.4 x 49.2 in Archives Yves Klein, Paris Archives Yves Klein, Paris 36 37

Robert Indiana 로버트인디애나 (b.1928) 1928 년미국인디애나주뉴캐슬에서태어난 Robert Indiana 의본명은 Robert Clark 로, 미국예술계의거장이다. 주로팝아트 (Pop Art) 에전념했던그는 아상블라주아프 (Assemblage Art) 발전에도중요한역할을했다. 어린시절에 Indiana 는여러가정을전전했는데, 이러한일시성과비 ( 非 ) 일관성은예술가로서의그의정체성에큰영향을미쳤다. 1966 년에뉴욕으로다시들어온그는항상머리속에맴돌던 고향 이라는주제를분명하게보여주기위해이름을 Robert Indiana 로개명했다. 1965 년 MoMA( 뉴욕현대미술관 ) 의휴관을알리는인쇄이미지로처음제작된 Robert Indiana 의 LOVE 만큼그를대표하는팝이미지는없다. 1960 년대이상주의를보여주고에로틱하면서도종교적이고자전적의미가담겨있는상징물 LOVE 는누구나다가갈수있지만어렵기도한 사랑 을표현한것으로, 현대문화의복잡함을보여주는하나의상징물이되었다. 1965 년처음소개된이후 LOVE 는수많은형식으로변형되었는데워싱턴 DC 의 National Sculpture Garden 에서는스페인어로, 예루살렘의 Israel Museum 에서는히브리어로옮겨놓았다. 전세계어느곳에서나동일한형태를유지하도록하여사랑이란주제의보편성을강조면서 말과언어 의힘이라는 Indiana 의주요주제중하나에대해탐구하고있다. 단순하면서도대담하여머리속에남는이미지로유명한그의작품들은팝아트세대의상징이되었다. 뉴욕의 Whitney Museum of American Art, 워싱턴 DC 의 National Gallery of Art, San Francisco Museum of Modern Art, 독일쾰른의 Ludwig Museum, 중국의 Shanghai Art Museum, 그리고예루살렘의 Israel Museum 에그의작품들이전시되어있다. Born Robert Clark in Newcastle, Indiana, USA in 1928, Robert Indiana is a preeminent figure in American art. Associated mostly with the Pop Art movement, Indiana also played a central role in the development of Assemblage Art. Indiana spent his childhood moving from home to home, a temporality and inconsistency that had a strong influence on his identity as an artist. After relocating to New York in 1966, the artist adopted the last name Indiana as a statement about the concept of home, a subject that has persisted throughout his career. Few pop images are more recognisable than Robert Indiana s LOVE, originally designed as a print image for the MoMA holiday card in 1965. Adopted as an emblem of 1960s idealism and full of erotic, religious and autobiographical meaning, LOVE is at once accessible and complex, an iconic symbol of hope that has become an intricate icon of contemporary culture. Since its inception in 1965, LOVE has been proliferated onto countless formats and renderings worldwide, including a reproduction in Spanish for the National Sculpture Garden in Washington D.C. and in Hebrew for the Israel Museum in Jerusalem. Its ubiquity worldwide emphasises the universality of the subject and explores one of Indiana s central themes on the power of words and language. Renowned for simple, bold, memorable images, Indiana s works have become some of the most iconic of the Pop Art generation and have been collected by the Museum of Modern Art and the Whitney Museum of American Art in New York, the National Gallery of Art in Washington D.C., the San Francisco Museum of Modern Art, the Ludwig Museum in Cologne, Germany, the Shanghai Art Museum in China and the Israel Museum in Jerusalem. Love (Gold face - Blue sides), 1966-2000 Stamped with the artist s signature, numbered and dated inside the E Polychrome aluminium, edition of 6 + 4 AP. 91.5 x 91.5 x 45.5 cm 36 x 36 x 18 in The Morgan Art Foundation, Geneva 38 39

Keith Haring 키스해링 (1958-1990) Keith Haring 은 1958 년펜실베니아 리딩 외곽의작은마을에서태어났다. 어릴적부터월트디즈니와닥터수스 (Dr. Seuss) 그림의영향을많이받았고, 10 대시절에는소설가윌리엄버로스작품에심취했다. 그는고등학교졸업후에피츠버그의 Ivy School of Professional Art 에입학했지만, 2 학기만에자퇴하고뉴욕으로건너갔다. 그곳에서그는상업미술세계밖에서크게붐을일으키던대안예술과접하게되었다. 처음에는지하철공공미술로사람들의주목을받았고, 1980 년대에는 Club 57 이라는예술나이트클럽에서전시회를열었다. Andy Warhol, Madonna, Jean- Michel Basquiat 등영향력있는인물들의도움을받으면서성공가도에들어섰지만, Haring 의작품에는당시의정치적사회적문제들이그대로담겨있다. 자신이동성애자임을밝혔던그의작품은 1980 년대에이즈와뉴욕시의뒷골목의영향을많이받았고, 성 ( 性 ) 과죽음과전쟁은중요한주제가되었다. Haring 은에이즈합병증으로 31 세에사망했다. 사망이후, Haring 은주요회고전의중심인물이되었고, 그의그림은 20 세기후반의뉴욕시를대표하는시각적 시대정신 으로널리알려졌다. 사람들의주목을받던동료예술가 Jean- Michel Basquiat 와 Kenny Scharf 도 Haring 과마찬가지로지하철과길거리에그리는화려하고우스꽝스러우면서도관습을타파하는그래피티에관심이많았고, 이들세사람은미술과음악과패션이어우러진아름다움을추구했다. Keith Haring was an American artist born in 1958 in a small town outside of Reading, Pennsylvania. As a child he was heavily influenced by the drawings of Walt Disney and Dr. Seuss, and as a teen by the beat writings of William S. Burroughs. He was enrolled in the Ivy School of Professional Art in Pittsburgh shortly after graduating from high school, dropping out after two semesters to move to New York City. There he became associated with the thriving alternative art community developing outside the commercial art world. He first received public attention with his public art in the subway, and by the 1980s was organising exhibitions at the arts nightclub Club 57. Propelled to quick success with the help of influential figures such as Andy Warhol, Madonna and Jean-Michel Basquiat, Haring s work nonetheless expressed pertinent social and political themes at the time. Openly gay, his work was heavily impacted by the AIDS epidemic and the underground street culture of New York City in the 1980s, with sexuality, death and war being central themes to his oeuvre. Haring died at age 31 of AIDS-related complications. Since his death he has been the subject of several major retrospectives, and his imagery has become a widely regarded visual Zeitgeist of New York City in the late 20 th century. Fellow emerging artists Jean-Michel Basquiat and Kenny Scharf shared Haring s interest in the colourful, absurdist and transgressive graffiti art of the subways and city streets, and the three often explored an aesthetic that combined images of art, music and fashion. Untitled, 1984 Household paint and marker pen on chipboard. 122 x 122 cm I 48 x 48 in. Now Gallery, New York Bonhams, London, 2 July 2014, lot 47 Ressle Gallery, New York Private collection, USA Exhibited New York, Now Gallery, Group Show, 1985 40 41

Takashi Murakami 다카시무라카미 (b.1962) Takashi Murakami 는 1962 년일본도쿄에서태어났다. 현재는도쿄와뉴욕시에서살면서작품활동을하고있다. Tokyo University of the Arts 에서공부했고, 1986 년에순수미술학사학위, 1988 년에석사학위, 그리고 1993 년에박사학위를받았다. 1996 년에도쿄에 히로뽕 공장을세웠고, 이공장은후에미술제작및관리회사인 Kaikai Kiki( 怪怪奇奇 ) 가되었다. 2 분법적문화계 ( 예술과상업 ) 에서모든비판을받아야하는 피뢰침 을자처하는 Murakami 는 예술가란세상의경계를인식하고이것을그림으로그려야하는사람 이라고생각한다. 정교한고전화법 ( 畵法 ) 기술을팝, 애니메이션, 오타쿠 (otaku) 적상상력을하나로모아자신만의 슈퍼플랫 (Superflat) 스타일로표현하는 Murakami 는미적문제와문화적영감이끊임없이확장되는영역내에서자유롭게움직인다. 그의작품에고스란히담겨있는 반 ( 反 ) 이상향 이라는주제와병행하여, 그는초월 ( 超越 ) 과계몽 ( 啓蒙 ) 을전통적인방식으로다시되살려내고있다. 소위말하는일본의 괴짜들 ( 서구낭만주의전통에대응하는집단으로기존질서를거부하는초기근대기의예술가들 ) 이좋아하는종교적이면서세속적인주제를다룬다. Murakami 는오롯이자신만의방식으로이들의대담하면서도생동감있는유산 ( 遺産 ) 을보여주려고한다. Murakami 의작품은미국보스턴의 Museum of Fine Arts, 일본도쿄의 Museum of Contemporary Art, 프랑스파리의 Cartier pour l'art contemporain, 영국런던의 Serpentine Gallery, 미국 LA 의 Museum of Contemporary Art, 미국뉴욕의 Brooklyn Museum, 독일프랑크푸르트의 Museum für Moderne Kunst, 스페인빌바오의 Guggenheim, 프랑스의 Château de Versailles, 카타르의 Qatar Museum Authority, 이태리밀란의 Palazzo Reale, 일본도쿄의 Mori Art Museum, 미국시카고의 Museum of Contemporary Art 및노르웨이오슬로의 Astrup Fearnley Museum of Modern Art 등수많은개인전및그룹전에전시되었다. Takashi Murakami was born in 1962 in Tokyo, Japan. He currently lives and works in Tokyo and New York City. He studied at Tokyo University of the Arts, where he received his B.F.A. in 1986, M.F.A. in 1988, and Ph.D in 1993. He founded the Hiropon factory in Tokyo in 1996, which later evolved into Kaikai Kiki, an art production and art management corporation. A lightning rod of cultural dichotomies, Murakami believes the artist to be one who perceives and represents the borders between worlds. Combining refined classical painting techniques with a supercharged mix of Pop, animé, and otaku imagery in his distinctive Superflat style. Murakami moves freely within an ever-expanding field of aesthetic issues and cultural inspirations. Parallel to the dystopian themes, which pervade his work, he recollects and revitalises traditional narratives of transcendence and enlightenment. Mining religious and secular subjects favoured by the so-called Japanese eccentrics (non-conformist artists of the Early Modern era widely regarded as counterparts of the Western Romantic tradition). Murakami situates himself within their legacy of bold and lively individualism in a manner that is entirely his own and of his time. Murakami s work has been featured in many solo and group exhibitions worldwide, including the Museum of Fine Arts in Boston, USA, the Museum of Contemporary Art in Tokyo, Japan, Fondation Cartier pour l'art contemporain in Paris, France, the Serpentine Gallery in London, England, the Museum of Contemporary Art in Los Angeles, USA, the Brooklyn Museum in New York, USA, the Museum für Moderne Kunst in Frankfurt, Germany, the Guggenheim in Bilbao, Spain, Château de Versailles in France, Qatar Museum Authority in Qatar, Palazzo Reale in Milan, Italy, Mori Art Museum in Tokyo, Japan, the Museum of Contemporary Art in Chicago, USA and the Astrup Fearnley Museum of Modern Art in Oslo, Norway. Blue Flower, 2013 Signed and dated on the reverse Acrylic and platinum leaf on canvas. 79.5 x 57 cm I 31.3 x 22.4 in Private collection 42 43

Yoshitomo Nara 요시토모나라 (b.1959) Yoshitomo Nara는 1959년에일본 히로사키 에서태어났다. 현재는도쿄에서생활하면서작품활동을하고있다. Nara는 Aichi Prefectural University of Fine Arts and Music, 그리고독일뒤셀도르프의 Kunstakademie를졸업했다. 2차세계대전후의생활은 Nara의미술에많은영향을주었다. 그는 Takashi Murakami가시작한일본미술계의 포스트모던슈퍼플랫 운동에동참했다. Murakami와마찬가지로 Nara 는일본만화를활용하고있다. Roy Lichtenstein과같은미국팝아티스트를연상시키는데, 만화책에나오는그림과기술을사용하고있다. Nara의작품에자주등장하는천박할정도로유아적인모습은어른이되기싫어하는마음을보여주는것으로해석되기도한다. 1984년이후, Nara는세계곳곳에서 40여차례의개인전을열었다 Yoshitomo Nara was born in 1959 in Hirosaki, Japan. He currently lives and works in Tokyo, Japan. Nara graduated from the Aichi Prefectural University of Fine Arts and Music and from the Kunstakademie in Düsseldorf, Germany. Nara s upbringing in post- World War II Japan profoundly affected his art. He belongs to the postmodern Superflat movement of Japanese art founded by Takashi Murakami. Like Murakami, the artist uses Japanese manga and cartoons reminiscent of American Pop artists such as Roy Lichtenstein and his use of comic book drawings and techniques. The superficially childish preoccupations depicted in Nara s oeuvre are sometimes interpreted as a fear of adulthood. Since 1984, Nara has participated in nearly 40 solo exhibitions around the world. Right and Left, 1990 Signed in Japanese and dated on the reverse Acrylic on canvas. 22.1 x 22.1 cm I 8.7 x 8.7 in Private collection, Asia Sotheby s, Hong Kong, 6 October 2013, lot 972 Private collection Literature Yoshimoto et al., Yoshitomo Nara: The Complete Works 1984-2010: Volume 1, Bijutsu Shuppan Sha, Tokyo, 2011, p. 69 44 45

Marc Quinn 마크퀸 (b.1964) Marc Quinn은 1964년영국런던에서태어난현대미술가로, 지금도런던에서생활하고있다. 그의작품은조각, 설치및회화등다양하다. Quinn은인체, 유전학, 정체성, 환경및미디어등다양한주제를통해 우리가살고있는지금의세상에서과연인간적이라는것은무엇인가 에대해탐구하고있다. 그의작품은피, 빵, 꽃, 대리석, 스테인레스등다양한재료를사용하고있다. Sir John Soane's Museum, Tate, National Portrait Gallery, Fondation Beyeler, Fondazione Prada 및 South London Gallery에서개인전을열었다. Marc Quinn은 Sarah Lucas와 Damien Hirst도동참했던 Young British Artists 운동에서중요한역할을했다. 국제적으로도명성이높았던그는 2004년트라팔가광장에서열린첫번째 Fourth Plinth 프로젝트를주관했고, 여기에자신의작품 Alison Lapper Pregnant 를전시했다. 자신의피로그린자화상 Self(1991년-현재 ) 는 2009년 Fondation Beyeler에서열린회고전의주제였다. 런던의 Tate Modern, 런던의 National Portrait Gallery, 파리의 Musée National d'art Moderne, 암스테르담의 Stedelijk Museum, 오슬로의 Astrup Fearnley Museum of Modern Art, 리스본의 Berardo Collection Museum, 몬트리올의 Musée d'art contemporain de Montréal, 뉴욕의 Museum of Modern Art in New York, 그리고뉴욕의 Metropolitan Museum of Art에 Quinn의작품이전시되어있다. Marc Quinn is a contemporary artist born in 1964 in London, England where he still resides. His work includes sculpture, installation and painting. Quinn explores 'what it is to be human in the world today' through subjects including the body, genetics, identity, environment and the media. His work has used materials that vary widely, from blood, bread and flowers, to marble and stainless steel. Quinn has been the subject of solo exhibitions at Sir John Soane's Museum, the Tate Gallery, the National Portrait Gallery, Fondation Beyeler, Fondazione Prada and South London Gallery. The artist was a notable member of the Young British Artists movement, which included Sarah Lucas and Damien Hirst. Quinn is internationally celebrated and was awarded the commission for the first edition of the Fourth Plinth in Trafalgar Square in 2004, for which he exhibited Alison Lapper Pregnant. Quinn's notorious frozen self-portrait series made of his own blood, Self (1991-present) was subject to a retrospective at Fondation Beyeler in 2009. Quinn is represented in several museums across the world, including the Tate Modern, in London, the National Portrait Gallery in London, the Musée d'art Moderne in Paris, the Stedelijk Museum in Amsterdam, the Astrup Fearnley Museum of Modern Art in Oslo, the Berardo Collection Museum in Lisbon, the Musée d'art contemporain de Montréal, the Museum of Modern Art in New York, and the Metropolitan Museum of Art in New York. Endless Column (Micro Cosmos), 2008 Signed, dated and numbered under the base White painted bronze, edition of 7. 69 x 21 x 23 cm I 27.2 x 8.3 x 9.1 in Private collection 46 47

Sphinx, 2006 Titled on the lower centre, signed and dated on the lower right Watercolour on paper. 153 x 101 cm I 60.2 x 39.8 in 48 49

Damien Hirst 데미안허스트 (b.1965) Damien Hirst 는 1965 년영국 브리스톨 에서태어났다. 1988 년 Goldsmiths College 재학시절, 그는 이스트런던 에서열린학생전시회 Freeze 를주관했다. Hirst 는이전시회에젊은예술가여러명을초대했고, 1990 년대현대미술을새롭게정의한이들은나중에 Young British Artists (YBAs) 라는이름을얻게된다. 1991 년, Hirst 는 Woodstock Street Gallery 에서 In and Out of Love 라는타이틀로그의첫번째단독전시회를열었다. 수백마리의살아있는열대나비들이전시회장을날아다녔고, 이들중일부는벽에매달려있는흑백캔버스에서부화했다. 1992 년, 그는 Saatchi Gallery 에서열린획기적인 Young British Artists 전시회에동참했다. 이전시회에서그는우리가잘알고있는작품 살아있는자의마음속에있는죽음의육체적불가능성 (The Physical Impossibility of Death in the Mind of Someone Living) 을전시했다. 이것은포름알데히드로가득찬유리탱크안에보전되어있는상어의모습을보여주고있다. 같은해, 그는 Tate Gallery Turner Prize 후보에올랐고, 1995 년에마침내이권위있는상을받았다. Hirst 의작품대부분은두가지형태를취하고있다. 하나는제약화학물질의이름으로제목을붙인무수한점 (spot) 들을배열했는데, 사람들은이것을 점 회화라고도부른다. 다른하나는일명 회전 (spin) 회화로, 회전하는판위에캔버스를올려놓고그위에물감을부어원심력을이용하여표현하는방법이다. 약장 (medicine cabinet) 이라는작품에서 Hirst 는각종약, 수술도구및의료기기를배열하는방식으로새로운형태의조각작품을선보였다. 마지막으로, 그의포름알데히드로보전한동물들이담겨있는 탱크 (tank) 는살아있는생물들의어쩔수없는죽음을직접적으로보여주는조각작품이다. Hirst 의모든작품에는아이러니한유머가담겨있고, 현대문화에서예술의역할은무엇인가라는질문을던진다. 2015 년 10 월, Hirst 는런던에 Newport Street Gallery 라는자신의예술공간을만들었고, 이곳에서자신의작품은물론개인소장품과자신이좋아하는미술가들의작품을전시하고있다. Damien Hirst was born in Bristol, England in 1965. While still a student at Goldsmiths College in 1988, he curated the now renowned student exhibition Freeze held in East London. In this exhibition, Hirst brought together a group of young artists who would come to define cutting-edge contemporary art in the 1990s and later get known as the Young British Artists (YBAs). In 1991, Hirst had his first solo exhibition at the Woodstock Street Gallery, entitled In and Out of Love in which he filled the gallery with hundreds of live tropical butterflies, some of which hatched from the monochrome canvases that hung the walls. In 1992, he was part of the groundbreaking Young British Artists exhibition at the Saatchi Gallery. In this show, he exhibited his now famous Physical Impossibility of Death in the Mind of Someone Living: a dead tiger shark preserved in a glass tank of formaldehyde. The same year he was nominated for the prestigious Tate Gallery Turner Prize, a coveted award he was finally awarded in 1995. For the most part, Hirst s paintings have taken on two forms. One is an arrangement of colour spots with titles that refer to pharmaceutical chemicals, known as Spot paintings. The second, his Spin paintings, are created by centrifugal force, when Hirst places his canvas on a spinning plate and pours the paint as they spin. In the medicine cabinet pieces Hirst redefines sculpture with his arrangements of various drugs, surgical tools and medical supplies. Finally, his tank pieces, containing dead animals preserved in formaldehyde, are sculptures that directly address the inevitable mortality of all living beings. All of Hirst's works contain an ironic wit and also question the role of art in contemporary culture. In October 2015, Hirst opened his own art space the Newport Street Gallery in London, where he exhibits his own work as well as his personal art collection and favourite artists. Skull Spin Painting (Created at Damien Hirst Spin Workshop), 2009 Birst Hirst blindstamp and stamped with signature and incription: this painting was made by / to celebrate the opening / of Damien Hirst. Requiem / at the PinchukArtCentre / on / Damien Hirst (stamped signature) Acrylic on paper. 71 x 50.8 cm I 28 x 20 in Rago, New Jersey, 16 November 2013, lot 717 50 51

Anselm Reyle 안젤름레일르 (b.1970) Anselm Reyle은 1970년독일 투빙겐 에서태어난독일의미술가이다. 현재는베를린에서생활하고있다. Anselm Reyle의작품은모더니즘과밀접하게연관되어있고, 모더니즘의전통을차용하고비판하면서새롭게해석하고있다. Reyle의추상조각과그림은형광색, 주조 ( 鑄造 ) 된사물, 포일, 글리터 (glitter), 거울등반짝이는흔한재료를사용한다. 초기추상화가 Otto Freundlich의영향을받은 Reyle은 Jackson Pollock 과 Barnett Newman의혁신적인기법을활용하여하드엣지 (Hard-Edged stripes) 형식의줄무늬와추상표현주의의자연스러운붓놀림을의식적으로보여준다. 2011년, Reyle은대중문화에도관심을보이면서 Dior의패션액세서리를디자인하기도했다. Anselm Reyle의작품은해외여러컬렉션에서전시되었다. Anselm Reyle is a German artist born in Tubingen, Germany in 1970. He is currently based in Berlin. The work of Anselm Reyle is intimately linked to Modernism, borrowing, critiquing, and reinventing its conventions all at once. Reyle s abstract sculptures and paintings are made with fluorescent colours, found objects, and shiny common materials including foil, glitter, and mirrors. Inspired by early abstract painter Otto Freundlich and using techniques innovated by Jackson Pollock and Barnett Newman, Reyle self-consciously revives aspects such as Hard-Edged stripes and the gestural brushstrokes of Abstract Expressionism. In 2011, Reyle made his affinity for popular culture explicit, designing accessories for fashion house Dior. Anselm Reyle has exhibited widely with works in many international collections. Untitled, 2006 Signed and dated on the reverse Acrylic, foil on canvas in artist s acrylic glass case. 143 x 122 x 17 cm I 56.3 x 48 x 6.7 in Galerie Giti Nourbakhsch, Berlin Phillips, London, 16 October 2014, lot 191 Private collection 52 53

Jeff Koons 제프쿤스 (b.1955) 미국펜실베니아주 요크 에서태어난 Jeff Koons 는현대미술계에서가장성공한미술가중한사람이다. 그의손을거친친숙하면서도세속적인물건들 ( 플라스틱인형, 진공청소기, 싸구려도자기장신구와기타여러가지일상용품 ) 은원래용도를넘어서이제는미국대중문화의진수를보여주는상징물이되었다. Jeff Koons 는 Andy Warhol 과같은초기팝아티스트들의작품들을되짚어보는 1980 년대네오 - 팝 (Neo Pop) 운동을주도하고있다. 진정한팝아트의계보에서, 그의작품은저속한 (kitsch) 물건을무언가독보적이면서값비싼것으로탈바꿈시킨다. 이러한장난스러운역설은 Koons 의성공에발판이되었다. 실제로 Koons 는독창적인마케팅전력을통해, 경험이많은미술품소장가들을심기를건드리기보다는이들의미적기대치를바꾸겠다는도전의길을선택했다. 또한 오해받는선지자 같은미술가들이갖고있는모더니스트적인생각과거리를두고있는 Jeff Koons 는자신은관객을즐겁게하는사람이고자신의작품을열심히홍보하는사람이라는것을스스로보여주고있다. 1990 년대중반에시작한시리즈인 Jeff Koons 의 Balloon Dog 은그중에서도특히논란의중심에있는유명한작품이다. 특수하게성형되어아주반짝이는스테인레스로제작되어투명하게코팅처리된이작품을어른들이보면잊혀진어린시절의추억들이언제라도되살아난다. 이러한스타일과철학으로전세계적으로인지도가높아진 Jeff Koons 는 2010 년프랑스에서개최된 24 Hours of Le Mans 대회에출전한 17th BMW Art Car 를디자인했다. 2013 년에는 Lady Gaga 의 ARTPOP 앨범커버를디자인했고, Dom Pérignon 의한정판샴페인을위해 Dom Pérignon Balloon Venus 라는맞춤형조각작품을만들기도했다. 그리고 2017 년에는 Louis Vuitton 과함께거장들의상징적작품들을뒤섞어새롭게해석한디자이너핸드백 Masters 를만들었다. 2017 년 5 월부터 7 월까지, 뉴욕 Rockefeller Centre 광장에 Jeff Koons 의기념비적인조각작품 Seated Ballerina 가설치되기도했다. Born 1955 in York, Pennsylvania, USA, Jeff Koons is one the most established and prominent artists in the contemporary art world. In his hands, familiar and mundane items (inflatable plastic toys, vacuum cleaners, porcelain trinkets and other various everyday items) transcend their core functionality to become icons manifesting the essence of American popular culture. Jeff Koons embodies Neo Pop, a 1980s movement that looked up at earlier pop artists, Andy Warhol mainly, for inspiration. In the true Pop Art tradition, his work celebrates a kitsch mass produced aesthetic, transforming it into something exclusive and of great value. This tongue-incheek paradox has formed the basis of Koons success. Indeed, through an ingenious marketing strategy, rather than risking offence to the seasoned art collector circuit, the artist chose to challenge them to revise their aesthetics expectations. Also distancing himself from the modernist ideal of the misunderstood visionary artist, Jeff Koons is a self-proclaimed crowd-pleaser, and avid promoter of his own work. Jeff Koons Balloon Dog sculptures, a series he began in the mid-1990s, are arguably amongst his best-known artworks. Made from precision-engineered mirror-polished stainless steel and finished with a transparent coating, they transpose a transient childhood memory into a permanent form weighted with adult nostalgia. An artist whose style and philosophy made him a favourite among commercial brands around the world, Jeff Koons created the 17 th BMW Art Car that raced at the 24 Hours of Le Mans, France in 2010. In 2013, he designed Lady Gaga s ARTPOP album cover; and created the Dom Pérignon Balloon Venus custom-made sculpture for Dom Pérignon s limited edition champagne. And in 2017, with Louis Vuitton, he created Masters, a designer handbag collaboration remixing the iconic artworks of the old masters and presenting them in a way that encourages new interpretation. From May to July 2017, the Rockefeller Centre in New York, USA, had installed Jeff Koons monumental Seated Ballerina sculpture on its main esplanade. Balloon Rabbit (Red), 2017 Signed and numbered Porcelain, edition of 999. 29 x 21 x 14 cm 11.5 x 8.3 x 5.5 in Manufacture Bernardaud, Limoges, France Editions published by the Museum of Contemporary Art, Los Angeles 54 55

Balloon Monkey (Blue), 2017 Signed and numbered Porcelain, edition of 999. 25 x 21 x 39.2 cm I 9.8 x 8.2 x 15.4 in Balloon Swan (Yellow), 2017 Signed and numbered Porcelain, edition of 999. 24 x 21 x 16.5 cm 9.5 x 8.3 x 6.5 in Manufacture Bernardaud, Limoges, France Editions published by the Museum of Contemporary Art, Los Angeles Manufacture Bernardaud, Limoges, France Editions published by the Museum of Contemporary Art, Los Angeles 56 57

Tracey Emin 트레이시에민 (b.1963) Tracey Emin은 1963년에태어난영국미술가이다. 그녀는현재영국런던에서활동하고있다. 그녀의작품은그림, 데생, 비디오, 설치에서부터사진, 자수및조각에이르기까지일상생활의모습을보여준다. Emin 은있는그대로, 때로는비극적이면서도유머러스한역작을통해자신의희망, 굴욕, 실패와성공을드러낸다. Emin의작품에는전통적인페미니스트의담론을확실하게담아절박함과때로는도발적인태도가남아있다. 기본적인표현에필요한전통적인수공예기술 ( 여성고유의솜씨 ) 를재해석하는 Emin의작품은 정치적이면서도개인적인 페미니스트사상이울림을준다. 에르바르트뭉크 (Edvard Munch) 와에곤실레 (Egon Schiele) 에특히관심이많았던 Emin의그림, 모노프린트와데생을보면표현주의스타일과주제를통해복잡한심리상태와자기표현의모습이많이나타난다. Tracey Emin은네덜란드, 독일, 일본, 호주및미국에서진행된단독및그룹전시를포함하여세계곳곳에서전시회를열었다. 2007년, Emin은제52회베니스베엔날레에역대두번째로영국대표로참석했다. 같은해, Emin은왕립미술원회원이되었고, 왕립예술학교에서명예박사학위를, University of Kent에서는명예문학박사학위를, 그리고 London Metropolitan University에서는철학박사학위를받았다. 2011년에는왕립미술원의데생담당교수로부임했고, 2012년에는엘리자베스 2세여왕이시각미술분야에기여한공로를높이평가하여 대영제국지휘관훈장 을받았다. 그녀의작품은전세계주요공공 / 민간컬렉션에서도찾아볼수있다. Tracey Emin is a British artist born in 1963. She is currently based in London, England. Her art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture. Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous. Emin s work has an immediacy and often sexually provocative attitude that firmly locates her oeuvre within the tradition of feminist discourse. By re-appropriating conventional handicraft techniques or women s work for radical intentions, Emin s work resonates with the feminist tenets of the personal as political. Her interest in the work of Edvard Munch and Egon Schiele particularly inform Emin s paintings, monoprints and drawings, which explore complex personal states and ideas of self-representation through manifestly expressionist styles and themes. Tracey Emin has exhibited extensively and internationally including solo and group exhibitions in Holland, Germany, Japan, Australia and America. In 2007 Emin represented Britain at the 52 nd Venice Biennale, becoming the second female artist to ever do so. That same year, Emin was made a Royal Academician and was awarded an Honorary Doctorate from the Royal College of Art, a Doctor of Letters from the University of Kent and a Doctor of Philosophy from the London Metropolitan University. In 2011 she became the Royal Academy s Professor of Drawing and in 2012, Queen Elizabeth II appointed her Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts. Her work can be found in numerous public and private collections around the world. What Colour is a Kiss, 2015 Neon (warm white and coral pink), edition of 3 + 2 AP. 116 x 130 cm I 47.7 x 51.2 in 58 59

Paik Nam June 백남준 (1932-2006) 백남준은 1932 년에한국에서태어났다. 그는 비디오아트의아버지 로잘알려져있다. 백남준은한국전쟁 (1950 년 ~1953 년 ) 때고향을떠난후해외여러나라를다니며작품활동을시작했다. University of Tokyo, the University of Munich, 그리고독일 프라이부르크 의 Conservatory of Music 에서음악과음성합성을공부하면서전문분야를넓혀나갔다. 당시최고의작곡가였던독일의 Karlheinz Stockhausen 과 John Cage 과쌓은친분관계는아티스트로서의백남준의인생에중요한계기가되었다. Cage 는백남준에게프랑스의화가이자다다이즘의중심인물인 Marcel Duchamp 의작품을보여주었다. 사물을바라보는새로운시각을통해백남준은전후예술가들이펼친 Fluxus 운동을접하게되면서초기다다이즘의영향을받게되었다. 처음작품활동을시작했을때, 백남준은오디오테이프와피아노간주곡, 클래식음악, 비명, 음향효과등을이용하여기존의악기와작곡관행에의문을제기하고이를타파하고자했다. 디지털매체가급속도로발전하는시기에, 백남준은자신의능력을십분활용하면서창의적인방식으로기술적역량을접목시켰다. 그는 TV 를이용하여지금우리에게잘알려진작품들을과감하게선보이기시작했다. TV 는공연과설치에사용되었다. 또한매우화려하면서도고속으로재생되는비디오클립을여러대의 TV 에프로그램된몽타주로강렬하게표현했다. 백남준은자신이제작한비디오와함께방송프로그램을그대로또는편집하여시각적으로청각적으로복잡한매트릭스를구현했다. 백남준의작품들은끊임없이새로운기술을과감하게채택했다. 1974 년, 백남준은새로운형태의소통이엄청나게많아질것이라는사실을설명하기위해 전자초고속도로 라는용어를만들었다. 그가희망한것은이를통해사람과사람사이의장벽을허무는것이었다. 지금의시각으로그의말과작품을보더라도, 백남준이야말로시대를앞서작품활동을하면서자신의예지력을보여준천재라부를만하다. Paik Nam June was born in 1932 in Korea. He is widely recognised as the 'Father of Video Art'. Paik started to travel and work internationally after fleeing his home during the Korean War (1950-53). Paik developed a specialism in music and sound composition following his early education at the University of Tokyo, the University of Munich, and the Conservatory of Music in Freiburg, Germany. His friendship with the two revolutionary composers of the period, Karlheinz Stockhausen and John Cage in Germany was a vital connection in the foundation of Paik s life as an artist. Cage introduced him to the art of Marcel Duchamp, who was a significant influence. This new way of seeing brought him closer to the Fluxus movement, an international post-war group of artist, who were inspired by early Dada. In his early works Paik created artworks utilising the use of audiotape and performance connected together with interludes of piano, classical music, screaming and sound effects, in an attempt to question and dismantle traditional and established musical instrumentation and compositional practices. In the quickly developing world of digital media the artist successfully adapted his skills, incorporating technological progression in his creative methods. He revolutionised the use of television sets, to create his most well known art works. The television was used in performances and placed into installations. Paik also made chairs from piles of televisions and many versions of television robots. He combined fast-paced video clips often dramatically colourised, in high-energy montages programmed over several television monitors. Paik was a pioneer, combining straight and manipulated segments of broadcast programmes along with artistproduced videos, organised by a complex visual and aural matrix. Paik s oeuvre consistently and constantly challenged the adoption of new technology. In 1974 Paik created the term electronic superhighway to describe the exponential growth of new forms of communication, which he hoped would help to tear down the boundaries between people. Looking at his words and his works through a contemporary lens, we can appreciate him as a prophetical, visionary genius working ahead of his time. Easy Rider, 1993 Video installation (4 televisions, found metal, plastic, rubber and acrylic objects, oil and acrylic paint, electronic components, wooden plinth, laser disc) 91.4 cm x 69.9 cm x 149.9 cm I 36 x 27.5 x 59 in Phillips, New York, 14 November 2008, lot 358 Sotheby s New York, 11 May 2011, lot 506 Private collection 60 61

Antonio Seguí 안토니오세귀 (b.1934) 1934년아르헨티나 코르도바 에서태어난 Antonio Seguí는화가이자삽화가이자판화가이다. 스페인마드리드의 San Fernando Academy에서공부했다. 1963년파리로건너간 Antonio Seguí는지금도파리에서생활하면서작품활동을하고있다. 그는오래동안중남미, 유럽및아프리카를여행했다. 이러한여행을통해새로운아이디어를얻었고, 다양한방식으로예술에접근할수있었다. 작품활동을하면서도 Seguí 는항상현대도시생활에대한환상을키웠고, 자신의그림을통해사회와인간의본성에대해풍자하고유머러스하게비판했다. 도시의화가라할수있는 Seguí에게는형식을중시하지않는사람, 초현실주의자라는별명이붙었다. 그의작품은도시의낯선가게에서놀고있는괴기한인물들로가득채우고있다. 작품속에는여러이야기들이숨어있고, 화려하면서도그래픽분위기를보여주는그림은역동적인도시생활의활력과분위기를그대로전달한다. 그의그림을멀리서보면, 오밀조밀하게모인사람들이반복적으로, 아무런개성이보이지않는형태로등장하여정처없이발걸음을옮기고, 주위에는비슷한건물과나무들이가득하다. Seguí 는그림뿐만아니라벨기에와프랑스에발표된 Jorge Luis Borges, Apollinaire, Carlos Semprun 등유명작가의책에삽화를그리기도했다. 그의작품은전세계 70여공공컬렉션에전시되어있다. Antonio Seguí was born in Córdoba, Argentina in 1934. He s a painter, illustrator, and printmaker. He studied at the San Fernando Academy in Madrid, Spain. In 1963, he moved to Paris, where he lives and works today. Seguí spent many years traveling through Central and South America, Europe and Africa. These journeys exposed him to new ideas and encouraged his culturally diverse approach to art. Throughout Segui's career, he developed a fascination with contemporary urban life, and his paintings serve as satire or humorous critiques of society and human nature. A painter of cities, Seguí has been labeled both an informalist and Surrealist. His works are filled with grotesque characters playing out strange stories in an urban setting. Multiple stories unfold within work, the colourful and graphic painting vibrating with the pulse and atmosphere of urban excitement. When seen from a distance, Seguí s densely packed figures morph into repetitive, depersonalised patterns, wandering immutable routes leading nowhere and engulfed by a labyrinth of near-identical buildings and trees. In addition to his paintings, Seguí has illustrated many books published in Belgium and France, including texts by Jorge Luis Borges, Apollinaire, and Carlos Semprun. His work is included in more than 70 public collections worldwide. Tecnícolor, 2006 Acrylic on canvas. 50 x 61 cm I 19.7 x 24 in Artist's studio 62 63

Turi Simeti 투리시메티 (b.1929) Turi Simeti는 1929년이태리시칠리아에서태어난화가이다. 현재는이태리밀란에서생활하면서작품활동을하고있다. Simeti의작품은공간주의및독일의 ZERO 그룹과연관성이많고, 빛과색깔과기하학의엔지니어라는평을받기도한다. 미니멀리스트, 단색의캔버스등으로잘알려진 Simeti는 Yves Klein과 Piero Manzoni와같은아방가르드화가들과함께작업했다. 그의작품에는 2차세계대전이후의모습을단색으로표현하여평화로운분위기를포착하려는화가의세대의열망이담겨있다. 지난 50년동안, Simeti는여러방식으로자신의작품에각기다른형태의긴장감을표현했다. 주로타원형또는장방형의모티프를이용하여, 캔버스의표면을색다르게활용하면서불규칙적인언어를만들어내고자했다. 이와같은색깔과형태의인위적인조합은화가의목소리를대변하기보다는그림자체로서의물리적존재감을강조해야한다는 Simeti의생각을보여준다. 그의작품은빛의움직임을이용하여촉감이느껴지는단색의표면을만들어내고있다. 그의작품은하나의주체로서존재하는것이아니라, 이러한미적요소들사이에존재하는역동성을포착하는색깔과형태와그림자가활발하게어울리는모습을보여준다. 그의작품은뉴욕의 Solomon R. Guggenheim Museum, 베니스의 Peggy Guggenheim Collection 등세계적으로유명한전시회에전시되었다. Turi Simeti is an Italian painter born in Sicily in 1929. He currently lives and works in Milan, Italy. Simeti s artwork is affiliated with the Spatialism and ZERO group and often described as an engineer of light, colour and geometry. Known for his Minimalist, monochrome canvases, Simeti worked alongside other members of the avant-garde such as Yves Klein and Piero Manzoni. Simeti s work embodies the desire of the artists of his generation to capture a peaceful quality through monochromatic abstraction during the aftermath of World War II. For the last 50 years, Simeti has created in his works different forms of tension using several formats. Usually employing the motif of the oval or oblong ellipses, he has attempted to develop an irregular language that liberates the surface of the canvas from older principles of materiality. This focused combination of colour and shape speaks of Simeti's concern with emphasising the physical presence of the artwork itself, rather than an expression of the artist's voice. Simeti s work explores the play of light on form, creating monochromatic and tactile surfaces. His works exist not as single entities but as an active experience of colour, shape and shadow that captures the dynamism that exists between these aesthetic elements. His work has been exhibited worldwide including notable exhibitions at the Solomon R. Guggenheim Museum in New York and the Peggy Guggenheim Collection in Venice. Un ovale bianco, 2015 Acrylic on shaped canvas. 30 x 30 cm I 11.8 x 11.8 in Certificate The Archivio Turi Simeti has confirmed the authenticity of this work (no. 2015-130302) 64 65

Pino Manos 피노마노스 (b.1930) Pino Manos는 1930년에이태리 사사리 에서태어났다. 1951년에밀란으로건너가 Enrico Castellani, Vincenzo Agnetti와함께 Accademia di Belle Arti di Brera에입학했다. 같은시기에그는 Politecnico di Milano에서는건축을공부하기시작했다. 1956년, 로마에서잠깐지내는동안미술 / 문화유산의영향을많이받았고, 이후플로렌스로거처를옮겨건축공부를마쳤다. 1962년이후, Manos는유럽, 인도, 이집트, 이스라엘, 터키, 이란, 페루, 멕시코, 미국및중동을여행하면서작품활동을했다. Pino Manos는 Roberto Crippa, Gianni Dova, Marino Marini, Augustino Bonalumi, 특히 Lucio Fontana와친하게지냈으며, 공간주의 (Spatialism) 에집착했다. 1968년, Manos 는밀란으로영구귀국했다. 1980년에는밀란에 The Creative 라는미술치료협회를설립하여숨어있는잠재력을드러내고소통과표현을활성화에필요한창의력을활용하도록했다. 이러한치료방식을약물중독자와장애인에게적용하여긍정적인결과를이끌어냈다. Manos는미술과치료라는주제를걸고이태리전역에서세미나와회의를주최하고있다. Manos는세계곳곳에서수많은개인전과그룹전에참여했다. 그의작품들은민간및공공컬렉션포함되어있고, 미국뉴욕의 Nelson Rockefeller Collection에는세개의작품이소장되어있다. Pino Manos was born in Sassari, Italy, in 1930. He moved to Milan in 1951 to attend the Accademia di Belle Arti di Brera, along with Enrico Castellani and Vincenzo Agnetti. At the same time he began studies in architecture at the Politecnico di Milano. In 1956 he spend a short time in Rome, inspired by the artistic and cultural heritage and shortly after he moved to Florence, to finish his studies in architecture. Since 1962, Manos has travelled and worked in Europe, India, Egypt, Israel, Turkey, Iran, Peru, Mexico, USA and the Middle East. He was a close friend with Roberto Crippa, Gianni Dova, Marino Marini, Augustino Bonalumi and especially of Lucio Fontana, and he adhered to the Spatialism movement. Manos moved permanently to Milan in 1968 where he still resides. In 1980 he founded The Creative in Milan, an association pioneering art therapy, to inspire the use of creativity to liberate untapped potential and improve communication and expression. The methodology was applied with positive results in cases of drug addiction and disability. Manos continues to organise and coordinate seminars and conferences all over Italy, on topics related to art and therapeutic practice. Manos has participated in numerous solo and group exhibitions worldwide. His works are in numerous private and public collections including three works in the Nelson Rockefeller Collection in New York, USA Sincronico nero cyan quadrato, 2014 Signed, titled and dated on the reverse Mixed media on canvas. 90 x 90 cm I 35.4 x 35.4 in 66 67

Alessandro Algardi 알렉산드로알가르디 (b.1945) Alessandro Algardi는 1945년이태리 밀란 에서태어났고, 지금도그곳에거주하고있다. Algardi의그림은시각적으로시적 ( 詩的 ) 으로실험적인영역을오르내린다. 흑백캔버스와종이에작업을하는 Algardi는작품표면에몇가지성구 ( 聖句 ) 를새겨넣는다. 이렇게압착된문구는알아보기어렵게변하고, 결국에는그의미조차없어지게된다. 그의그림들은현실을온전하게표현하는언어의한계에물음을던지고있다. 전세계 100여곳에달하는갤러리에서 Alessandro Algardi 의전시회가열렸고, 여기에는런던의 Art Gallery, 베니스의 International Arts, 뉴욕의 Museum of Modern Art 등이포함된다. Alessandro Algardi의미술작품들은미국아이오와주의 Dubugue Museum of Art, 미국조지아주의 Savannah College of Art & Design, 이태리 빈치니 의 Museo Giovanni, 이태리 로베레토 의 Mart Museum, 그리고이태리 밀란 의 Museo del Novecento에영구소장되어있다. Alessandro Algardi is an Italian artist born in Milan in 1945 where he still resides. Algardi's paintings fluctuate within the experimental field of the visual and the poetic. Working on monochrome canvas and paper, Algardi carves several layers of scripture onto the surface of the work. The rendering of words then becomes incomprehensible and ultimately devoid of meaning. The paintings question the limitation of language to denote a complete representation of reality. Alessandro Algardi's exhibitions have been extensive with participation in over one hundred gallery exhibitions worldwide, including the Imago Art Gallery in London, the International Arts Center in Venice and the Museum of Modern Art in New York. Alessandro Algardi s artworks appear in the permanent collections of the Dubugue Museum of Art in Iowa, the Savannah College of Art & Design in Georgia, USA and the Museo Giovanni Verga in Vizzini, Italy, the Mart Museum in Rovereto and the Museo del Novecento in Milan, among others. 4.04.2008, 2008 Oil on canvas. 100 x 120 cm I 39.4 x 47.2 in 68 69

Umberto Mariani 움베르토마리아니 (b.1936) Umberto Mariani는 1936년에이태리밀란에서태어났고, 지금도밀란에서생활하고있다. 1950년에 Accademia di Brera에입학하여 Achille Funi의지도를받았고, 우등생으로졸업했다. 낭만주의시대의거장들에대해공부했지만, 그의주변에서는팝아트와초현실주의라는새로운운동들이일어나고있었다. 그러나, 그의작품스타일에가장많은영향을준것은그가어릴적부터보면서자란이태리거리의클래식조각작품들이었다. 백색대리석에조각된직물의섬세한구김표현에매료된 Mariani는이후자신의작품재료를적극적으로활용하게되었다. 불규칙한형태의캔버스위에복잡하게얽혀있는주름을사실적으로표현하는그의작품은원단의주름에의해만들어지는빛과그림자를묘사하고있다. 이러한새로운형태의다차원 ( 多次元 ) 의작품에는눈에띄지않는주 ( 主 ) 원단위에복잡한주름들이어우러져있다. 원단은밑에숨겨져있는신비한기본요소들을가려주는역할을하면서이들의존재를암시하기도한다. Mariani의작품은이태리아방가르드의 3차원적공간주의를연상시킨다. 그의첫번째기념비적작품은바티칸의 St. Peter s Basilica를위해 1960 년대에그린작품과로마의 St. Antony Sanctuary를위해그린작품이다. 1970년대에는벨기에브뤼셀의 Palais des Beaux-Arts, 프랑스파리의 Musée d'art Moderne 등유럽의유명한미술관에전시되어있다. 또한수많은갤러리와미술관전시회는물론전세계민간및공공컬렉션에그의작품들이포함되어있다. Umberto Mariani was born in Milan, Italy in 1936 where he still resides. In 1950 he enrolled in the Accademia di Brera, studying under Achille Funi, where he graduated with honours. Although he studied the masters of the Romantic period he was surrounded by the emerging movements of Pop Art and Surrealism. However, the most profound influence upon his developing style were the classical statues that he grew up observing on the streets of Italy. Mariani s fascination with the delicate folds of fabric carved out of the hard white marble would later develop into a desire to manipulate material. Best known for his complex draperies on irregular-shaped canvases, his work explores illusions of light and shadow created within the folds of fabric. New multi-dimensional works combine intricate drapery over elusive lead sheets. The fabric serves the purpose of concealing the mysterious base element beneath, whilst also evoking its presence. Mariani s work is reminiscent of the three dimensional Spatialism of the Italian avant-garde. His first monumental work was for St. Peter s Basilica in the Vatican, which he made in the 1960s, as well as the St. Antony Sanctuary in Rome, and in the 1970s he exhibited widely in prominent institutions in Europe such as the Palais des Beaux- Arts in Brussels, Belgium, and the Musée d'art Moderne in Paris, France. He has been included in numerous gallery and museum exhibitions with works in private and public collections worldwide. Senza titolo, 2016 Vinyl and sand on lead sheet. 43 x 33.5 cm I 16.9 x 13.2 in 70 71

Marcello Lo Giudice 마르셀로로기우디체 (b.1957) Marcello Lo Giudice는 1957년시칠리아 타오르미나 에서태어났다. 그는현재이태리밀란에서활동하고있다. 1988년이태리 University of Bologna에서지질학학위를받았다. 이후베니스의 Academy of Fine Arts 에입학하여 Emilio Vedova, Giuseppe Santomaso 및 Virgilio Guidi의지도를받았다. Lo Giudice는제2 차세계대전소용돌이속에서프랑스에서시작된추상표현주의형태인 European Art Informel의가장혁신적인미술가중한사람으로평가받고있다. Lo Giudice 는색조가풍부한물감을여러겹덧칠하는방식으로표면의질감을제대로살려내고있다. 이렇게탄생한그의작품들은입체감이살아있는지형 ( 地形 ) 처럼빛이충만하고신비한에너지가발산된다. 2009년과 2011년에는베니스비엔날레에이태리를대표하여참가했고, 전세계여러전시회에작품이전시되었다. 크로아티아의 Zagreb Museum of Contemporary Art, 이태리로마의 Museum of the Ministry of Foreign Affairs, 스위스의 John Elkann Collection, George Segal Collection, Phillip Morris Collection 등세계주요공공컬렉션및미술관에서그의작품들을만날수있다. Marcello Lo Giudice was born in Taormina, Sicily, in 1957. He is currently based in Milan, Italy. He graduated from the University of Bologna in Italy in 1988 with a degree in Geology. He then attended the Academy of Fine Arts in Venice, where he studied under Emilio Vedova, Giuseppe Santomaso and Virgilio Guidi. Lo Giudice is considered one of the most innovative artists from the second wave of the European Art Informel, a form of Abstract Expressionism pioneered in France in the wake of the Second World War. Lo Giudice achieves his sumptuous surface textures through the application of rich coloured pigment, applied in many layers. The resultant paintings are geological, tactile and imbued with saturated light and a mystical energy. Lo Giudice was selected to represent Italy at the Venice Biennale in 2009 and 2011, and has exhibited in numerous exhibitions throughout the world. His works can be found in major public collections and museums including the Zagreb Museum of Contemporary Art in Croatia, the Museum of the Ministry of Foreign Affairs in Rome in Italy, the John Elkann Collection, the George Segal Collection and the Phillip Morris Collection in Switzerland. In 2016, his work was exhibited in the Ludwig Museum in the Russian Museum in St. Petersburg, Russia. Blu Eden, 2013 Signed, titled and dated on the reverse Pigment and oil on canvas. 100 x 100 cm I 39.4 x 39.4 in 72 73

Fabrizio Plessi 파브리치오플레시 (b.1940) Fabrizio Plessi는 1940년이태리 레지오에밀리아 에서태어났다. 그는베니스의 Accademia di Belle Arti에서공부했고, 나중에는이학교의교수가되었다. 유럽에서가장영향력있는비디오아티스트중한사람인 Fabrizio Plessi는영화, 공연, 조각및설치예술분야에서도작품활동을하고있다. 비디오아트의초기선구자라고할만한 Plessi는매체를이용하여실험하는이태리최초의아티스트중한사람이다. 화가교육을받았지만, 1960년대부터자신의작품에움직이는이미지를사용하기시작했다. 1968년무렵부터, 여러분야에대해물을이용하여실험하는것이그의작품의핵심주제가되었다. Plessi는원시적이고신비한연상 ( 聯想 ) 에매료되었다. 1980년대이후, Plessi는예술과미술의관계, 그리고인위적으로조성된환경과자연환경속에서의우리들의관계를조절하는작업을시작했다. 그는물, 불, 용암과같은자연의힘이보여주는이미지를돌과나무로만든거대한 육상 ( 陸上 ) 구조물에접목시키기시작했다. 자연의힘을포착하여이것을인위적으로조성된환경에그대로재연함으로써, 그는역사와기억과경치에관한우리의생각에물음을던진다. 1987년, Plessi는독일 카셀 의 Documenta 8에서그의대표작 Roma 를전시하면서세계적으로인정을받았다. 고대로마의유적을표현한 Roma 는돌의잔해와컨베이어벨트에내장된 36개의비디오화면으로구성된설치작품이었다. 이후 Plessi는현장중심으로바로크스타일의대형설치작품을제작하여해외주요갤러리와미술관에전시했고, 베니스비엔날레에도참석했다. 2013년 11월, 이태리와오스트리아사이에있는세관부지였던 Brenner Pass 에그의작품만전시하는 Plessi Museum이문을열었다. Fabrizio Plessi is an Italian artist born in 1940 in Reggio Emilia, Italy. He studied at the Accademia di Belle Arti in Venice, where he subsequently held a professorship in painting. One of Europe s most influential video artists, he also works in film, performances, sculpture and installations. An early pioneer of video art, Plessi is one of the first artists to experiment with the medium in Italy. Trained as a painter, he began adding moving images to his work in the 1960s. As early as 1968, his multidisciplinary practice concentrated on the natural elements with water becoming the central theme of his works. Plessi was drawn to the element for its primordial and mystical associations. Since the 1980s, Plessi began to meditate on the relationship between art and technology and our relationship with the environment both built and natural. He began integrating his images of elemental forces like water, fire, and lava in large-scale terrestrial constructions of stone and wood. By capturing the elements and juxtaposing them with the built environment, he questions our ideas about history, memory and landscapes. In 1987, Plessi achieved worldwide recognition when his iconic work Roma was exhibited at Documenta 8 in Kassel, Germany. Staged as a monument of ancient Rome, Roma was an installation combining stone ruins and 36 embedded video screens on a conveyer belt. He has since created numerous site-specific installations, often tending towards the large-scale and Baroque, and has exhibited in major galleries and institutions internationally, including multiple participations in the Venice Biennale. In November 2013, the Plessi Museum, dedicated exclusively to his work, opened at the Brenner Pass, the former customs area between Italy and Austria. In 2014, Plessi was the recipient of the prestigious Premio Pascali award. Acqua 6, 2016 Mixed media. 122 x 272 x 6 cm I 48 x 107.1 x 2.4 in 74 75

Pascal Haudressy 파스칼오드레시 (b.1968) 타타르족출신인프랑스미술가 Pascal Haudressy는자신의미적접근방식을통해내용과형식사이의밀접한관계를보여주려고한다. UNESCO의문화프로젝트책임자였던 Haudressy는미술, 건축, 사회학, 철학, 문학및과학분야의주요인물들과교류했다. 그는 Rauschenberg, Matta, Hunderstwasser 등과함께 관용의깃발 (Flags of Tolerance) 이라는프로젝트를진행했다. Haudressy의작품은회화, 조각및비디오사이에남아있는여백의공간을탐구한다. 그는움직임, 구체성 ( 具體性 ), 비 ( 非 ) 구체성의본질에대해법의학적으로초점을맞춘새로운이미지형식을처음으로도입하면서생물학적삶의형태와가상의삶의형태가공존하는우리세상의변질된모습을탐구한다. 스크린은그표면에이미지가스스로드러나는하나의베일이다. 이러한 아이디어경험 을통해, 이미지와그림자와빛과표면의물질과움직임은하나의연속성을보여주고, 여기에서가상의공간과물리적공간이서로상호작용하면서하나가된다. Haudressy는자신의뿌리가있는우즈베기스탄, 특히 사마르칸트 의전통적인장식에많은영향을받고있다. 움직이는모티프의반전 ( 反轉 ) 은그의작품에서항상나타나는특징들을끊임없이재구성하는이미지들이흘러나온다. Haudressy는사전에계산된과학적요소와동서양의신화를자기만의방식으로해석하여시각적으로표현하고있다. 그의작품들은벨기에브뤼셀의 Boghossian Foundation과프랑스파리의 Espace Vuitton에많이전시되어있다. Pascal Haudressy, a French artist of Tatar origin, aims for an intimate relationship between content and form through his artistic approach. As a former cultural project manager for UNESCO, Haudressy has met major figures in art, architecture, sociology, philosophy, literature and science. He launched the Flags of Tolerance project, in collaboration with Rauschenberg, Matta and Hunderstwasser. Haudressy s work explores the blank space between painting, sculpture and video. The artist has pioneered a new image format that forensically focuses on the nature of movement, materiality and immateriality, exploring mutations of our world, in which biological and virtual life forms coexist. The screen is as much a veil as a surface where images reveal themselves. In this idea-experience, images, shadows, light, surface materials and movement form a continuum where virtual and physical spaces interact and merge. Haudressy is inspired by his ancestral ties to Uzbekistan and notably by the ornamental traditions of Samarkand art. The twists of moving motifs give birth to a flux of images that endlessly reconfigure themselves in a constant characteristic of his own work. Haudressy visually draws in the calculated qualities of science and the alchemy of myth, from the Orient to the Occident. His work has notably featured in the Boghossian Foundation, Brussels, Belgium and in the Espace Vuitton, Paris, France. Somewhere We Will Meet Again (Heart and Brain), 2010 LCD screens, Plexiglas and metal, in two parts. 100.5 x 169.5 x 50 cm I 39.6 x 66.7 x 19.7 in RPVH Dream Set, Paris 76 77

Katrin Fridriks 카트린프리드릭스 (b.1974) 1974년아이슬란드 레이캬비크 에서태어난 Katrin Fridriks는추상화가로, 현재는룩셈부르크에서거주하면서작품활동을하고있다. 그녀는고향아이슬란드자연의에너지와일본서예요소를폭발적이고유기적인추상표현주의에접목시켰다. 설치와시각적구성으로작품을표현하는그녀는자신의그림에도건축적인분위기를불어넣었다. 다양한작품을통해 Fridriks 는우리가사는세상과인간의존재와미래의가능성에대한질문을던지고있다. 새로운관점을제시하는 Fridriks의작품은그녀만의혁신적인추상의형식을보여준다. Born in 1974 in Reykjavik, Iceland, Katrin Fridriks is a conceptual abstract painter, living and working in Luxembourg. She fuses the natural energies of her native Iceland with an explosive, organic, abstract expressionism along with subtle Japanese calligraphic elements. Often presented through installations and visual compositions, she has given an architectural dimension to her paintings. Through a wide range of works, Fridriks communicates her questioning of the world, human existence and potential futures. An endless development of material and technique sees many of her pieces constantly reworked and evolved. Through creating new perspectives, Fridriks work brings an innovative dimension to her form of abstraction. Icelandic Syndrome - Dreamliner, 2015 Acrylic on canvas. 100 x 200 x 5 cm I 39.4 x 78.7 x 2 in 78 79

Alfred Haberpointner 알프레드하버포인터 (b.1966) 오스트리아 이베노 에서태어난 Alfred Haberpointner 는 할라인 의 School of Sculpture, 그리고 린츠 의 University of Design에서 Erwin Reiter 교수와함께공부했다. 그는현재오스트리아 레온딩 에서생활하면서작품활동을하고있다. 주로나무를이용하여작업하면서나무의미묘한분위기와색조를적절하게활용한다. 그의작품들은구상적으로뚜렷하여이해하기쉽기도하지만, 다른한편으로는추상적인기하학적형태를띠고있다. 나무로만든사람의머리를납으로씌우거나핀으로구멍을뚫어놓아도, 기본적인나무형태는그대로보인다. 1990년, Haberpointner는오스트리아린츠에서미술산업디자인부문 Award of the Academy를수상했고, 1997년에는과학미술발전의공로로 Theodor Körner Prize를수상했다. Born in 1966 in Ebenau, Austria, Alfred Haberpointner studied at the School of Sculpture in Hallein and at the University of Design in Linz with professor Erwin Reiter. He now lives and works in Leonding, Austria. He works using wood as his primary medium harnessing all its nuances and shades. His works are, on the one hand figuratively recognisable and comprehensible, and on the other hand remain arrested in their abstract geometry. Whether he shrouds his wooden heads with lead or pierces them with pins, the underlying wood form always remains visible. In 1990, Haberpointner received the Award of the Academy of Art and Industrial Design in Linz, Austria and in 1997 he received the Theodor Körner Prize for the Promotion of Science and Art. W-COLI, 2014 Spruce wood stained. 200 x 244 cm I 78.7 x 96.1 in 80 81

Zhuang Hong Yi 주앙홍이 (b.1962) Zhuang Hong Yi는 1962년에중국스촨에서태어나그곳에서자랐다. 현재 Zhuang는동서양을자주오가면서네덜란드의작업실과베이징작업실에서번갈아작품활동을하고있다. 이처럼, 그의작품은서구미술운동의모습을보여주는데, 특히라이스페이퍼 (rice paper) 를활용하는동양의기술이접목된인상주의를표현하고있다. 색깔이변하는 조각적회화로유명한 Zhuang Hong Yi는 3차원기술에정통하여네덜란드의광활한꽃밭을연상시키는역동적인색깔로삶에생기를불어넣는자연의아름다움을그리고있다. Zhuang는대담하면서도기이한그림으로국제적명성을얻었고, 중국베이징의 Found Museum, 네덜란드의 Groninger Museum 등세계유명전시회에서, 그리고 2013년제 55회 Venice Biennale와함께이태리베니스에서 30차례이상개인전및그룹전을열었다. Zhuang Hong Yi was born and raised in Sichuan, China, in 1962. Zhuang now travels constantly between East and West, working alternately between his studio in Rotterdam, The Netherlands and his Beijing studio, China. As such, his work references Western artistic movements, specifically Impressionism combined with Eastern inspired techniques incorporating the use of rice paper. Known for his colour-changing sculptural paintings, Zhuang Hong Yi has mastered a three-dimensional technique, which draws inspiration from the life affirming, glory of nature, specifically the dynamic saturated colours reminiscent of the ubiquitous flower fields of Holland. Zhuang has achieved international acclaim for his bold idiosyncratic paintings which have featured in over 30 solo exhibitions and important group shows in major venues worldwide including the Found Museum in Beijing, China, the Groninger Museum, in The Netherlands and Venice in conjunction with the 55 th Venice Biennale, 2013. Left view detail Right view detail A2016-087, 2016 Signed, titled and dated on the reverse Collage of rice paper, acrylic, ink and varnish on canvas. 150 x 200 cm I 59.1 x 78.7 in 82 83

Joe Black 조블랙 (b.1973) Joe Black 은수천개의작은물건들을이용하여형상화한대중적이거나상징적인이미지에기반하는대형작품으로알려진영국출신의현대미술가이다. 그의작품대부분은이미지와매체사이의아이러니한관계를탐구하여복잡하면서도거대한결과물을만들어내고있다. 모든작품들이수개월동안꼼꼼하게조립하는과정을거치고있다. 이러한노력을통해, Black 은전체적으로보이는이미지와작은복합부품들이모여서보여주는이미지모두를연출함으로써자각행위가무엇인지찾아내고있다. 그는웅장함과복잡함을관람객이동시에경험해야한다는자신의목적을달성하고있다. Black 이해석하는방식에따라, 작품에서전하고자하는주제가완전히새롭게바뀐다. 디지털매체를이용하여결과물을바로만들어내는시대에, Black 은대신 2 진법적형태의실물동화 ( 實物動畵 ) 를만듦으로써, 다시말하면순전히사람의손으로만조립하여만들고보여주기위해엄청난시간을투자함으로써우리의자각을의도적으로무너뜨렸다. 움직이지않는무생물을절묘하게이용하여피사체의특징을표현하면서평범한것을특별한것으로탈바꿈시킨다. Joe Black is a British contemporary artist known for his large-scale artworks based on popular or iconic imagery constructed from thousands of tiny commonplace objects. His oeuvre often explores the ironic relationship between the image and the chosen medium resulting in intricate and monumental works. Each piece is an undertaking requiring months of meticulous assembly. Through his endeavour, Black explores the act of perception by making images that are seen both as a whole and as a collection of small composite parts. He achieves his objective for the viewer to experience the grand and the intricate simultaneously. Through Black s interpretation, the subject of the work is given a totally new context. In the age of immediacy resultant through the increased use of digital media, Black has intentionally subverted our perceptions by creating an alternative, binary form of pixilation - one that takes considerable time to produce and conceive, assembled entirely by the human hand. Inanimate objects are skilfully used to give expression to the subject s personality, creating a metamorphosis of the ordinary into something extraordinary. Close-up detail Power to the People, 2016 2,500 hand-painted plastic figures on aluminium with clear lacquer coating. 135.5 x 91.5 x 7 cm I 53.3 x 36 x 2.8 in 84 85

Paul Alexis 폴알렉시스 (b.1947) Paul Alexis는 1947년프랑스에서태어났다. Alexis는풍부한영감과창의력개발을위해평생여러곳을다녔다. Alexis의작품은관람객에게더블테이크 (double take; 동일한내용을관람객을위해반복적으로보여주는것 ) 의형식을보여주는추상적현실주의가녹아있다. 가까이에서보면잘보이지않는친숙한이미지가한꺼풀뒤에숨어있어관람객이한걸음물러서면어둡게채색한부분에얼굴의형태나, 물건또는어떤상징물이나타난다. 대형화폭에작업하는것을좋아했기때문에, Alexis의작품을감상하는관람객들은색깔의순수함과뚜렷하지않는형식에빠져들면서무언가를찾아낸다는즐거운경험을할수있다. Paul Alexis was born in France in 1947. Alexis has spent the majority of his life travelling in search of spiritual harmony and creative development. Alexis art is infused with an abstracted realism that forces the viewer into a double take. Lurking within the layers is a familiar image, often obscured up close, but as the viewer steps back a face, an object or an icon is revealed from the painterly shadows. Preferring to work in large formats, Alexis works engulf the viewer in their purity of colour and ghostly forms, the joy of recognition becomes an integral part of the viewer s experience. Betty Boop, 2009 Oil on canvas. 120 x 120 cm I 47.2 x 47.2 in 86 87

David Mach 데이비드마크 (b.1956) David Mach는 1956년에태어난영국의미술가이다. Mach의작품들은다양한방식과소재를활용하고있고, 복잡하면서도초현실적인유머를보여준다. 그는 New English Sculpture 운동의리더중한사람으로평가받고있다. 2000년, Mach는 Royal Academy School의조각학과교수로임명되었다. 스코틀랜드출신의 David Mach는 1982년에 Lisson Gallery 에서처음으로개인전을연이후이름이많이알려졌다. 1988년에는런던 Tate Gallery에서 Turner Prize 후보에올랐고 1992년에는 글래스고 에서 Lort Provost s Prize 를수상했다. New English Sculpture 운동의리더중한사람으로평가받고있는 David Mach는런던의 Tate Britain, National Portait Gallery, 에든버러의 City Art Center, 미국캘리포니아샌디에고의 Museum of Contemporary Art 등세계여러미술관에전시되어있다. David Mach is a British artist born in 1956. Mach's artworks utilise an eclectic range of methods and materials. They are defined by an incredible intricacy and surreal humour. He is considered one of the leaders of New English Sculpture movement. Mach was appointed Professor of Sculpture at the Royal Academy Schools, London in 2000, Scottish sculptor David Mach had his first solo exhibition in Lisson Gallery, London in 1982. He has continued to gain prominence since then. In 1988 the artist was nominated for the Turner Prize at the Tate Gallery in London, and in 1992 was the recipient of the Lord Provost's Prize in Glasgow. Considered one of the leaders of New English Sculpture movement. David Mach's exhibitions have been extensive including works held in several museums worldwide, including the Tate Britain, the National Portrait Gallery in London City Art Centre of Edinburgh, and the Museum of Contemporary Art in San Diego, CA, USA. Matisse, 2012 Mixed media postcards on wood. 100 x 100 cm I 39.4 x 39.4 in 88 89

Cheetah, 2012 Coat hangers, edition of 4. Length: 244 cm I 96.1 in Sea Whip, 2012 Pin heads on foam. 60 x 34 x 34 cm 23.6 x 13.4 x 13.4 in 90 91

Mauro Corda 모로코르다 (b.1960) 1960년에프랑스 루르드 에서태어난 Mauro Corda 는아주어린나이에조각의재능을보여주었다. 15세때에 École des Beaux-Arts of Reims에입학했고, 이후학업을마치기위해파리로갔다. 주로인물을조각했던 Corda는청동, 알루미늄, 철, 스테인레스, 연마강철및유리등다양한재료를사용한다. Corda 의작품은아르헨티나부에노스아이레스의 Museo Eduardo Sívori, 쿠바의 Museo Victor Hugo 및스페인바르셀로나의 Museo Frederic Marès 등해외여러미술관에전시되었다. 그의작품은해외갤러리에도많이전시되었다. Corda는 Paul Belmondo Award, French Order of Arts and Letters 등많은상을수상했다. Born in 1960 in Lourdes, France, Mauro Corda displayed a talent for sculpting at a very early age. At 15, he was admitted to the École des Beaux-Arts of Reims and later went on to finish his studies in Paris. Predominantly a sculptor of the figure, Corda uses a rich variety of material such as bronze, aluminium, iron, stainless and polished steel as well as glass for his forms. Corda s work has been exhibited in a number of international museums including the Museo Eduardo Sívori in Buenos Aires, Argentina, the Museo Victor Hugo in Cuba and the Museo Frederic Marès of Barcelona, Spain. He has been exhibited extensively in art galleries internationally. Corda has been the recipient of several awards, including the Paul Belmondo Award and the French Order of Arts and Letters. Contorsionniste XXIV, 2013 White bronze, edition of 8. 28 x 75 x 24 cm I 11 x 29.5 x 9.4 in 92 93

Andy Denzler 앤디댄즐러 (b.1965) Andy Denzler는 1965년스위스취리히에서태어나지금도고향에서생활하고있다. Denzler는 2006년런던의 Chelsea College of Art and Design에서순수미술석사학위를받았다. 그의그림은자신이바라보는세상의모습을보여주고있다. 흐릿하게동작이왜곡된정지화면을찍은스냅샷으로구현되는그의작품은추상적표현주의와사진에의한사실주의가세련되게결합되어있다. 화면은정지되어있고추상적이미지가전체분위기를압도한다. 정지된화면과결과물을보면특정순간을절묘하게포착한액션장면처럼보인다. Denzler는두꺼운임파스토 (impasto) 위에수평으로붓질을하여자신만의독특한미학을구현하고있다. 그의작품에서 Denzler는종종영화를인용하면서제목과주제를통해다른매체도자주보여준다. 그의 모션페인팅 은 초상화, 역사, 인물과풍경, 그리고 도시인물 등 4개의그룹으로구분되어그림으로, 데생으로, 어떤경우에는조각으로해석하고있다. Denzler의작품은유럽과미국에서다수의단독및그룹전시회에전시되었다. 2007년, 오스트리아 Museum Rohnerhausin Lauterach에서열린전시회 Kindheit 에도포함되었다. 그의작품은러시아의 Museum of Modern Art of Moscow, 미국의워싱턴 D.C. 소재백악관, 독일 Museum Würth in Schwäbisch Hall, 홍콩의 Burger Collection, 영국런던의 White Cube Collection, 그리고독일슈투트가르트의 KunstWerk - Sammlung Klein in Eberdingen, Stuttgart에서구입했다. Andy Denzler was born in Zurich, Switzerland in 1965 where he still resides. Denzler graduated with a Masters in Fine Arts from London s Chelsea College of Art and Design in 2006. His paintings present his own perception of the world. They are created as snap-shots, blurred and distorted movements, freeze-frames, which stylistically combine Photorealism with Abstract Expressionism. At once a paused film still and an exercise in sweeping abstraction. The result somehow suggests an action scene that is frozen at a chosen moment in time. Denzler achieves the unique and specific aesthetic of his paintings by applying alternative layers of thick impasto detail with flowing horizontal brush strokes. In his work Denzler also frequently alludes to other media, with his titles and subject matter often referring to cinema. His Motion Paintings are divided into four groups: Portraits, History Paintings, Figures and Landscapes and Urban Figures translated into painting, drawing and sometimes sculpture. Denzler s works have been exhibited in multiple solo and group exhibitions in Europe and America. In 2007, he was included in the exhibition Kindheit (Childhood) at the Museum Rohnerhausin Lauterach, Austria. His work has been acquired by the Museum of Modern Art of Moscow in Russia, the White House in Washington D.C., USA, the Museum Würth in Schwäbisch Hall, Germany, the Burger Collection in Hong Kong, the White Cube Collection in London, UK and the KunstWerk - Sammlung Klein in Eberdingen, Stuttgart, Germany. Flower Composition VI, 2016 Oil on canvas. 120 x 140 cm I 47.2 x 55.1 in 94 95

Lita Cabellut 리타카벨뤼 (b.1961) Lita Cabellut는 1961년스페인 사리녜라 에서태어났다. 12세때에입양되기전까지, 어린시절에는길거리에서노숙생활을했다. 그녀는 Prado Museum에서벨라스케스, 고야, 프란스할스의그림을어린나이에접했고, 이것은미술가가되려는그녀의결정에큰영향을미쳤다. 또한, 어린 Cabellut는고향의교회와성당에서흔히볼수있는프레스코화를아주좋아했다. 그녀의첫번째개인전시회는 17세때에바르셀로나의 Town Hall of Masnou에서열렸다. 그리고 19세가되던해에고향스페인을떠나네덜란드의암스테르담에있는 Rietveld Academy에서공부했다. 그녀는현재까지도암스테르담에서살면서작품활동을하고있다. Cabellut의초대형인물화에는전통적인프레스코기법과현대적인유화기법이잘융합되어있다. 그녀의독특한화법은아무도따라할수없는질감을만들어낸다. Cabellut는서울, 시애틀, 뭄바이, 델리, 도쿄, 베를린및덴보쉬등전세계여러미술관에서전시회를열었다. 최근에는스페인의바르셀로나와 라꼬루냐 에서두번의개인전을열었다. Lita Cabellut was born in Sariñena, Spain, in 1961. As a child, she lived homeless on the streets until she was adopted at the age of 12. She recalls an early introduction to the paintings of Velázquez, Goya and Frans Hals, at the Prado Museum, as having a profound influence on her decision to become an artist. In addition, the young Cabellut became inspired by the ubiquitous fresco paintings that adorned the churches and chapels in her hometown. Her first solo exhibition was held at the Town Hall of Masnou, Barcelona at the age of seventeen and at nineteen, she left her native Spain to study at the Rietveld Academy in Amsterdam, The Netherlands. She continues to live and work in Amsterdam to this day. Cabellut s large-scale painted portraits incorporate traditional fresco techniques alongside modern applications of oil paint. Her unique technique gives her work an inimitable textural quality. Cabellut has exhibited her paintings worldwide including museums in Seoul, Seattle, Mumbai, Delhi, Tokyo, Berlin and Den Bosch. Most recently, two major solo exhibitions in Barcelona and La Coruña Spain are celebrating her works. Elisa, 2017 Mixed media on canvas. 215 x 145 cm I 84.6 x 57.1 in 96 97

David Kim Whittaker 데이비드킴휘태커 (b.1964) David Kim Whittaker는영국 콘월 을기반으로한현대미술가이다. Whittaker의작품은캔버스나패널위에혼합매체로작업하는작품과콜라주를통한작업, 때로는집합된 정물 / 초상 조각들로이루어집니다. 그의작품은섬세하게표현된구상적인요소들과추상적으로표현된요소들이조화로운충돌을일으키고있다. 독학으로그림을배운 Whittaker의작품대부분은인간의머리에대한형이상학적해석에근거를두고있다. 개인과우주를표현하려는그의인물화는사뭇모호하다. 작품들은종종외적내적평온함과충돌상태가교차되면서강함과연약함, 의식과무의식, 남성스러움과여성스러움의이중적상태를찾아볼수있다. Whittaker의작품에자주나타나는이러한충돌의보편적상태는그림을통해자신을더욱크게표현하려고애쓰면서살아야한다는것을배웠다는전제하에 Whittaker의 성별불쾌감 (gender dysphoria) 과개인적노력에의해더욱뚜렷하게나타난다. David Kim Whittaker는 2017년밀라노 Fondazione Mudima 에서열린그의단독전시를포함하여해외여러곳에서그의작품이전시되고있으며세계여러곳의박물관과예술재단, 국제적인컬렉터들에의해소장되고있다. David Kim Whittaker는 2011년영국에서열린 National Open Art Competition에서 Towry Award(1등상 ) 을수상한바있다. David Kim Whittaker is a British contemporary artist based in Cornwall, England. Whittaker's artworks consist of mixed media paintings on canvas or panel, painted studies incorporating collage and occasional assemblage still life/portrait sculptures. Whittaker's artworks are a harmonised conflict of delicate figurative and expressive abstract elements. A self-taught artist, most of Whittaker s painted compositions are based upon a metaphysical interpretation of the human head. Whittaker s portraits are ambiguous, with the ambitious aim of representing the totality of the human condition, both the universal alongside the personal. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse of strength and fragility, the conscious and the subconscious, the masculine and the feminine. These universal states of conflict clearly identifiable in Whittaker's works are arguably reinforced by Whittaker s gender dysphoria and the personal struggle with a condition that he/she has learned to live with through painting and the endeavour of expressing something bigger than oneself. David Kim Whittaker's exhibitions have been held internationally, notably including a solo exhibition at the prestigious Fondazione Mudima in Milan in 2017. The artist's works are in numerous museum collections, art foundations and international private collections. Whittaker was further acknowledged in 2011 as the recipient of the Towry Award (First Prize) at the National Open Art Competition in the UK. The Paranoia Diva, 2017 Signed, titled and dated on the reverse Oil and acrylic on canvas. 122 x 122 cm I 48 x 48 in 98 99

Sittiphon Lochaisong 시티퐁로차이송 (b.1991) Sittiphon Lochaisong( 일명 Bomb ) 은 1991년태국 마하사라캄 에서태어났다. 그는태국방콕의 Silpakorn 대학교를졸업했고, 시각미술학과에서학사및석사학위를받았다. 그의그림은자신만의독특한시각으로바라본태국전통예술이미묘하게결합되어있다. 선명하지않은점들이모여서구현되는인물과상징물이상상과감각을만나자유롭게떠다니는별들의장관 ( 壯觀 ) 을보여준다. 자연스러운섬세함을통해복잡하고극단적인존재의모습즉, 탄생과삶과죽음과영생을표현하고이를기꺼이받아들이고있다. Lochaisong의희망은관람객들이자신들의복잡하게얽힌존재에대해되돌아볼수있는그림을그리는것이다. 이를통해사람들은멈출수없는자연의힘과광활함, 그리고그안에존재하는자신의위치를의식적으로자각할수있다. 그가그리는추상적인 우주 는관람객이빠져들어갈수밖에없는곳으로, 여기에서삶의진실이무엇인지한층확실하게깨닫게될것이다. Sittiphon Lochaisong, alias Bomb, was born in Maha Sarakham, Thailand, in 1991. He graduated from the University of Silpakorn, Bangkok, Thailand, with Bachelor and Master of Arts degrees in visual arts. His paintings are a subtle combination of traditional Thai spiritual influence combined with his own unique vision. Ambiguous dots are joined and assembled creating free-floating stellar-scapes where figures and symbols meet with imagination and sensation. The spontaneous combines with delicacy, reflecting and embracing the complex and extreme nature of existence a place of birth, life, death and the eternal. Lochaisong s hope is to create paintings that have the potential to motivate the viewer to examine their own interconnected existence: where one can consciously perceive the unstoppable propulsion and expanse of nature and their place within it. His abstracted universes are a place where the viewer is compelled to concentrate, and rewarded with a glimpse of a deeper understanding of a greater truth. Ring Rang Rung, 2017 Tempera powder on canvas. 150 x 150 cm I 59.1 x 59.1 in 100 101

Li Tianbing 리티엔빙 (b.1974) Li Tianbing은 1974년중국 구이린 에서태어난중국의미술가이다. Li Tianbing은베이징의 Institute of International Relations에서공부했고, 2002년에파리의 Ecole des Beaux-Arts를졸업했다. 1996년 Ecole des Beaux Arts에서공부하기위해파리로건너간 Li Tianbing은중국을자주왕래하면서자신의정체성을찾아나갔다. Li Tianbing의작품은 1가구 1자녀정책에의한문제, 가족의개념등현대중국사회의모습을보여주고있다. 그는자신의어린시절을다시포착하여새롭게해석하거나중국이시행했던정책중가장논란이많았고과도했던 1가구 1자녀정책으로인해사람들이겪는모습을그려내기위해노력하고있다. Li Tianbing은숨막히는사회와격변하는정치적상황속에서어린시절의추억들이가득한가상의세계와현실의세계를그려내고있다. 자신의과거와다문화경험을표현하는매체로사진을이용하면서, Li Tianbing은유화를통해현재의모습을영원한이중성으로보여준다. 그의작품은현재중국의대조적인모습즉동양과서양, 공산주의와자본주의, 고대문화와현대소비자지상주의가교차되어있다. 전도유망한중국출신의미술가중한사람으로찬사를받고있는 Li Tianbing의작품들은베이징의 Today Art Museum, 상하이의 Museum of Contemporary Art, 베이징의 National Museum of Fine Arts, 그리고스페인의 Instituto Valenciano de Arte Moderno에전시되어있다. 현재는베이징과파리에서살면서작품활동을하고있다. Li Tianbing is a Chinese artist born in Guilin, China in 1974. Li Tianbing studied at the Institute of International Relations in Beijing before graduating in 2002 from the École des Beaux-Arts in Paris. As Li Tianbing moved to Paris in 1996 to study art, he kept searching for his identity, travelling back and forth to his home country seeking to seize it better. Li Tianbing s work reflects on the contemporary Chinese society like the consequences of the single child policy or the conception of family. The artist tries to recapture and reimagine what he can of his childhood and explores the human consequences of perhaps the most controversial and far-reaching social policy China has decreed the One Child Policy. Li Tianbing explores fiction and reality haunted by selected childhood memories in a suffocating society and charged political setting. Using photographs as a medium to illustrate his reflections on the past and his multicultural experiences, Li layers the present using oil painting in a timeless duality. His composition interweaves the contrasting themes of China today: East and West, communism and capitalism, ancient culture and modern consumerism. Now considered as one of the most critically acclaimed Chinese artists of his generation, a selection of the exhibitions Li has participated in include: Today Art Museum, Beijing; Museum of Contemporary Art, Shanghai; National Museum of Fine Arts, Beijing, China and Instituto Valenciano de Arte Moderno, Spain. The artist lives and works in both Beijing and Paris, France. Haut-parleur de l hôpital, 2008 Oil on canvas. 200 x 100 cm I 78.7 x 39.4 in 102 103

Marc Sijan 마크시잔 (b.1946) Marc Sijan 은 1946 년세르비아에서태어났고, 현재는미국밀워키에서작품활동을하고있다. Marc Sijan 은극사실주의적인자신만의인물묘사기법으로가장혁신적이고기술적으로정교하면서도작품활동이활발한조각가중한사람이라는평을받고있다. 실제로, Marc Sijan 은이장르에서는최고권위자이다. 1968 년에 University of Wisconsin-Whitewater 에서미술교육박사학위를받았고, 1971 년에는해부학과생물학에대해공부하면서과학석사학위도취득했다. Sijan 의세밀한창작작업은실제모델에서따오는석고금형제작에서부터시작한다. 그런다음, 확대경을이용하여금형내부를치밀하게조각하여레진을붓는다. 그리고유성물감과니스 (varnish) 를여러겹으로발라실제와똑같은피부색깔을만들어내는데, 6 개월이걸려야완성되는작업이다. 이렇게탄생한작품은거의진짜사람처럼움직일듯한모습을보여준다. 인본주의가바닥에깔려있는 Sijan 의작품은전하는메시지가없고인간적인감정이없고정치적가치가없는기존의극사실주의와는거리를두고있다. 그는사회에서흔하게버림받은사람들즉, 막일하는노동자, 청소부, 뚱뚱한사람들의모습을보여주면서평범한것을특별한예술작품으로표현한다. Sijan 은이들의완전하지않은모습, 피부의모공, 벗겨진머리, 검버섯, 흉터등을거침없이드러낸다. 자신만의방식으로극사실적인이미지를구현하면서그의조각작품은우리들누군가의모습, 있을수있는사람이야기들을차분하게모아보여주고있다. Marc Sijan 의작품은워싱턴 DC 의 Smithsonian Museum of Modern Art, San Francisco Museum of Modern Art, Philadelphia Museum of Modern Art 및 Milwaukee Art Museum 등전세계갤러리, 미술관및특별전시회에서소개되고있다. Marc Sijan was born in Serbia in 1946, and now works in Milwaukee, USA. Marc Sijan s unique version of hyperrealistic portraiture has situated him as one of the most innovative, technically sophisticated and prolific American artists working today. He is in fact rated number one in his genre. Sijan received his BA in Art Education from the University of Wisconsin- Whitewater in 1968, and went on to earn his Master of Science in 1971, undertaking an intense study of anatomy and biology. Sijan s meticulous creative process begins with the construction of a plaster mould from a live model. He then uses a magnifying glass to sculpt the interior of the mould in order to assure accurate detail, before casting the figure in resin. Realistic flesh tones are then achieved with multiple layers of oil paint and varnish, a process that takes around six months to complete. The resulting creations are so lifelike as to almost be on the verge of movement. Communicating a deep sense of humanism, Sijan s work strays away from the traditional rules of hyperrealism in its exclusion of narrative elements, human emotion and political value. The artist depicts people often overlooked by society: blue collar workers, cleaning staff, the overweight, turning the ordinary into inexplicable works of art. He does not shy from showing their imperfections, from the pores in the skin and tiny hairs, to age spots and blemishes. In Sijan s version of hyper-illusion, his sculptures become tender amalgamations of the elements that comprise each and every one of us, tangible stories from the gamut of humanity. Marc Sijan s creations have been featured in galleries, museums and special exhibits all over the world. They include the Smithsonian Museum of Modern Art in Washington D.C., the San Francisco Museum of Modern Art, the Philadelphia Museum of Modern Art and the Milwaukee Art Museum. Seated Guard, 2016 Polyester resin and oil painting. 114.3 x 66 x 53.3 cm I 45 x 26 x 21 in 104 105

Robert Combas

Robert Combas, Painter 로베르콩바스는화가다. 그단어가갖는모든의미를고려할때그렇다는얘기다. 시트나, 패널, 악기혹은가구, 무엇이든지그가손을올려놓을수있는대상은모두화가를위한도구가된다. 그의작업은한편으론탐욕과관능미가, 또다른한편으로아량과유머가섞여있다. 현재프랑스에서가장명성있고작품컬렉션이많은아티스트가운데서도그의명성은유독빛난다. 뿐만아니라온화한성품도빼놓을수없는요소중하나다. 그가보여주는사적 공적의확고한태도와장황하지만미묘한언어들, 변화무쌍하면서도저돌적인작품, 평범하면서도영웅적인테마, 열정이담긴한없는붓놀림, 화려하고도풍성한색채에는그가지닌관대한태도가고스란히묻어난다 지극히평범한환경에서태어났지만예술에대한열린자세와배움에열정적이었던로베르콩바스는프랑스남부의지중해항구도시세테 (Sète) 에서유년시절을보냈다. 아들이드로잉에탁월한소질을보이자부모는용기를북돋아주었다. 거의본능적으로그리고자동적으로하루종일드로잉을했고멈춘적도없었다. 6,7살이되었을때부모님이미술학교 (School of Fine Arts) 입학을권유해서그후로 23세까지거기서생활했다... 그곳에서의삶은전혀행복하지않았는데부모님의성화가없었다면난아무것도하지않았을것이다. 그역시또래 10대들처럼만화와록음악을즐겼다. 그가수학한몽펠리에미술학교 (Montpellier s School of Fine Arts) 는포스트-1968 정신을자부하는전형적인프랑스지방학교로교사들은지나치게아카데믹하거나아니면쉬포르 / 쉬르파스그룹 (Supports/ Surfaces Group) 이나개념미술혹은미니멀리스트의영향을받고있었다. 그때가 1977년이었는데나는창의력넘치고유행을선도하는청년들을접했다. 시대는펑크가대세였고젊은세대는대부분만화에열광했다. 미술학교에서는쉬포르 / 쉬르파스아니면교사로부터다소나마영향을받은한물간무더기의히피들을제외하고는대부분관심밖의인물들이되었 Robert Combas is a painter. He is a painter in all senses of the word, a painter who covers up everything on which he is able to put his hands, be they sheets, panels, objects, musical instruments, furniture, etc., and he does so with greed and voluptuousness, with generosity and humour. He boasts a reputation among the best-known and most-collected artists in France today, and his warm personality is only one of his many features. His generosity is reflected through his firm personal and public stands, his rambling yet subtle speech, his diversified and invading work, his ordinary and heroic themes, his energetic and limitless brushstroke, his radiant and lush colours Born in an extremely simple environment, but open to art and keen to learn about it, Robert Combas spent his youth in Sète, a Mediterranean seaport located in Southern France. He had an innate gift for drawing and his parents encourage him in that field. I used to draw all the time, almost instinctively, automatically. I never stopped, and when I was 6 or 7, my parents told me that I should register at the School of Fine Arts Hence, I stayed there until I was 23 I was not really happy to be there, but if my parents had not pushed me, I would probably not have done anything by myself. As all teenagers of his generation, he enjoyed comic strips and rock music. He studied at Montpellier s School of Fine Arts, a typical French provincial school boasting a post-1968 mentality, with teachers, either too academic or under the influence of the Supports/Surfaces Group, conceptualists and minimalists. That was in 1977, I was in contact with young and switched-on people who had a certain degree of creativity. The times were slightly punk, and many members of the younger generation were comic-strip fans. At the School of Fine Arts, everybody had deserted except a bunch of oldfashioned hippies more or less influenced by Supports/Surfaces or their teachers. I had chosen painting, and towards the end of the first year, I told myself that I had to do something new. I looked at what I was doing battles and I said that I should do as I used to when I was just a kid: a battle on a larger 다. 나는회화를선택했고 1학년이끝나갈무렵뭔가새로운일을해야겠다고스스로에게다짐했다. 상황을찬찬히살펴보니그건바로 -전쟁-이였다. 그리고난말했다. 어릴적했던대로하자고 : 펜으로끄적거린낙서가아닌이번엔페인트로더큰규모의전쟁를치르자고말이다. 그리고는탁자에앉아그림 3점을그렸다. 모든것은거기서시작되었고나는다시어린시절로돌아갔다 [ ] 난늘전쟁이많았다. 난연습장에펜을휘갈기며낙서를했고첫캔버스들을바타이유카우보이즈콩트앵디엔 ( 인디언과싸우는카우보이들 ), 자포네콩트아메리캉 ( 일본인 vs미국인 ), 바타이유나발 ( 해전 ) 등으로불렀다 [ ] 난언제나완전히새로운일을하길원했고다른사람들과는달라야한다고생각했다. 스스로를댄디하다고보는데그건진심이다. 콩바스의작품은전통적인학교의성격의작품들과는대치되는것이었으며그가졸업하던해에주목을받았다. 결과적으로생떼띠엔느 (Saint-Étienne) 에선생떼띠엔느미술관장인베르나르시송을포함한패널의심사를통과하면서회화로학위를취득했다. 관장은내작품을굉장히좋아해서해당미술관에서열리는 Après le classicisme( 고전주의그후 ) 라는전시회에참가할것을제안했고이유를묻자나와같은유형의작품을하는사람이많지않아서라고대답하면서내그림이이탈리아트랜스아방가르드 ( 프란체스코클레멘테, 밈모팔라디노...), 독일 New Fauves( 신표현주의, 마틴키펜베르거, 요르그임멘도르프...) 와닮은면이많지만이들의작품과는분명다르다는점을강조했다. 전시회에참가한나는브루노비숍베르거, 다니엘템플론 ( 두사람모두유명畵商이다 ) 을알게되었고작품을관심있게보고그중몇점을구입한사람들도확인할수있었다. 성공은가까이에있었고연이어빠른속도로전시회일정이잡히기시작했다. Après le classicisme ( 고전주의이후 ) 의1980년생떼띠엔느산업미술관을시작으로최초로 Figuration Libre( 자유구상 ) 작품 4점을 scale and with paint in total opposition to my doodles with a pen. I sat at a table and did three paintings. Everything started there, with a return back to my childhood days [ ] I always did a lot of battles, because when I was little, I would scribble graffiti on my exercise books. My first canvasses were called Bataille de cow-boys contre Indiens (Cowboys Fighting Indians), Japonais contre Américains (Japanese Versus Americans), Bataille navale (Naval Battle), etc [ ] I had always wanted to do something entirely new, I had always felt the need to be different from others, I truly consider myself to be a dandy. Combas works were at counter-current with conventional but actually quite comfortable academic productions and were noticed the same year he graduated. Consequently I obtained my degree in painting at Saint-Étienne in front of a panel that included Bernard Ceysson, Director of the Saint -Étienne Museum. He liked my work a great deal and suggested that I participate in an exhibition called Après le classicisme (After Classicism) at the museum. When I asked him why he did, he replied that there were not enough people doing my type of work; he also added that my paintings resembled very much those of the Italian Trans-Avant-Garde (Francesco Clemente, Mimmo Palladino ) and the German New Fauves (Martin Kippenberger, Jörg Immendorff ) and yet, stood apart from them. I took part in the exhibition where I met Bruno Bischofberger, Daniel Templon (two famous artdealers) and other people who not only studied my canvases with interest, but also bought some. Success was at hand and exhibitions started to follow each other very rapidly, first in 1980 at the Saint-Étienne Museum of Art and Industry, with Après le classicisme (After Classicism); then Finir en beauté (Ending Up in Beauty), in 1981, at the residence of art critic Bernard Lamarche-Vadel, who gathered the four painters of Figuration Libre (Free Figuration) for the first time: Rémi Blanchard, François Boisrond, Robert Combas and Hervé Di Rosa [attending the 108 109

수집한미술평론가베르나르-라마쉬-바델의저택에서 1981년에열린 Finir en beauté ( 美로의귀결 ): 레미블랑샤르, 프랑스와부아스롱, 에르베디로자 [ 전시회참석자 : 까뜨린느비올레, 장-샤를블레이즈, 장-미셸알베로라 ] 및 Deux Sétois à Nice( 니스, 세테에서온두사람 ), 이들의작품을별도로부르고자 Figuration Libre( 자유구상 ) 라는용어를만든벤보티에르가조직한전시회등을들수있다. 이후콩바스는파리현대미술관전시회Ateliers 81-82 (Workshops 81-82) 에서그가이끄는그룹 Les Démodés 로큰성공을거둔다. 그의작품은가장유명한갤러리들에서전시를하게되었는데 1982년초에는프랑스의이봉랑베르갤러리에서그리고해외에선 1983년초뉴욕의레오카스텔리갤러리에서선을보였는데카스텔리는콩바스가키스해링보다더뛰어나다고평가했다. 마지막으로 1985년유달리적극적이며대담한미술관 3곳 : 생크로와애비미술관 (Les Sables d Olonne, 프랑스 ), 헤멘테미술관 (Helmond, 네덜란드 ), 산업미술관 (Saint-Étienne, 프랑스 ) 에서콩바스의첫회고전을기획하였다. 상대적으로외딴곳에서의창작활동, 심지어는사회생활과유행의물결로부터은둔하다시피한콩바스는그렇게자신을지켜나가고있다. 그의작업이남과다른것은바로진정성에있다. 콩바스의마음가짐혹은태도는민주적이며사교적인동시에시야가넓지못한 ( 편협한 ) 복수심으로정의할수있는데이는타인과의소통, 사회적성공, 유행이나이것의확산을지향했던워홀과는정반대다. 로베르콩바스의작품은인용글귀 ( 그는코브라, 날것의미술, 다다, 팝아트를무작위로흡수했다 ), 아방가르드사상, 언더그라운드문화의조롱과반영웅주의 ( 찰리브라운, 스누피, 로버트크럼의고양이프리츠 ), 아이러니와무례 (Reiser; 하라키리의쇼롱교수와카바나 ; Gotlib in l Écho des savanes), 전통문화 ( 중세성구함, 로마네스크벽화, 고딕양식의스테인드창, 페르시아미니어처 ) 로부터자양분을얻었고즉흥성에대한끊임없는애정과함께일체의충성을거부하는것으로규정할수있는데이는그자신이무심한아방가르드적원칙을패러디의키치미술과융합시키고자하는도시적 원시적양심의사회적표현으로노골적인대중에대한반문화를반영한다. exhibition were: Catherine Violet, Jean- Charles Blais and Jean-Michel Alberola], as well as Deux Sétois à Nice (Two People from Sète in Nice), an exhibit organised by Ben Vautier who coined the term Figuration Libre to qualify their work. Then followed Ateliers 81-82 (Workshops 81-82) at the Paris Museum of Modern Art where Robert Combas achieved great success with his group, Les Démodés. His works are shown in the most famous galleries: in France, at Yvon Lambert s as early as 1982, and abroad, in New York, as early as 1983, at Léo Castelli s, who considers him to be a very good painter, even better than Haring. Finally, in 1985, the first retrospective was organised by three particularly active and courageous museums: the Museum of the Sainte-Croix Abbey (Les Sables d Olonne, France), the Gemeente Museum (Helmond, Netherlands) and the Museum of Art and Industry (Saint- Étienne, France). Working relatively isolated, even secluded, from the world of crazes and society life, Combas has protected himself. His work is different mostly by its integrity. His attitude could be qualified as a democratic, social and provincial revenge. It is diametrically opposed to that of Warhol, which revolves around the idea of communication, social success, fad and widespread diffusion. The work of Robert Combas, nurtured by quotations, avant-garde thoughts (CoBrA, Raw Art, Dada, Pop Art, to quote them haphazardly as he absorbs them), underground culture for its mockery and anti-heroes (Charlie Brown, Snoopy, Fritz the Cat by Robert Crumb), caricature for its irony and disrespect (Reiser; Cavanna and Professor Choron in Hara Kiri; Gotlib in l Écho des savanes), traditional culture (Medieval phylacteries, Romanesque wall paintings, Gothic stained windows, Persian miniatures) is characterised by its rejection of any allegiance and by the constant attraction for improvisation. It is the social expression of an urban tribal conscience fusing a parody of kitsch art, with perverted avant-garde principles to which he remains indifferent. It reflects the anti-culture of the broadest public. His work stands out by the colour and the black contour of his figures, effervescence 111

그의작품에선색채와인물의블랙윤곽, 활기, 생명력, 기쁨과행복한광기, 아이러니와패러디, 내용과형식사이의서열폐지, 크기와관점의부재, 얽힘과구분의부재가두드러진다. 내게있어, 회화는아프리카의천진한출판물들, 초등학교교과서의그림, 피카소와미로혹은이들이혼합된만화드로잉, 아랍서체, 뒤뷔페나코브라스타일에서볼수있는거친드로잉에서영향을받았다고할수있다. 자유구상은원시적본능을부정하지않는회화로끊임없는문화탐색을표현한다. 다다이즘, Raw Art, 흑인미술, 아이티, 아프리카, 남미, 자메이카등지의출판된천진난만한화가들, 락 & 롤문화, 예외와부조화의미술 (Exceptional and Misfit Art), 피카소, 표현주의, 인상주의, 만화, 이모두를잘섞으면최종결과물은콩바스가된다 : 나는재현하는화가다. 이유는? 내가실존하기때문이다. 하지만내그림의메시지는본래적으로추상이다. 그것은회화의한형태로이미지와컬러, 아시아, 아랍, 남미의엉터리서체가서로뒤섞이며보편을지향한다. 때론추상표현주의처럼나역시캔버스에물감을붓는다. 구상회화는재미있고사물에대한나의현실적인면을재현해준다 ; 초기에그것은 1970년대중반미술계의지적회화를조롱하는것이었다. 나는노동자계급에서태어났기때문에 2개의서로다른세계를살았다. 내그림에는여전히메시지가있다 : 처음에그것을에너지형태를구성하는데이유는내가좋아하는것을그리고싶기때문이다. 연재만화에선아티스트가캐릭터의방해를받지만회화에선포맷과관련해서조차나는완전히자유롭다. 내그림은대단히자유로울뿐만아니라내겐정직을유지하는방법이다. 콩바스작품의공통된특징이있다면그것은폭력성과색채의순수성으로이두가지특징은즉각적으로야수파를떠올리게한다. Fauve( 야수 ) 는우선시대적으로매우정확한기간과함께유명한화가집단으로특징지을수있지만, 동시에고대, 고전적인혹은바로크적인등의단어와같이그들중하나를언급하는예술가가나작품의자격을얻기위해서도사용된다. 그의작품은또한어린이들을위한시뮬레이션전쟁이나성인들의진짜전쟁속폭력과사랑, 일반적으로타인 and vitality, joyous and happy frenzy, irony and parody, the abolition of all hierarchy between content and form, the absence of volume and perspective, entanglement and compartmentalisation. For me, a painting may be influenced by African naïve publicists, by the illustration of primary-school books, mixed with Picasso or Miró, or else by comic-strip drawings, plus Arabic calligraphy, plus a raw painting very much in Dubuffet s or CoBrA s style. Free Figuration is a painting that does not disavow its primitive instincts; it expresses a constant search for culture. Dadaism, Raw Art, Negro Art, that of the naïve publicist painters of Haiti, Africa, South America, Jamaica, Naïve Art, Poor Art, rock 'n' roll, Rock Culture, Exceptional and Misfit Art, Picasso, Expressionism, Impressionism, comic strips. Mix everything well together and you obtain Combas as your end result: I am a representational painter, because I live in a world of realities. On the other hand, I find that the message of my paintings is abstract in nature. It is a mixture of images, colours, false Asian, Arabic or South-American calligraphy, a form of painting aiming to be universal. Sometimes, I simply throw paint, a form of abstract expressionism. Figurative painting is amusing and represents my down-to-earth side of things; initially, it was a mocking reaction against intellectual paintings of the art world in the mid-70s. Since I was born in a working-class environment, I was living in two different worlds. There are still messages in my paintings: at first, it constitutes a form of energy, because I want to paint what I like. In comic strips, the artist is hindered by the characters, whereas in that sort of painting, I am entirely free even with regard to format. My painting is very free and remains for me a means to remain honest. The common character of the Combas work is violence and the purity of colour, features that both refer immediately to Fauvism. The term Fauve characterises first a very precise period in time and a group of well-identified artists, but it is also used to qualify artists or works that refer to either of them, such as the words archaic, Classical or Baroque. The work is also noticeable by the constancy of certain topics, oscillating between the 에대해그가느끼는사랑그리고혼란, 명상그리고분노사이에서자신의약혼녀에대해갖는사랑과그사이의동요등이눈에띈다. 또한그것은스타일을통해서도알수있는데스타일의일관성을보장하는한편급작스런전개와새로운영감속에서계속된변화를반복한다. 폭력성과순수한색채를지닌 80년대초반을젊음과모더니티의상징인 fauve years야수의해 로규정할수있다. 반면, 그마지막해는 최고로섹스지향적인시간들 로기술가능한데특히 1988년전투로, 이는콩바스스타일에극명하게드러난다. 색채작업이다른무엇보다중요한이유는그것이캔버스공간전체를채우기때문이다. 블랙윤곽선이색채를둘러쌀때는컬러의드러남을강조하려는집착이깔려있다. 발, 생식기와함께작은머리들이사방에서용솟음치고단어들이밀려들면서의미는초월되고감각은폭발한다. 글을쓰는것은상징과상상의공간모두가활기를띠는과정에서이미지에대한언어로되돌려준다. 그렇게포화된공간은암석이나나무, 천등에사람얼굴이나동물이등장하는 15세기페르시아미니어처로나타난다. 콩바스는평화로운사랑에서전쟁으로다시시에서음악으로옮겨가며미술사전기간과모든주제를다룬다. 1990년대초, 교회와성당, 몇몇문화도시 ( 특히베니스 ) 를둘러보며조각과스테인드글라스창과아이콘을면밀히조사했다... 그는문학과역사 (history) 와에스토테리즘 (esotericism) 에대해폭넓게이야기했고, 중세시대를향한남다른열망을키워나갔다. 호기심은작품에영향을미쳤고자신을 가장첫단계의영적기간 으로규정한다. 캔버스배경은 어둔밤 마냥블랙이다. 새성령의불길처럼하늘에서내리는비를재현하는줄기들은부분적으로캐릭터들을덮는다. 이시기작품들은 1989년미국샌프란시스코와 1990년프랑스알비에서각각선을보였다. 성서에서영감을얻은새로운연작역시파리에서전시되었다. 이처럼명백한영적갈구는예배당크기만한최대 5미터길이의대형포맷에반영되었는데이는 80년대말중세시대나 17세기바로크시기벽화를영락없이떠올리게한다. 영적갈망은 90년대초불교나기독교전통과같은영적운동을표방하는동양의다양한테마속에서그리고중세전설이숨쉬는분위기에침잠하는등의방법을통해계속이어진다. 중세전통문화로부터영감을받은작품에는기독교적영성이충만한데이는중세민속문화와 violence of either the simulated wars of children or the real wars of adults, and love, the love he feels for others in general and the love he feels for his fiancés in particular, between turmoil, meditation and fury. It is also noticeable through the style, which guarantees consistency, while affirming certain periods generating successively one another in sudden developments and new inspirations, etc. The early 80s with their violence and their pure colours could be qualified as Fauve years, the symbol of youth and modernity, whereas the last years could be described as the most sex-oriented years, especially with battles in 1988, which are very assertive of the Combas style. Works with colour are paramount, because colour fills the entire space of the canvas. A black contour line surrounds it with an obsession that reinforces its appeal. Small heads perk up everywhere, along with feet and genital organs. Words surge and supersaturate the meaning. Senses explode. Writing yields back speech to images in both the symbolical and actual spaces of the imagination in the process of coming alive. The saturated space refers to Persian miniatures of the 15 th century in which appear faces or animals in rocks, trees or clothes. Combas moves from peaceful love to war, then from poetry to music, and deals with all periods of art history and all subjects. In early 1990, he visited churches and cathedrals, several cultural cities (especially Venice), and scrutinised sculptures, stainedglass windows and icons He opened up to literature, history and esotericism. He developed a special craze for the Middle Ages. His curiosity influenced his work, and he qualifies himself as a spiritual period at the first degree. The background of the canvas is black as a dark night. Paint runs representing falling rain from heaven as flames of a new Holy Spirit, cover characters in part. The works of that period were shown in 1989 in San Francisco and in Albi, France, in 1990. A new series inspired by the Bible was also exhibited in Paris. Such obvious need for spirituality is reflected in the selection of large formats, up to 5 meters, the size of a chapel, which evoke irresistibly as early as the late 80s the mural paintings of the Middle Ages or of the Baroque Period in the 17 th century. The spiritual need grows in the early 90s through various themes 112 113

기독교가밀접히연관되어있기때문이다. 이런것들이어린시절독서, 멀게만느껴진교리문답, 보다높은것에대한확고한염원에대한기억이엉켜있는자화상처럼보이는것은아닐까? 그는전쟁이라는토픽에여전히충실하며그자리에는폭발하는색채, 상냥함과부드러움으로대하는여성에대한사랑이있다 [ ]. 그리고러브스토리속상냥함은영적심문으로변형된다. 2005년 1월런던시티홀에서찰스사치는비디오와환경미술로대체되면서사망한것으로간주된미술의한장르인회화의 승리 를위해 3개의전시관을설치했다. 필립다장이정확하게강조했듯이 : 회화는뒤돌아보지않는다, 다만계속될뿐이다 [ ]. 찰스사치의입장은 [ ], 그가선견지명이있는컬렉터든아니면현명한구경꾼입장이든사실상드러난것에비해혁신적인알맹이는전혀없다. 2002 년파리퐁피두센터는이와아이디어는동일하지만훨씬적은예산으로 Cher peintre ( 친애하는화가에게 ) 라는전시회를기획했다 [ ]. 진짜문제는창작에관한것이아니라다양한장소와시기에서비판을감수하는것이다. 뉴욕과베를린의갤러리와미술관에선끊임없이회화전이열린다. [ ] 하지만파리와런던의상황은다르다. 프랑스의경우, 문화기관들이회화는죽었다고주장함으로써 fine work정교한작업 과전통이라는이름으로과거를추종하는신봉자들의반대를유발하는현대적교조주의를응원하고있다. 하지만다행스럽게도이런척박한상황에변화의조짐이보이는듯하다. 베르나르블리스테는 : 80년대를새롭게판단할시기가가까이왔다 : 우리는발생한현상이갖는복잡성과소위 신표현주의New Fauves 속에서퍼포먼스가갖는중요성, 가루스트와가지오로프스키의첫작품들에나타난개념을살펴야한다. 그해석은현재상황에서진작되어야하며아티스트들은계속해서몰리, 키펜베르거, 바스키아를예의주시할것이다. 많은이름들이거론될수있겠지만내입장에서말한다면기꺼이로베르콩바스를그명단에넣을것이다. 오늘날그의작품을전시하고그들에게마땅한자리를부여하는일은합법적일뿐아니라모두를위하는것이다. 그의작품은아름다움과판타지그리고자유를표현한다. 장-프랑스와모찌코나찌 through various themes referring to Oriental spiritual movements, such as Buddhism or the Christian tradition, or bathing in an atmosphere of Medieval legends. Works inspired by Medieval folklore are flooded with the same Christian spirituality, since both are closely related. Should they be seen as self-portraits associating memories of childhood readings, a far-remote catechism and an obvious aspiration to something much higher? He remains faithful to the topics of battles, with explosions of colours, and love for women with both gentleness and tenderness. That gentleness found in love stories transforms itself into spiritual interrogations. At London s County Hall Gallery, in January 2005, Charles Saatchi set up three exhibitions on the triumph of a genre that part of the art world deemed dead and superseded by video and environment art: painting. As Philippe Dagen emphasised rightly so: Painting does not look back, but continues. Charles Saatchi s position, whether as a visionary collector or a wise speculator is actually quite less innovative than it seems. In 2002, the Centre Georges Pompidou in Paris organised an exhibition called Cher peintre (Dear painter) based on an identical idea, but with fewer means. The real question is not about creation, but its critical reception in various locations and at different times. In New York and Berlin, painting never ceased to be on display in galleries and museums. In Paris and London, the situation is different. In France, cultural institutions support a modernistic dogmatism proclaiming that painting is dead, thus provoking the opposition of faithful devotees to the past in the name of fine work and tradition. Fortunately, such sterile situation now seems to be changing. For Bernard Blistène: The time for a new appraisal of the 80s is near: we shall see the complexity of what occurred, the conceptual part of the first works by Garouste and Gasiorowski or the significance of performance in the socalled New Fauves. That interpretation will be promoted by the current situation as artists keep peering at Morley, Kippenberger or Basquiat. Many names could be added. As for myself, I would be most happy to include Robert Combas to that list. Presenting his works today, granting them their place is not only legitimate, but salvaging altogether. They express beauty, fantasy and freedom. Jean-François Mozziconacci Portrait, 2017 Signed and dated on the lower centre Acrylic and pastel on paper laid down on canvas. 200 x 150 cm I 78.7 x 59.1 in 114 115

Sans titre, 2017 Signed on the lower centre Acrylic on canvas. 230 x 212 cm I 90.5 x 83.5 in 116 117

Sans titre, 2017 Signed on the centre right Acrylic on paper. 65 x 100 cm I 25.6 x 39.4 in 118 119

Portrait en fond noir approfondi avec tatouage verdâtre de motif floraplantoverto, 2011 Signed on the lower right, dated on the lower left Acrylic on fabric. 195 x 141 cm I 76.8 x 55.5 in Espagnolades. Rubans et rubis, perles et velours. Mes vœux lourds en chapeau et masque, 2016 Signed on the lower centre Mixed media on paper. 63 x 48 cm I 24.8 x 18.9 in 120 121

Marsupilami Grand Etonapilami, 2017 Signed on the lower right Acrylic on canvas. 195 x 114 cm I 76.8 x 44.9 in. Le Cavalier du Pré Pustule, Le cheval Black baroque Blacos and White and blanc, 2017 Signed on the lower right Mixed media on canvas. 195 x 96 cm I 76.8 x 37.8 in 122 123

Noële, Noel, Montjoie Saint Denis, 1989 Signed and dated on the lower right, titled on the lower centre Acrylic on canvas laid down on canvas. 214 x 222 cm I 84.3 x 87.4 in Collection Alain Lamaignère, Paris Private collection, Paris 124 125

Le Pot de jambes en bouquet de pieds et de mollets, 2004 Acrylic on epoxy resin, edition of 4. 170 x 75 x 75 cm I 66.9 x 29.5 x 29.5 in Rougette de Suly. La jeune rouge sauvage. Elle est so vage for mi, 2017 Signed and dated on the lower right, titled on the upper centre Acrylic on canvas. 224 x 125 cm I 88.2 x 49.2 in 126 127

Pyramide, 1985 Guitare Eddie Cokran, 2005 Painted resin, edition of 99 by Jacques Boulan. 99 x 37.5 x 3.5 cm I 39 x 14.8 x 1.4 in Signed and dated on the lower right Acrylic on canvas. 215 x 150 cm I 84.6 x 59.1 in Private collection, Paris 128 129

Robert Combas, Biography Born in Lyon on May 25, 1957, Robert Combas spent his childhood and adolescence in Sète. He has been working and living in the Paris region since 1981. SELECTED SOLO EXHIBITIONS 1979 Robert Combas, Hervé Di Rosa and Ketty Brindel create the journal Bato, an assemblagiste work of art according to Robert Combas. A collective and hand-made journal, Bato is made up of assembly art, sketches, paintings and text. Only four pieces make it to print. With Ketty Brindel and Buddy Di Rosa, Robert Combas then formed Les Démodés, a primitive rock group with Dadaist lyrics penned by Robert. For Combas, Bato and Les Démodés mark the real beginnings of the Free Style movement 1980 Publishing of sketches and illustrations in Sandwich, the weekly art supplement of French daily Libération. First personal exhibition with Errata Gallery in Montpellier, May 20-27, 1980, including a performance by Robert Combas at the vernissage. Robert Combas gets his Fine Arts degree in Saint-Étienne. Bernard Ceysson, jury member, is struck by the originality of Combas work and invites him to participate in the expo Après le classicisme organised for the end of the year at the Saint-Étienne Museum of Modern Art 1981 Combas, Eva Keppel Gallery, Düsseldorf Combas, Swart Gallery, Amsterdam 1982 Combas, Yvon Lambert Gallery, Paris Combas, Swart Gallery, Amsterdam Combas, Baronian-Lambert Gallery, Ghent 1983 Combas, Buchmann Gallery, Saint-Gall Combas, Léo Castelli Gallery, New York 1984 Combas, Yvon Lambert Gallery, Paris Performance painting at the Centre Georges Pompidou, Paris, as part of the television show Bonjour Monsieur Orwell Le combat de Combas, The Chanjour Gallery, Nice Combas, Il Capricorno Gallery, Venice Combas, ARCA, Marseilles (first monograph) 1985 Combas, Yvon Lambert Gallery, FIAC, Paris 1986 Combas, Léo Castelli Gallery, New York Le bestiaire de Combas, Yvon Lambert Gallery, Paris 1987 Combas, CAPC Museum of Contemporary Art, Bordeaux Combas, Stedelijk Museum, Amsterdam Combas, Trisorio Art Studio, Naples 1988 Les batailles, Beaubourg Gallery, Paris La guerre de Troie, Yvon Lambert Gallery, Paris Combas, Krings Ernst Gallery, Cologne Combas, Pierre Huber Gallery, Geneva 1989 Paintings & Objects, Blue Gallery, Seoul 1990 Combas, Wolf Schultz Gallery, San Francisco Combas, Toulouse-Lautrec, Cultural Centre of Albi & Toulouse-Lautrec Museum of Albi, Blois 1991 La bible, Beaubourg Gallery and Les Saints, Yvon Lambert Gallery, Paris; simultaneous release by La Difference Publishing House of a monograph with text by Bernard Marcadé 1992 La mauvaise réputation, paintings inspired by Georges Brassens, and Aquestécop, paintings from 1977 to 1991, Paul Valéry Museum, Sète 1993 Du simple et du double, Paris Museum of Modern Art, Paris 1994 Recent Paintings, the French Institute of the United Kingdom, London L art italien, Alliance Française, Bologna 1995 La maison Combas, Hall of Mars, Beaubourg Gallery, Paris La musique et touti couinti, The Coprim Foundation, Paris Premières œuvres, Jérôme de Noirmont Gallery, Paris 1996 Peintures primitives portugaise, Gallery 1991, Lisbon Tâche de lait, Tashi deleks, Jesuit Chapel, Chaumont Sanguines, Laurent Strouk Gallery, Paris Fantaisies héroïques, Cultural Centre, Fayet Hall, Sérignan 1997 Sanguines, Gallery 1991, Lisbon Glitter Portraits, Laurent Strouk Gallery, Paris 1997 Manheim-Paris: Mozart-Combas, Manheim Diou me damné, Macarel, je fais une rétrospective, peintures de 1977 à 1997, Tamaris Villa, La Seyne-sur-Mer Coquin de sort, ça continue, tatouages académiques et peintures sur papier, Napoleon Fort, La Seyne-sur-Mer 1998 Entre deux guerres, Ben-Combas, a historical piece on World War One, Péronne Museum of the Erotic, Paris 1999 Tronches d habits, Espace Cardin, Paris 2000 Marilyn-Combas, Anne-Marie Dewart Gallery, Brussels Maï Aqui, Paul-Valéry Gallery, Sète Robert Combas, Batailles et guerres dans ses premières œuvres, Cultural Centre La Douve, Langeais 2001 Les années chaudes, les années 80 de Robert Combas, the Cordeliers Convent, Châteauroux Museum 2002 Une expo d été, Hélène Trintignan Gallery, Montpellier Les vieux dégueulasses, Metropolis Gallery, Lyon 2003 Oeuvres des années 80, Laurent Strouk Pop Art Gallery, Cannes Cartes à gratter et galerie de portraits, Charlotte Moser Gallery, Geneva Nouvel atelier, Guy Pieters Gallery, Knokke-le-Zoute Une saison Combas, a trail of exhibitions in Aix 2004 Galerie de portraits, Hélène Trintignan Gallery, Montpellier Combas et le Mexique, Croix BaragnonCentre,Toulouse Dernières créations, Guy Pieters Gallery, Saint-Paulde-Vence Ma peinture c est du rock, The Artrium, Geneva 2005 Fleurs, personnages, rêves et paysages, Auverssur-mer Oise Festival, Opus 25, Auvers-sur-Oise En avant la musique, Benedictine Palace, Fécamp Mots d oreille, Magazzini del Sale, Venice Bonjour, Jan Van der Doogt Museum, Amstelveen Nerf de bœuf et verres brisés, Metropolis Gallery, Lyon 2006 Robert Combas et Spatharis, Fine Arts Kapopoulos, Athens Œuvres croisées Combas-Kijno, Hélène Trintignan Gallery, Montpellier Retour aux sources, Hélène Trintignan Gallery, Montpellier Le rythme du rock, Willy Shoots Gallery, Eindhoven Sacré Combas, Chapel of the Ursulines, Quimperlé Les tatouages académiques, Guy Pieters Gallery, Knokke-le-Zoute Savoir faire, Seoul Museum of Art, Seoul 2007 Savoir faire, Gyeongnam Museum of Art, Changwon Fantastic, Asiana Museum, Daejon Joke R, The Gallery, Frankfurt Gallery of Modern Art, Modena Combas à Saint-Vincent, Saint-Vincent Church, Mérignac Cinéphage à gogo, Art Centre of La Malmaison Chemin de Croix, Combas-Kijno, Chapel of the Ursulines, Tourcoing 2008 Robert Combas, les années 80 l invention d un style, Louviers Museum, Louviers Joke R, Ludwig Museum, Koblenz Robert Combas, Gana Art Centre, Seoul Chemin de Croix, Combas-Kijno, Chapel of the Gobelins, Paris Qu es aco?, Vincent Van Gogh Foundation of Arles, Arles 2010 Robert Combas, Fondation Mudima, Milan Robert Combas, Galerie Hélène Trintignan, Montpellier Sans filet, les Goulamas sont de retour, Galerie Guy Pieters, Paris 2012 Retrospective Greatest Hits, Museum of Contemporary Art, Lyon. 2013 Pour la couleur c'est au premier étage, Gallery Laurent Strouk, Paris 2015 Combas, Palace of Tau, Reims 2016 Retrospective of Combas paintings from 1980s an 1990s. Grimaldi Forum, Monte Carlo, exhibition organised by Gallery Laurent Strouk 2017 Les Combas de Lambert, Collection Lambert, Avignon 130 131

Index

Modern Masters on Paper JEAN DUBUFFET Site avec deux personnages, 10 septembre 1981 7 Site avec quatre personnages, 20 août 1981 8 Site avec quatre personnages, 31 août 1981 9 ALEXANDER CALDER Cattails and Yellow Moon,1968 11 Untitled, 1953 12 MARC CHAGALL L'Acrobate rouge, 1963-1964 15 PABLO PICASSO Tête de femme, 21 July 1970 17 JOAN MIRÓ Untitled (from Grafikmappe Hochschule St. Gallen), 1967 19 ZAO WOU-KI Untitled, 2003 21 FERNAND LÉGER Étude pour la façade de l église Notre-Dame..., circa 1948-49 23 FERNANDO BOTERO La Toilette, 2009 25 Contemporary Curated Selection ANDRÉ BRASILIER Courses en nocturne, 2016 29 MANOLO VALDÉS Retrato con fondo naranja, 2007 31 Fiori, 2015 32 GEORG BASELITZ DAS MOTIV: 1950, 1988 35 YVES KLEIN Table Monogold 36 Table Bleu Klein 37 ROBERT INDIANA Love (Gold face - Blue sides), 1966-2000 39 KEITH HARING Untitled, 1984 41 TAKASHI MURAKAMI Blue Flower, 2013 43 YOSHITOMO NARA Right and Left, 1990 45 MARC QUINN Endless Column (Micro Cosmos), 2008 47 Sphinx, 2006 48 DAMIEN HIRST Skull Spin Painting, 2009 51 ANSELM REYLE Untitled, 2006 53 JEFF KOONS Balloon Rabbit (Red), 2017 55 Balloon Monkey (Blue), 2017 56 Balloon Swan (Yellow), 2017 57 TRACEY EMIN What Colour is a Kiss, 2015 59 PAIK NAM JUNE Easy Rider, 1993 61 ANTONIO SEGUÍ Tecnícolor, 2006 63 TURI SIMETI Un ovale bianco, 2015 65 PINO MANOS Sincronico nero cyan quadrato, 2014 67 ALESSANDRO ALGARDI 4.04.2008, 2008 69 UMBERTO MARIANI Senza titolo, 2016 71 MARCELLO LO GIUDICE Blu Eden, 2013 73 FABRIZIO PLESSI Acqua 6, 2016 75 PASCAL HAUDRESSY Somewhere We Will Meet Again (Heart and Brain), 2010 77 KATRIN FRIDRIKS Icelandic Syndrome - Dreamliner, 2015 79 ALFRED HABERPOINTNER W-COLI, 2014 81 ZHUANG HONG YI A2016-087, 2016 83 JOE BLACK Power to the People, 2016 85 PAUL ALEXIS Betty Boop, 2009 87 DAVID MACH Matisse, 2012 89 Cheetah, 2012 90 Sea Whip, 2012 91 MAURO CORDA Contorsionniste XXIV, 2013 93 ANDY DENZLER Flower Composition VI, 2016 95 LITA CABELLUT Elisa, 2017 97 DAVID KIM WHITTAKER The Paranoia Diva, 2017 99 SITTIPHON LOCHAISONG Ring Rang Run, 2017 101 LI TIANBING Haut-parleur de l hôpital, 2008 103 MARC SIJAN Seated Guard, 2016 105 Robert Combas Robert Combas, Painter by Jean-François Mozziconacci 108 Portrait, 2017 115 Sans titre, 2017 116 Sans titre, 2017 119 Portrait en fond noir approfondi..., 2011 120 Espagnolades. Rubans et rubis, perles et velours...,2016 121 Marsupilami Grand Etonapilami, 2017 122 Le Cavalier du Pré Pustule, le cheval black, 2017 123 Noële, Noel, Montjoie Saint Denis, 1989 125 Le Pot de jambes en bouquet de pieds et de mollets, 2004 126 Rougette de Suly la jeune rouge sauvage, 2017 127 Guitare Eddie Cokran, 2005 128 Pyramide, 1985 129 134 135

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