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A Study of Lee Kang-So's Experimental Art in the 1970s
Journal of History of Modern Art
2019, (45),
pp.199-228
DOI :10.17057/kahoma.2019..45.008
Publisher : 현대미술사학회
Research Area : Art History
DOI :10.17057/kahoma.2019..45.008
Publisher : 현대미술사학회
Research Area : Art History
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This research aims to comprehensively study Lee Kang-So’s experimental art in the 1970s and begins with an analysis of the activities of Shincheje (New System), a small study group which Lee founded after graduating from college. Individual studies of artists who established their own areas among Korean painters would further enrich a discourse on Korean contemporary art. To this end, it was first essential to initially link 'Shincheje', which had been assessed as an abstract art group, and the activities of the A.G. group, which worked to pioneer the avant-garde. Lee had already dismantled planes and solids at the First Exhibition of the Shincheje’ Group. For his first exhibit at the A.G. Exhibition in 1971, he gathered reeds around the Nakdong River, bound them with plaster and installed Void . With this piece, he started to attempt to boldly break away from formalism as in Western art theory and express in his work experiences derived from the establishment of relationships between “me and others” or “me and the world.” Second, through the 1973 project Bar in the Gallery and 14-Becoming and Extinction, Lee established the concept of interactive art, which involves the audience in the work to complete a narrative. Finally, Lee employed the issue of the body, which is considered significant today in performance art. While he sought happenings arising irrespective of body in and Untitled-75031 he was active in using his own body as performance in Painting (Event 77) .
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