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A Study on the Work of Hyang-Bo Park Gwang-Ho(1932-2000) : Centering on the Artist's Interpretation of Surrealism as the korean surrealism

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2016, 48(), pp.39-70
  • DOI : 10.17527/JASA.48.0.02
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : August 31, 2016

Ihn-Sook Nam 1

1홍익대학교

Accredited

ABSTRACT

Park Gwang-Ho had three solo exhibitions (in 1967, 1971 and 1980, showing more than100 works) in his life time and wrote excellent papers on art. He is also recorded to have participated in several group exhibitions (such as “Engagement”) except for very limited public activities. It is also noticeable that he was invited as a contemporary artist to “Contemporary Artists Invitation Exhibition” hosted by Chosun Ilbo in 1959 (and selected as an invited artist in 1959), receiving public recognition his pursuit of modernity in plasticity. Park's various contributions, writings(poems and essays), witty illustrations enable us to assume this background. His literary sense, ability, quick wit shown in his essays that clearly showed absurdity, articles on the prevailing states of the fields of industrialization or urbanization in those days, curiosity about cutting-edge technologies, experiments and culture, diagnoses of art circles, sufficiently corroborate what his son said. This is important because one of the grounds that led him to delve into the genealogy of Dadaism and Surrealism can be found in his biographical background. To summarize, Park Gwang-Ho's work is marked by the intellectual construction of dialectical movement and the activation of the senses that were caused by paranoid critic activities, as well as the peculiarity of the vernacular. In other words, the embodiment of concreteness and vernacularity is a consistent theme and the key essence of his object aesthetics which is evoked by reality.

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