{"id":30,"date":"2022-08-05T06:34:11","date_gmt":"2022-08-05T06:34:11","guid":{"rendered":"https:\/\/mgallerynaruseoul.accorv2prod.decms.eu\/about-us\/hotel-artwork\/"},"modified":"2025-12-03T05:44:37","modified_gmt":"2025-12-03T05:44:37","slug":"hotel-artwork","status":"publish","type":"page","link":"https:\/\/www.hotelnaruseoul.com\/en\/about-us\/hotel-artwork\/","title":{"rendered":"Hotel Artwork"},"content":{"rendered":"

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The Present of the Century reinterprets the colorful forms of Classical and Baroque columns using the artist\u2019s own module-stacking method and vibrant colors. In addition to the joy of viewing art, the work conveys long-established meanings of tower in different traditions and history and sends a message of love and hope to the viewers. The viewer can easily become an artist by taking commemorative photos, participating or sharing the outcomes. At the moment, the work becomes a monument and creates a vibrance to daily life. Art is not by far and high, but at close and low. Not just as a mass of giant sculpture, the work is completed as an art by visitors with a desire to remember and relate to the moment forever.<\/p>\n

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Photographer @Yongjoon Choi<\/p>\n

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John Chamberlain\u2019s (1927\u20132011) distinctive metal sculptures, often made of crushed automobile steel, reveal both the stately grace and the expressive plasticity of industrial materials. Exploring the interplay of color, weight, and balance, Chamberlain tapped into the energy of Abstract Expressionism, the premanufactured elements of Pop Art and Minimalism, and the provocative folds of the High Baroque.<\/p>\n

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Park\u2019s \u00c9criture<\/em> (\u63cf\u6cd5, myobop<\/em>) series is often divided into three phases: the early-\u00c9criture<\/em> (or pencil-\u00c9criture<\/em>) of the 1970s, mid-\u00c9criture<\/em> of the 1980s, and late-\u00c9criture<\/em> (or color-\u00c9criture<\/em>) beginning in the 2000s. If the artist focused on emptying and disciplining himself through repetitive action through his early-\u00c9criture<\/em> series, his late-\u00c9criture<\/em> series seeks unity with nature by creating compositions defined by symmetrical reliefs modeled directly on the canvas, instead of emphasizing the traces of his hand. These elements consist of three layers of traditional Korean paper hanji<\/em>, which has been soaked in water for more than two months. Built up on the canvas in concise but organic furrows, Park then draws lines with a thick graphite pencil before the surface dries. As a result of these line-drawings, the wet hanji<\/em> is pushed from side to side to form symmetrical sculptural elements, reminiscent of the ridges between rice paddies. When the hanji<\/em> dries, the artist adds acrylic paint to the surface to embody the natural scenery that inspires him. Through this repetitive action, the completed works manifest accumulated time, creating a rhythm where Park\u2019s philosophy and vision are interwoven.<\/p>\n

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\uad8c\uc601\uc6b0\ub294 \uc885\uc774 \uc704\uc5d0 \uadf8\ub9bc\uc744 \uadf8\ub9ac\ub294 \ud654\uac00\uc758 \uae30\ubcf8 \ud589\uc704\ub97c \ubc30\uc81c\ud558\uace0, \ub300\uc2e0\uc5d0 \uc8fc\ub85c \uc190\ud1b1\uc744 \uc774\uc6a9\ud558\uc5ec \uc885\uc774\ub97c \uc790\ub974\uace0, \ucc22\uace0, \ub6ab\uace0, \ubd88\uc774\ub294 \ud589\uc704 \ub4f1\uc744 \ud1b5\ud574 \uc791\uac00\uc758 \ubc18\ubcf5\uc801\uc778 \ud589\uc704\uc640 \uc885\uc774\uc758 \ubb3c\uc9c8\uc131\uacfc \ucd09\uac01\uc131\uc744 \uc791\uc5c5\uc758 \uc911\uc2ec\uc5d0 \ub193\ub294\ub2e4. \ucd08\uae30\uc5d0\ub294 \ud55c\uad6d\ud654\uc758 \uae30\ubcf8 \uc7ac\ub8cc\uc778 \uc218\ubb35\uc73c\ub85c \uad6c\uc0c1\uc801 \ucd94\uc0c1\uc758 \ud45c\ud604 \uac00\ub2a5\uc131\uc744 \ud0d0\uad6c\ud558\ub294 \uc791\uc5c5\uc744 \ud558\ub2e4\uac00 1962\ub144\uc744 \uc804\ud6c4\ud558\uc5ec \ud544\ubb35\uc744 \ubc84\ub9ac\uace0 \ud55c\uc9c0(\u6f22\u7d19)\ub97c \uc791\ud488\uc81c\uc791\uc758 \ub9e4\uccb4\ub85c \uc0ac\uc6a9\ud558\uae30 \uc2dc\uc791\ud588\ub2e4. \uadf8\ub294 \uc5ec\ub7ec \uacb9\uc73c\ub85c \uacb9\uccd0\uc9c4 \uc885\uc774\uc758 \uc12c\uc138\ud55c \uc7ac\uc9c8\uac10\uc744 \uac15\uc870\ud558\uba74\uc11c \uc885\uc774 \uc704\uc5d0 \ub9cc\ub4e4\uc5b4\uc9c4 \uc785\uccb4\uac10\uacfc \ub9ac\ub4ec\uc73c\ub85c \uc870\ud615\uc131\uc744 \uad6c\uc131\ud558\uc600\ub294\ub370, \uc774\ub294 \ub3d9\uc591\ud654\uc758 \ub9e4\uccb4\ub97c \uc7ac\uc870\uba85\ud558\uc5ec \ub3d9\uc591\ud654\uc758 \uc601\uc5ed\uc744 \ucd08\uc6d4\ud55c \uc0c8\ub85c\uc6b4 \ubb38\ubc95\uc744 \ub9cc\ub4e0 \uac83\uc774\ub77c \ud3c9\uac00\ub41c\ub2e4.<\/p>\n

By renouncing the brush and the traditional emphasis on painting a picture, and opting to use his fingers to cut, tear, puncture and glue the paper together, Kwon Young-Woo put repetitive action and the paper\u2019s materiality and tactility at the forefront of his practice. Early in his career, Kwon explored figurative abstraction using Chinese ink, a common Korean painting material. In 1962 he decided to use hanji (Korean paper) as the primary medium for his artistic production. His focus on the delicate hanji\u2019s layered texture had expanded to three-dimensional shapes and rhythmic compositions that cover the entire surface. He rediscovered Korean painting materials through his innovative techniques, and created a new vocabulary to expand and transgress the definition of traditional Korean painting.<\/p>\n

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Airy Navigation<\/em> is a site-specific installation for the twentieth-floor atrium in Hotel Naru, Seoul. Consisting of eighty blinds in four different colors and resembling an unfurling staircase, the work soars in a diagonal course across the three-story space. The structure of the work, gradually unfolding in concert with the ascending height, draws the viewer\u2019s gaze to the water of “Mapo Naru” beyond the glass windows of the hotel lobby. While the wooden ferry boats sailing up and down the Mapo Naru, once a significant site of trade and transportation, are long gone, the term “Naru (river port)” and the dynamic assembly of blinds invites to recollect the bustling past scenes of the Mapo area. The blinds that are connected at varying heights float in the air like a ship in full sail navigating up the river. Composed of different colors, the intersecting groups of blinds create a constantly changing effect as they organically overlap and transform according to the viewer\u2019s shifting perspectives. When looking up from the lobby, the combination of the gradated colors and the net-like shape created by the blinds creates a sensation of activating movement. Airy Navigation<\/em> combines the subtle tones that emanate from the local natural elements of river, sky and land, embracing the light that pours in through the building\u2019s large windows and melts into the flow of the seasons.<\/p>\n

Photographer @Yongjoon Choi<\/p>\n

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\ud558\uc885\ud604\uc740 ‘\ud68c\ud654\ub780 \ubb34\uc5c7\uc778\uac00’\ub77c\ub294 \uc9c8\ubb38\uc744 \ubc14\ud0d5\uc73c\ub85c 50\uc5ec \ub144\uc5d0 \uac78\uccd0 \uc720\ud654\ub97c \ub2e4\ub904\uc654\ub2e4. 1962\ub144\ubd80\ud130 1968\ub144\uae4c\uc9c0 \uc791\uac00\ub294 \uc989\ud765\uc801\uc778 \ucd94\uc0c1\uc608\uc220 \uacbd\ud5a5\uc778 \uc575\ud3ec\ub974\uba5c \uc2a4\ud0c0\uc77c\uc758 \ucd94\uc0c1 \uc720\ud654 \uc791\uc5c5\uc5d0 \ubab0\ub450\ud588\ub2e4. \uc774\ud6c4 \uc804\uc704\uc801 \ubbf8\uc220\uac00 \uadf8\ub8f9\uc778 \ud55c\uad6d\uc544\ubc29\uac00\ub974\ub4dc\ud611\ud68c(AG)\ub97c \uacb0\uc131\ud55c 1969\ub144\ubd80\ud130 1970\ub144\ub300 \uc911\ubc18\uae4c\uc9c0 \uc11d\uace0, \uc2e0\ubb38\uc9c0, \uac01\ubaa9, \ub85c\ud504, \ub098\ubb34\uc0c1\uc790 \ub4f1 \uc624\ube0c\uc81c\ub97c \uc911\uc2ec\uc73c\ub85c \ud55c \u2018\ubb3c\uc131 \ud0d0\uad6c\uc758 \uae30\uac04\u2019\uc744 \uac70\ucce4\ub2e4. \uc774 \uc2dc\uae30\uc5d0 \uc791\uac00\ub294 \ud55c\uad6d\uc804\uc7c1 \uc774\ud6c4 \ubbf8\uad70 \uad70\ub7c9\ubbf8\ub97c \ub2f4\uc544 \ubcf4\ub0b4\ub358 \ub9c8\ub300\uc790\ub8e8\ub97c \ube44\ub86f\ud574 \ubc00\uac00\ub8e8, \uc2e0\ubb38, \uc6a9\uc218\ucca0, \ucca0\uc870\ub9dd \ub4f1 \ube44(\u975e)\ubbf8\uc220\uc801\uc774\uace0 \ube44(\u975e)\uc804\ud1b5\uc801 \ub9e4\uccb4\ub85c \uce94\ubc84\uc2a4\uc758 \uc591\uba74\uc744 \ubaa8\ub450 \ud65c\uc6a9\ud558\ub294 \uc2e4\ud5d8\uc801\uc778 \uc791\uc5c5\ubc29\uc2dd\uc744 \uc2dc\ub3c4\ud588\ub2e4. \uadf8\ub9ac\uace01974\ub144\ubd80\ud130 \uc9c0\uae08\uae4c\uc9c0 \ub9c8\ub300\uc790\ub8e8\ub97c \ud65c\uc6a9\ud55c \uacbd\ud5d8\uc5d0\uc11c \ucd9c\ubc1c, \uace0\uc720\ud55c \uae30\ubc95\uc73c\ub85c \uc790\ub9ac\ub9e4\uae40\ud55c \u2018\uc811\ud569\u2019 \uc5f0\uc791\uc744 \uc644\uc131\ud574\uac00\ub294 \uc911\uc774\ub2e4. \ud558\uc885\ud604\uc740 \uc62c\uc774 \uad75\uc740 \ub9c8\ud3ec \ub4b7\uba74\uc5d0 \ub450\ud130\uc6b4 \ubb3c\uac10\uc744 \ubc14\ub974\uace0 \ucc9c\uc758 \uc55e\uba74\uc73c\ub85c \ubc00\uc5b4 \ub123\ub294 \ubc30\uc555\ubc95(\u80cc\u62bc\u6cd5)\uc744 \ud1b5\ud574 \ub3c5\ucc3d\uc801\uc778 \uc791\uc5c5 \ubc29\uc2dd\uc744 \uad6c\ucd95\ud588\ub2e4. \uc55e\uba74\uc73c\ub85c \ubc30\uc5b4 \ub098\uc628 \uac78\ucb49\ud55c \ubb3c\uac10 \uc54c\uac31\uc774\ub4e4\uc740 \ub098\uc774\ud504\ub098 \ubd93, \ub098\ubb34 \uc8fc\uac71\uacfc \uac19\uc740 \ub3c4\uad6c\ub97c \uc0ac\uc6a9\ud55c \uc791\uac00\uc758 \uac1c\uc785\uc73c\ub85c \ub2e4\uc2dc \uc790\uc720\ub86d\uac8c \ubcc0\uc8fc\ub418\uace0, \ub9c8\uce68\ub0b4 \ubb3c\uc9c8\uacfc \ud589\uc704\uc758 \ud754\uc801\uc774 \uacb0\ud569\ub41c \uacb0\uacfc\ubb3c\ub85c \uc644\uc131\ub41c\ub2e4. \ud2b9\ud788 \uce94\ubc84\uc2a4 \ub4b7\uba74\uc5d0\uc11c \uc55e\uba74\uc73c\ub85c \ubb3c\uac10\uc744 \ubc00\uc5b4\ub0b4\ub294 \ubc29\uc2dd\uc758 \ud30c\uaca9\uc801 \ubc29\ubc95\ub860\uc5d0\ub294 \uc791\uac00\uac00 \ucd94\uad6c\ud574 \uc628 \uae30\uc131 \ud615\uc2dd\uc5d0 \ub300\ud55c \uc800\ud56d\uc801 \ud0dc\ub3c4\uac00 \ub2f4\uaca8 \uc788\ub2e4. \uadf8\ub294 \ub2e8\uc0c9\ud654 \ud0dc\ub3d9\uae30\ubd80\ud130 \ud654\uba74\uc758 \uc55e\ub4a4\ub97c \uad6c\ubd84\ud558\ub294 \uad00\ud589\uc5d0 \ub300\ud55c \ube44\ud310\uc801 \uad00\uc810\uc744 \uc81c\uc2dc\ud574\uc628 \ubc14 \uc788\ub2e4.<\/p>\n

Ha Chong-Hyun is best known for his experimentation with paint and commitment to questioning the definition of painting. From 1962 to 1968, Ha devoted himself to making abstract oil paintings in the style of the improvisational abstract art movement known as Art Informel. From 1969, following the founding of the Korean Avant Garde Association (AG), through the mid-1970s, Ha went through a period of expansive \u201cmaterial exploration” centered on objects such as plaster, newspaper, wood, rope, and wooden boxes. During this time, Ha sought out non-artistic and non-traditional media such as flour, newspaper, steel springs, barbed wire, and began utilizing both sides of the canvas made of rough burlap sacks that once carried USAID rations following the Korean War. Exploiting the unique ground material, Ha established an innovative method where he applies thick oil paint to the back and pushes it to the front of the surface through the coarse weave, a process known as bae-ap-bub. This became the basis of his signature Conjunction series. The thick striated paint that oozes to the front is then freely transformed by the artist using tools such as knives, brushes, and wooden spatulas, which Ha appropriately modifies to create patterns that accentuate the pictorial plane. This specific process results in the piece becoming a \u201cconjunction\u201d between material and performance. Such an unconventional methodology illustrates Ha\u2019s defiant attitude towards preexisting hierarchies and modes of painting.<\/p>\n

\"\"<\/p>\n

\uac15\uc11c\uacbd\uc740 \ud55c\uad6d\uc758 \uc5ec\ub7ec \uc804\ud1b5\uc801 \uac1c\ub150\uacfc \ubc29\ubc95\ub860\uc744 \ucc38\uc870\ud574 \uc790\uc2e0\ub9cc\uc758 \uc870\ud615 \ub17c\ub9ac\ub85c \uc9c1\uc870\ud574 \ub0b4\ub294 \uc791\uc5c5\uc744 \ud574\uc654\ub2e4. \uc870\uc120\uc2dc\ub300 \uad81\uc911 \ubb34\uc6a9 \ucd98\uc575\ubb34\uc640 \uc720\ub791 \uc545\ubcf4 \uc815\uac04\ubcf4\ub97c \uc7ac\ud574\uc11d\ud55c <\uc790\ub9ac #23-05> \uc5d0\uc11c \uac15\uc11c\uacbd\uc740 \ud654\ubb38\uc11d\uc744 \uc0ac\uac01 \ucca0\uc81c \ud504\ub808\uc784\uacfc \uacb0\ud569\ud574 \ubcbd\uc5d0 \uadf8\ub9bc\ucc98\ub7fc \uac78\uc5b4 \ub193\ub294 \ud615\ud0dc\ub85c \ub9cc\ub4e4\uc5c8\ub2e4. \ucd98\uc575\ubb34\ub294 \uad81\uc911\ubb34\uc6a9 \uc911 \uadf9\ud788 \ub4dc\ubb38 1\uc778\ubb34\ub85c, \uc808\uc81c\ub418\uace0 \uc6b0\uc544\ud55c \uc6c0\uc9c1\uc784 \uc18d\uc5d0 \uc11c\uc0ac\uc640 \uc2dc\uac04\uc744 \ub2f4\uace0 \uc788\ub2e4. \uc774 \ucda4\uc740 \ud654\ubb38\uc11d\uc774\ub77c\ub294 \uc790\ub9ac \uc704\uc5d0\uc11c \uc774\ub8e8\uc5b4\uc9c0\ub294\ub370, \uc774\ub294 \ubb34\uc6a9\uc218\uc758 \uc6c0\uc9c1\uc784\uc774 \uc774\ub904\uc9c0\ub294 \uacf5\uac04\uc774\uc790 \uadf8 \uc6c0\uc9c1\uc784\uc744 \uc81c\ud55c\ud558\ub294 \ubb3c\ub9ac\uc801\uc778 \uacbd\uacc4\uc774\ub2e4. \uc218\uacf5\uc73c\ub85c \ud55c \ub540 \ud55c \ub540 \uc81c\uc791\ub41c \ud654\ubb38\uc11d\uc740 \uac1c\uac1c\uc778\uc758 \uc6b4\uc2e0\uc744 \uc704\ud574 \uc8fc\uc5b4\uc9c4 \ucd5c\uc18c\ud55c\uc758 \uacf5\uac04\uc744 \uc774\uc57c\uae30\ud558\uba70 \ub2e4\ucc44\ub85c\uc6b4 \uc0c9\uc0c1\uc758 \ucca0\uc81c \uaca9\uc790 \uad6c\uc870\uc640 \uacb9\uccd0\uc838 \ub450\uaed8\uc640 \uacf5\uac04\uac10\uc744 \ub9cc\ub4e4\uc5b4\ub0b8\ub2e4. \uc774 \uc0ac\uac01 \ud504\ub808\uc784\uc740 \uc791\uac00\uc758 \uc2dc\uc120\uc744 \ub2f4\uc544\ub0b4\ub294 \ud68c\ud654\uc758 \ub2e8\uc704 \uacf5\uac04\uc774\uc790 \uc18c\ub9ac\uc640 \uc2dc\uac04\uc774 \ub2f4\uae30\ub294 \uc815\uac04\ubcf4\uc758 \ud55c \uce78\uc73c\ub85c, \ud654\ubb38\uc11d\uacfc \uc0ac\uac01 \ud504\ub808\uc784\uc774 \uc870\ud615\uc801, \uac1c\ub150\uc801\uc73c\ub85c \uacb0\ud569\ub41c \uc774 \uc791\ud488\uc5d0\ub294 \uac01\uc790\uc758 \uc790\ub9ac\uc5d0\uc11c \uc0dd\uc758 \uc2dc\uac04\uc744 \uc0b4\uc544\uac00\ub294 \uac1c\uac1c\uc778\uc758 \ubcf4\uc774\uc9c0 \uc54a\ub294 \ubab8\uc9d3\uc774 \ub2f4\uaca8 \uc788\ub2e4.<\/p>\n

Suki Seokyeong Kang revisits various traditional Korean concepts and methodologies, weaving them together into a unique system of formal logic. In Mat #23-05<\/em>, Kang reinterprets the court dance Chunaengmu<\/em> and the musical score Jeongganbo<\/em> from Joseon Dynasty to create a piece that combines Hwamunseok<\/em> with a square metal frame that can be displayed on the wall like a painting. Chunaengmu<\/em> is a rare solo dance among court dances, characterized by its restrained and graceful movements that convey narrative and time. This dance is performed on a mat called Hwamunseok<\/em> which serves as both the stage that allows the dancer to move and a physical boundary that limits the movement. A visual metaphor for the minimum space allotted for each individual within society, the Hwamunseok<\/em> mat with its handwoven warp and weft is overlaid by a metal grid structure to create a sense of volume and spatiality. This rectangular frame is at once a unit space of painting that withholds the artist\u2019s vision and the square in Jeongganbo<\/em> in which time and music is inscribed. Conceptually and formally combining the Hwamunseok<\/em> and the rectangular frame, the work alludes to movements of each individual, occupying the time of life in one\u2019s own position.<\/p>\n

<\/h5>\n","protected":false},"excerpt":{"rendered":"

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