1945–2009 Online Platform for Korean Modern and Contemporary Art

A Story of 23 Artists: Artist of the Year 1995–2010

I It has been 16 years since the exhibition of Artist of the Year started. The National Museum of Contemporary Art, Korea (now MMCA) had already been holding the Special Exhibition for Senior Artists and Artist of the Month.1 As part of the museum’s efforts to revamp both exhibitions, the museum decided to bring fresh criteria in the selection of the artist who is to be invited for the solo show, and thus to re-establish its status in the art scene of Korea. It was regarded that the exhibition Artist of the Year reflected the museum’s goal to develop a new solo exhibition model by considering the reputation and influence of the National Museum of Contemporary Art, Korea as a leading art institution of Korea. Hereupon, the National Museum of Contemporary Art, Korea intended to establish an active exhibition convention to pursue a revitalization of art through a groundbreaking method for selecting Artist of the Year. On the principle that the curators play active and positive roles for exhibition planning, the artist selection committee consisted entirely of curators.2 It was intended to provide a creative incentive to artists and an opportunity to experience the possibilities and achievements of a new type of art for visitors. Gradual changes in the history of NMCA preconditioned the start of Artist of the Year. The National Museum of Contemporary Art, Korea, established in 1969, was more of an exhibition venue rather than a museum that operated all round as a normal museum would. Less than two years after its establishment, the collection of permanent artworks started in 1971, and it began to host the National Art Exhibition of Korea, which was a huge and representative art exhibition throughout the year that citizens from all around came to see. Prior to opening its new premises in Gwacheon in 1986, curators began to be part of the museum’s professional staff and formally became part of the regular staff of the museum, along with the addition of a new office for curatorial research.3 In other words, the groundwork for preparing a curatorial capacity was put together, which included curatorial study and research, historical interpretation and evaluation of art, and the realization of exhibitions — a team that could take the exhibition from conceiving to executing it. After taking office as director in 1992, Lim Young-Bang emphasized the importance of exhibition change with overseas museums, as well as mounting large-scale international exhibitions which would help the museum become an international institution. Uncharacteristic exhibitions that lacked curating gradually disappeared, to be replaced by exhibitions conceived out of novel arrangements.4 From the year of 1995, one central artist in the Korean art circle who showed the best art practice and the highest creative will, regardless of age and genre, was selected every year. This marked the start of Artist of the Year, and gave new inspiration to the art scene. The situation at that time can be inferred from the following lines. “It is remembered that in 1995 when the exhibition Artist of the Year was first proposed by the National Museum of Contemporary Art, Korea, many of those who were leading the art industry in Korea such as artists, critics, journalists, and curators left somewhat negative comments about the contents and format of the exhibition… Through the new project, the Museum conveyed a suggestion that solo exhibitions will only be available through these exhibitions in the future, leading to a widespread concern and discomfort among the onlookers in the sense that many well-known artists will have limited opportunity for exhibiting at the Museum. The unfavorable reception was also due to the fact that the selection of artists was conducted in a meeting that consisted of internal curators, not via an external advisory board, which was the selection method that had been conventionally used so far.”5 While preparing for this exhibition, the curator-centred artist selection committee established the characteristics of the project and its selection method. It was stated that “a recommendation of the candidates for Artist of the Year is based on at least two candidates per curator who have worked at the museum for at least 5 years, and a final decision will be made through a careful deliberation within the selection committee. The Artist of the Year was then selected through a unanimous decision, and in the case that a decision was not possible, it was regarded not to have the selected artist.”6 Having joined the museum in 2000, I was impressed with the procedures for the final selection for Artist of the Year that was based upon the principle of “one vote per person” — it was an intense environment; heated discussions, repeated voting, the pains of narrowing down different opinions, and the final decision. The museum selects the Artist of the Year, and in the following year, the selected artist is given the opportunity to have an exhibition at a space of about 400 pyong (about 1,320 m²) or around the central hall at the National Museum of Contemporary Art, Korea. II In the catalogue for the first edition of Artist of the Year, the following was written: “In 1995, the first artist selection committee mentioned 10 talented artists. The Candidates under review were all prominent artists who had actively participated in the art industry both domestically and abroad with a high degree of achievement and artistic sense. However, considering that this exhibition pursued a clear thematic awareness, coherent performance, and diversification of methods of expression, the selection of the artist Jheon Soocheon was regarded as appropriate.”7 Jheon Soocheon was not a well-known artist in the local art scene due to his long stay abroad in Japan and America, and such a selection was a refreshing shock to the art world. The museum put together an installation of large-scale works according to the artist’s preferences with an extra budget specially designated for the installation; this was an unprecedented practice since the inception of the museum. The work was exhibited at the Korean Pavilion, which was set up for the first time in the same year at the Venice Biennale, and led to the winning of a “Menzione d’Onore.” Such an achievement in the first year enhanced the reputation of Artist of the Year. In the second year in 1996, Yoon Jongsup was selected; he was from the field of stage art, not pure art, and in turn stirred up concerns again. The former director Lim Young-Bang, who planned this exhibition, summed up the art of Yoon Jeongsup, stating that “his artistic works created a world that could be realized for everyone in the area of arts. This is a new reality that is suggested in an environment created by exhibition space planning and direction by the artist.” The selection of Artist of the Year in the second year and the controversy surrounding exhibition plans were well overcome by the strong message. Following this exhibition, there is no doubt that installations of large-scale and spatial art operations proceeded and led to the start of various types of experiments by Korean artists.8 For the third selection in 1997, concerns about the artist selection were expressed. Art critic Kim Hong-Hee said “Recent works of exhibition by Whang Inkie, selected as Artist of the Year by the National Museum of Contemporary Art, Korea suggested much as to the current issue of acceptance.”9 Regarding the fourth selection of an artist, Kwon Youngwoo, in 1998, art critic Kim Bok-Ki stated, “So far, Artist of the Year was regarded as a platform for artists in the 40s such as Jheon Soocheon, Yoon Jeongsup, and the latest nominee Whang Inkie. But in this year’s edition, an elderly artist in his 70s showed tremendous strength of creativity and will.”10 The fourth exhibition attested to a selection that proved all artists were considered as candidates for Artist of the Year by overcoming an age limit and the prejudice that only young artists were eligible for Artist of the Year.11 In the fifth selection in 1999, Kim Hosuk was selected. He was well known for the succession of unique achievements in traditional painting whilst seeking a Korean aesthetic identity. Entering the 2000s, the exhibition of Artist of the Year went through changes. An Exhibition for selected senior artists was separately organized at the museum in Deoksugung. “It was when Artist of the Year began to gain recognition and attention as an important exhibition which unearthed mid-career artists like Jheon Soocheon, Yoon Jeongsup, and Whang Inkie to represent Korean contemporary art. The Deoksugung museum, established in December 1998, focused on presenting Korean modern art, which was one of the demands in the art world at that time. Under such circumstances, an exhibition plan that could properly evaluate senior artists who influenced the formation and development of Korean modern and contemporary art was in demand. After careful review and discussion, a ‘senior artist’ section was added to the existing Artist of the Year exhibition. Following this decision, the main premises in Gwacheon were used for exhibiting mid-career artists’ works while the Deoksugung space was allocated for senior artists.”12 Kwon Okyon (2001), Chun Hyucklim (2002), Han Mook (2003), Jung Jeoumsik (2004), and Suh Seok (2005) were the selected senior artists in the past years. They were all actively involved in artistic creation even though they were all over their 70s, and it was necessary to observe their artistic contribution to the history of Korean art from new perspectives. In short, from 2001 to 2005, Artist of the Year was dually operated – one for senior artists and the other for mid-career artists. The exhibition of senior artists moved away from the rubric of Artist of the Year, and their own solo exhibitions started independently in 2007. This adjustment stemmed from increased demand for solo exhibitions of senior artists, and questions were raised regarding the discrepancy between the two titles, that is, 'Artist of the Year' and 'Senior Artist'. It has always been a main issue whether the criterion for selecting the artist should be based on uniqueness and novelty, or stability and recognition.13 In particular, the selection of Artist of the Year in 2000 turned out to be a heated issue, coupled with the expectation and excitement for the upcoming 21st century. Noh Sangkyoon and Lee Bae in 2000 were all well recognized for their artistic talents abroad. Noh Sangkyoon had a good reception of the Venice Biennale in 1999, and Lee Bae had worked in France for a long time. In addition, critic Lee Won-Il commented that the choice of Chun Kwangyoung in 2001 testified to the museum’s bold decision to grant opportunities for large scale solo exhibitions to an artist who was recognized overseas rather than at home.14 Such a remark suggests that the museum gave priority to stability in evaluating an artist. In 2007, Jung Yeondoo was selected, and it was an unexpected decision since no recipient until then had been in his 30s. This was a decision based on the uniqueness and future potential of the artist. There were contradicting evaluations as to the exhibition, however. Some said, “it was a well-organized exhibition to the extent that the previous thirst [for a good show] was quenched,”15 while others expressed a negative opinion that “the spatial interpretation or exhibition management capability was insufficient, which was duly expected considering the intensiveness or the audacious variation of the artist’s works.”16 Documentary Nostalgia, which was the object of central argument, was a manufactured installation with film shooting sets in the exhibition hall, and it was purchased by MoMA (Museum of Modern Art) in New York afterwards. As for Park Kiwon in 2010, who showed a unique work with a motif of space, the decision to select him was complimented: “The National Museum of Contemporary Art, Korea took quality of work as a criterion for selection regardless of the artist’s academic background or social network. The chosen artist was far from commercial success and from a position of authority in the art world. Taking the chance of controversy, the museum made a decisive move solely based on the quality of artworks, which was quite inspiring.”17 In addition, various genres including architecture and crafts were given attention, and what had not been regarded before in the fine arts area came to the limelight – genres such as sculpture, installation, and paintings that also directly dealt with social and political issues. In the exhibition catalogue for Artist of the Year 2002: Seung H-Sang, former director Oh Kwang-Su stated that, “an architect was chosen for the first time. This eliminated the perception that the museum was overly partial to the area of fine arts, and at the same time confirmed the museum’s role in discovering and promoting areas of talent.”18 In 2003, a Korean resident in Japan, Kwak Duckjun was selected, and the reason for the selection was that “his unique life status, that is, the deferred sense of belonging, made him one of the best artists in this year–an artist who pursued his identity with keen awareness.”19 Kim Yik-Yung and Yoon Kwangcho became Artists of the Year in 2004; they sought the modernization of ceramics based upon tradition. It was an occasion to acknowledge the area of ceramics into the realm of art, thus broadening the understanding of ceramic art. The year 2008 saw the nomination of the textile artist Chang Yeonsoon, and as for the exhibition, it was stated that “simply because the medium is fabric…its genre is classified as crafts. One cannot help thinking how simplistic the idea is…” and the exhibition advocated that “textile art has the aesthetics of installing threads one by one.”20 In the case of Lee Jonggu as Artist of the Year 2005, “rather than conveying the artist’s intention to represent the crisis of the country, the work is just a grand-scale spectacle with detailed descriptions. There is a high risk of schematizing the interpretation of the problems of the country. Furthermore, such a procedure of accepting works of Minjung art has long been a reality which the Minjung art had to confront upon entering into the territory of the museum.” Although this showed an uncomfortable response toward Minjung art, selecting an artist who was confronted with the endless agonies over the artist’s role and duty in the given social circumstances had significant meaning.21 In 2006, Chung Hyun was selected for the first time from the field of sculpture. Chung Hyun’s works, conveying the true nature of sculpture through the materiality, were commented on by Professor Choi Tae-Man: “this exhibition, consequently, laid a firm ground for a milestone to return sculpture to itself.”22 Suh Yongsun, Artist of the Year for 2009, was laurelled for “his tremendous artistic capability which had accumulated during his lifetime, yet could not find an appropriate ground to prove his potential to its fullest; that was the first and foremost reason for nominating him as Artist of the Year. At the same time, courageously quitting teaching in order to lead a life of a full-time artist…is a worthwhile deed deserving respect.”23 III Starting from 1995, the exhibition Artist of the Year – reflecting the aspiration of the national museum within the art scene of Korea – intended to increase artists’ creative motivation, raise the profile of the museum and secure the exhibition planning capability of curators. Since then, the situation of the art world has undergone a great deal of changes. Methods of producing artworks and exhibition styles have changed; the number of public and private museums has increased; and the number of artists working either at home or abroad has expanded as well. At some private museums, solo exhibitions are being featured under the title of Artist of Today or Artist of Tomorrow. Under such circumstances, the national museum is asked to play a different role from what it undertook 16 years ago. Acquiring the competitive edge of Korean culture on the international stage becomes critical, and in this regard the museum can fulfill its role as a representative cultural institution of the nation in promoting its artists. Artists of the Year 1995–2010 wishes to provide an opportunity to foresee and announce a direction for the future by reviewing the history of Artist of the Year from 1995 to 2010. Representative artworks of 23 artists are presented along with video films featuring monologues by each artist. Through the exhibition, the audience will be able to observe the artistic perspectives and life stories of the featured artists and gauge the direction Korean art will take in the future. The 23 artists speak about the achievements of the exhibition in video films: the exhibition was similar to a retrospective at the halfway point of their artistic careers in a large space of more than 400 pyeong, making it possible to examine concepts of their entire bodies of work. It provided an opportunity to inspire creative motivation in the artists who have steadily focused on creating artworks by keeping a distance from the mainstream art scene. Areas of architecture and crafts, which had been neglected in fine arts, were given recognition by the national museum, and such institutional acknowledgement contributed to enhancing the public’s perception of these areas. However, the artists pinpointed what could be done to improve the Artist of the Year project: it needs to pursue a decision derived from professionalism and unique vision rather than the neutralized agreement in selecting the artist. The museum should establish a system that will deliver a more strategic approach for the purpose of promoting artists. There was also advice to maintain the tradition of the Artist of the Year exhibition based on the curators’ expertise and to prepare for the future when domestic influence can diffuse abroad–in the past, overseas recognition had affected domestic reputation. Prior to opening the new premises in Seoul suitable for the vision of the 21st century, the National Museum of Contemporary Art, Korea intends to revamp the Artist of the Year system. The new system continues the pre-existing spirit of Artist of the Year, which aims to find and nurture artists who contribute to the development and promotion of Korean art. It is also an experimental support system to help artists grow into international artists. The recommendation committee and the jury are to be divided, and renowned art professionals both at home and abroad will be included in the judging committee. The museum will concentrate on promoting artists and providing practical benefits for the selected artists. By expanding exchanges and cooperation in the field of culture and art both in Korea and abroad, and by co-organizing with the mass media, the new Artist of the Year will broaden the general public’s interest in Korean art. *Source: Park Soo-Jin, “A Story of 23 Artists: Artist of the Year 1995–2010,” in A Story of 23 Artists: Artist of the Year 1995–2010, exhibition catalogue (Gwacheon: National Museum of Contemporary Art, 2011), 14–19. This text has been edited for minor typographical and formatting corrections.