Just like all of Pixar’s blockbuster films, the on-going exhibition at the DDP celebrating Pixar’s 30th anniversary is a must visit for children and child-at-heart adults alike. Not only will this effervescent exhibition stir some dormant childhood memories, you will get a sneak-peek into the creative process of the animation giant. While some 500 works are on display, Maren Jones (director of Pixar’s exhibition program) mentioned that the exhibit showcases only "the tiniest fraction” of what they hold in their warehouse. Still, Pixar: 30 Years of Animation will have you in complete awe and appreciation as you grasp a general but detailed overview of Pixar’s inner workings—one that is beyond our imaginations. The exhibition begins with a pastel drawing of the iconic Pixar mascot, Luxo Jr. giving you a light welcome like all Pixar films where the lamp coming jumping in. It continues onto a description of Pixar’s creative process, paired with illustrations, videos and models—just enough so that you don’t have to read the text-heavy timeline. Once you have a good understanding of the chronological sequence of the creative process the Pixar artists, designers and developers go through, the rest is all fun and play. Each proceeding section of the exhibition is focused on a feature film (the first being Toy Story of course). The section however has no predetermined sequence to view the artworks. This freedom rather helps us forget about 'order' and open our creative minds to obse
“We live today in a society where people press the shutter on their camera more often than they lift their spoon to eat in a day. As a field in its infancy in terms of the history of representation, how has photography achieved such monstrous power? What can the photography say in scenes of conflict and clashing? Whose side will it fall on? How will it be used? More and more, the photograph is becoming a piercing presence in such scenes although what “scene” means for the photograph is becoming more and more unclear.” – Noh Suntag Noh Suntag, who held his first showing of The 4th Wall: The State of Emergency series at the Kunstverein in Stuttgart back in 2008, portrayed the curious and distorted conflicts generated by the division of North and South Korea. With photography as his main medium, Noh discovers the dark and hidden aesthetics within Korea's political environment and the effects they've had on the people's lives. The sentimental photographs showcased in his new exhibition at Art Sonje Center, entitled The 4th Wall: The State of Emergency II, includes visual narratives of the recent political scandal that has shaken the country as a whole. Through his photographic work, Noh constantly develops new ways of portraying how society “functions through malfunctioning.” Noh states that the division (a malfunction of sort) does not merely occupy specific time and space in Korea, it permeates everywhere, simultaneously instigating memory and oblivion, security and anxiety.
Check out the gray Trianon canvas, the Louis Vuitton trunk (1854) that preceded the designs of the very eminent Damier and Monogram patterns. It was the first of its kind during that time, an innovation like no other, noted for being the first trunk with a flat top. This innovative flat top provided stackablity unlike the usual rounded tops of that era (designed to roll off rainwater), while the grey was the color of beauty at the time in Paris. This grey Trianon canvas trunk is in display at Louis Vuitton’s second exhibition in Seoul and they are here to introduce their historic legacy in creating and innovating objects of storage. It is an exhilarating exhibition that walks you through the archives of the brand in ways that depict the story of affluent traveling from back in the day. It is obvious that Louis Vuitton made the effort to exuding their dignified image through Volez, Voguez, Voyagez by putting the notion of luxury and heritage first. Having shown in Tokyo, Hong Kong, London and Paris before arriving in Seoul, the exhibition tells the chronological story of Louis Vuitton’s journey through 10 visually stunning chapters, with the last one dedicated to Korea. The level of finesse found throughout the exhibition speaks of the brand’s dedication to nobility, making you gasp with awe upon entering each section. The rooms are all filled with historic glamor from floor to ceiling with each one having its own unique ambiance. Your spirits will feel uplifted, making you f
Last September, the National Museum of Modern and Contemporary Art purchased master artist Kim Whanki’s abstract painting Dawn #3 (created in 1964-5). With a price tag of $1.14 million, the oil painting now holds the title of having the highest price paid by the museum for a single work of art. Dawn #3, along with 120 of the 932 artworks that have been collected between 2013 and 2016—excluding pieces that have already been exhibited—are what make up the narrative of the latest exhibition at MMCA Seoul. The title of the grandiose exhibition showcasing its recent highest-bid purchase is Samramansang: From Kim Whanki to Yang Fudong. Samramansang, which can be interpreted as “All things and phenomena of the universe,” reflects the changes and embraces the diversity of contemporary art. Viewers will be able to feel the effects of political and social transformations in the artworks as artists shift away from formalism and traditional mediums often found in Korean art history. Through this exhibition, MMCA aims to provide an overall understanding of the characteristics, aesthetics and concepts of contemporary Korean art. The exhibitions as a whole is well devised into 5 sections, each focusing on a specific theme. Although all pieces making up the exhibition is displayed in an engaging manner (with some pieces being highly interactive), it is easy to get lost in the concept of each overall theme. It’s surely an ambitious exhibition by MMCA, judging the high number of artworks on