Kim Byungki, Street Trees, 1956-1970, Oil on canvas, 125.5x96cm. MMCA collection
Kim Byungki
* Source: MMCA
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Kim Whanki
Kim Whanki (1913-1974, pen name Suhwa) was born in Sinan, Jeollanamdo, and his family origin was from Gimhae. He studied at the Department of Fine Arts at Nihon University, Tokyo, Japan from 1933 to 1936. He joined the Avant-Garde Western Art Institute in 1934 and submitted his work to Avant-Garde art associations, such as the Second Division Exhibition Nikaten (Nika Art Exhibition) and the Exhibition of the Free Artists Association (Jiyu Bijutsuka Kyokai). After independence, he organized the New Realism Group and worked as a professor in the Department of Fine Art at Seoul National University (1946-1950) and Hongik University (1952-55). He lived in Paris from 1956 to 1959, and after his return, he became a professor and later the Dean of the Fine Art College at Hongik University (1959-1963). He participated in the seventh Sao Paulo Biennale and won an honorary award, and then moved to New York. He abruptly passed away while having a solo exhibition at Poindexter Gallery, New York, ironically when his career in the US was at its peak. As a pioneer of Korean abstract art, he started by working in geometric abstraction and moved on to semi-abstract work that featured natural motifs such as the mountain, the moon, and the river. After moving to the U.S., he returned to abstraction with his so-called "dot paintings." His painting 16-Ⅳ-70 #166 Where, in What Form, Shall We Meet Again? (1970), was awarded a grand prize at the Korean Art Grand Award Exhibition and has inspired many contemporary Korean artists. His work Rondo (1938) was selected as No. 535 within the national Registered Cultural Properties.
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Sao Paulo Art Biennial
The Sao Paulo Art Biennial is an international exposition which started in 1951. The Sao Paulo Museum of Modern Art was the main venue for the event until 1957 when it moved to Ciccillo Matarazzo Pavilion. The exposition has the second longest history next to the Venice Biennale, and shares similar features with Venice, regarding the commissioner system and the use of themed exhibitions. South Korea expanded cultural exchange programs within the program since diplomatic relations were established in 1959 and began to officially participate in the Biennales after 1963. Kim Whanki, the chairman of the board of the Korean Art Association, served as the first commissioner in 1959, and seven artists including Yoo Youngkuk, Kim Youngjoo, Kim Kichang, Yoo Kangyul, Han Yongjin, Suh Seok, and Kim Whanki himself, submitted works to the exhibition. Their art pieces were previewed at the Korean Information Service Gallery in Seoul between June 14 and June 16. Over the last 70 years, Kim Bokyoung, Seo Seong-rok, Kim Youngho, Yoon Jinsup, and Oh Sang-Ghil have all been appointed as commissioners to the Biennale.
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1950 Art Association
An alliance of artist associations established in 1950 by representatives Kim Whanki, Nam Kwan, and Lee Qoede and secretary general Kim Byungki. Groups excluding the Great Korean Art Association [Daehan misul hyeophoe] formed the 1950s Art Association for deconstruction for the purpose of the development and promotion of national art. While differing perspectives exist on the exact mission of the association, it is often considered to have embodied the desire of these established artists to progressively develop national art, regardless of their ideological differences. The association planned an exhibition for July 1, 1950, but it failed to come to fruition because of the outbreak of the Korean War. While the association was active for a short period of time, it left behind a legacy of public education programs on art theory, through endeavors such as initiating a series of lectures on contemporary painting. The solidification of the anti-communist agenda during the war caused the majority of the members of the Korea Art Alliance to depart for North Korea, and others, with the exception of Kim Whanki and Nam Kwan, joined the Great Korean Art Association. The association is therefore seen as an independent organization that opposed the establishment authority centered on the National Art Exhibition (Gukjeon).
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War Documentation Art Exhibition
War Documentation Art Exhibition was the third exhibition of the war correspondent painters, who were part of the Ministry of Defense during the Korean War. It was held from September 28 to October 4, 1951 at the former diplomatic club building in the provisional wartime capital of Busan. During the Korean War, many artists served in the army, navy, and air force as war painters or in the art troupes, and the central organization for these artists was the Ministry of National Defense’s military painters’ group. Established on June 25 in 1951, the War Artist Corps, belonging to the Ministry of National Defense, had about 40 members, with Lee Madong as the director, Kim Byungki as the vice director, and Lee Seduk as the secretary. During the Korean War, the War Artist Corps held more than ten exhibitions. The group had previously existed under various names and affiliations but was officially established in June 1951 and took over the name of the former military War Artist Corps. Their first exhibition was held in March 1951 at the Daegu Public Information Service and featured many frontline sketches and portraits of generals, which were mostly props. Unlike the second exhibition in June 1951, which was a small-scale exhibition, the third exhibition, War Documentation Art Exhibition, was a full-scale exhibition held by the War Artist Corps as it was officially established in Daegu. By holding the exhibition alongside an official military event, the group revealed its presence. On September 28, 1951, the first joint memorial service for fallen soldiers of the army, navy, and air force was held at the Infantry School in Dongnae, Busan, and September 28 was also “the First Seoul Recapture Day." The War Painters Group is an organization of the Korean Armed Forces that took part in the commemoration of the day when the Incheon Landing Operation stopped North Korea's advance and restored Seoul. They played their part by holding an exhibition, and more than a hundred of their sketches documenting the war were on display.
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Special Exhibition of Modern Korean Painting
The Special Exhibition of Modern Korean Painting was the first special exhibition to be held after the National Museum moved to the Namsan branch (former National Museum of Ethnography) in 1954 following the retreat to Busan. It was held from January 16 through March 31 to reflect on the traces and achievements of Korean modern painting for the past fifty years. It was curated by Choi Soonwoo in collaboration with Lee Kyungsung, Kim Whanki, and Chung Kyu. It featured works by Kwon Okyon, Kim Insoong, Kim Byungki, Kim Whanki, Kim Sou, To Sangbong, Ryu Kyungchai, Moon Shin, Park Kosuk, Park Deuksoon, Park Sungwhan, Park Sookeun, Park Youngseun, Son Eungsung, Song Hyaesoo, Yoo Youngkuk, Lee Kyusang, Lee Daiwon, Lee Madong, Lee Bongsang, Lee Seduk, Lee Chongwoo, Lee Joon, Chang Ucchin, Chung Kyu, Cho Byungduk, Han Mook, and Hwang Yeomsoo. During the exhibition, the museum provided a five-day lecture series on contemporary art taught by Park Kosuk, Lee Bongsang, Kim Byungki, Kim Sou, and Chung Kyu at its auditorium.
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