Otto Dix in Seoul

Etching is about torturing metal, generally with acid or a blade, to create an image. With Otto Dix, the process starts in the artist's brain and ends up in yours.

Dix survived hell : "Der Krieg", WWI, the trenches, and the aftermath - the Weimarian madness that followed. His two series of haunted and haunting etchings contrast with the minimalist halls designed by Rem Koolhaas : death, decay, the nightmarish charge of Stormtroopers wearing gas masks, fake love for sale, the absurd freak show of veterans, either powerless (like this blind man who lost all arms and legs, surrounded by legs... including the one lifted by a dog as it passes by), or allzu machtlich ('Lustmord' as the ultimate PSTD ?)...

There's humor under the knife and the acid - the only way to escape total madness. But compared to this, even Max Beckmann looks like a Disney cartoon.

OTTO DIX - Critical graphics (1920-1924), War (1924) / 오토 딕스 - 비판적 그래픽, 전쟁
20100401-0530
F3, SNU MoA (Seoul National University Museum Museum of Art), Seoul National Uiversity, Gwanak-gu, Seoul, Korea

Seoul Village 2010

Rem Koolhaas on Seoul and Prada Transformer (CNN)

Dutch architect Rem Koolhaas was recently Interviewed on CNN Talk Asia in front of his Prada Transformer, an advertocultural event which has at least the advantage to make more people visit Gyeonghuigung. Most Gangnam hypists won't even notice the presence of the royal palace, but many Seoulites will (re)discover the area and who knows, some may even pay a visit to Seoul Museum of History next door (and paying a visit doesn't cost much : you can enjoy many exhibitions for free or just a few hundred wons).

Koolhaas chose the location with taste : Joseon rulers themselves picked a perfect spot with Inwangsan in the background. Note that for his Seoul National University Museum of Art, the Pritzker Prize winner already enjoyed good vibes from Gwanaksan. But if the Leeum Samsung Museum of Art offers an interesting view from Itaewon heights, there's not enough room around the Samsung Child Education & Culture Center Koolhaas designed to appreciate it from a distance. Both buildings are less striking than this Transformer anyway.

What you have here is basically a tetrahedron with one circular face, its metallic structure poking under a light white skin. Not as light as the contents though : an alibi to justify the design and architectural bravado, and to leave some room for the sponsor. Cranes turn the pyramid in various positions, each one hosting a specific event.

The 3 parts of the interview :

Part 1 - "Living differently" (around 1'40" - 2' into the video, the construction of Transformer, with Inwangsan and Gwanghwamun Space Bon in the background)


Part 2 - "Staying relevant"


Part 3 - "Seoul Man" (SNU Museum of Art...) :



Seoul Village 2009

see also OMA's website : oma.eu (Office for Metropolitan Architecture founded by Rem Koolhaas)

Gustav Klimt at Seoul Arts Center - Pompidou at SeMA

Ten years ago, "major" exhibitions in Seoul featuring big names from the past would propose a couple of works by the Great Master submerged by flocks of side dishes from relatively unknown and distant relatives.

Nowadays, Seoulites can enjoy simultaneously major collections with consistant editorial lines from the Pompidou Center at the SeMA and from Gustav Klimt at the Seoul Arts Center*. They can and they do : in spite of their relatively high entrance fees the shows are drawing masses of visitors not necessarily used to this kind of entertainment.

Seoul has definitely become an international art hub well beyond its national treasures and its traditional position on the contemporary art scene, leveraging on new landmarks (National Museum, Leeum**...), but also on stronger ties with fellow Asian countries (ie always something stimulating to discover at the National Museum in Yongsan), as well as with new European partners (ie for the Monet exhibition a couple of years ago, Pompidou and Vienna today).

I bump into Klimt every now and then, and each time from a closer range. Now we've met in my three favorite cities : in NYC a quarter of a century ago ("Vienna 1900: Art, Architecture & Design" - MOMA 1986), Vienna was the star, in Paris more recently ("Vienne 1900" - Grand Palais 2005), the focus was on four artists (Klimt, Schiele, Moser, and Kokoschka), but today in Seoul, Gustav rules the show.

"Gustav Klimt in Korea 2009" justifies its name : the artist is there, drawing a stimulating map of his own life and mind, displaying a collection of beautiful portraits, meeting a new public hungry for change in another young century.

I still prefer Egon Schiele, and still wonder how far he would have gone if the Spanish Flu didn't claim him that early... But that's another story.

Seoul, as a young and promising art center, is also threatened by a global menace, and already feeling the pinch of the crisis (galleries are struggling, auctions slumping, and I'm not sure the next KIAF will be as great as the 2008 edition). But it shall overcome, because this city has embraced art for better or for worse, for richer or for poorer.

I haven't made up mind mind on the "better or worse" dimension of Rem Koolhaas' shapeshifting of an installation under construction on the Gyeonghuigung's lawn. It keeps evolving each time I look through my windows. First came the massive blocks, then those giant pivoting steel PlayStation buttons, and now this screen covering the exhibition space until its inauguration (April 25th)... But as far as the "richer or poorer" dimension is concerned, the name could be a clue : when a "Prada Transformer" is coming to town, you know the era of art hype is not totally over.


* hurry up for Pompom :
. "Centre Georges Pompidou Exhibition "Heaven for Artists""(Seoul Museum of Art - 20081222 - 20090322)
. "Gustav Klimt in Korea 2009" - SAC / Hangaram Art Museum (20090202-0515)
** see my blogule (French version) : "Leeum ad vitam aeternam"