[Asia Economy Reporter Park Byung-hee] The National Museum of Modern and Contemporary Art (MMCA) will unveil its first-ever solo calligraphy exhibition since its opening, titled 'Calligraphy at the Museum: Korean Modern and Contemporary Calligraphy,' on its YouTube channel at 4 p.m. on the 30th.
Due to the closure of the museum amid the spread of the novel coronavirus disease (COVID-19), the exhibition will be previewed via YouTube. The exhibition curator, Researcher Bae Won-jeong, will provide explanations, and a vivid video capturing the exhibition space will be broadcast live for about 90 minutes.
'Calligraphy at the Museum: Korean Modern and Contemporary Calligraphy' is an exhibition exploring the role and significance of calligraphy in Korean modern and contemporary art. It showcases the process by which 'Seo (書),' a tradition passed down from the classical era, diversified into modern calligraphy with contemporary characteristics through propaganda and national exhibitions after the modern period. The exhibition comprehensively examines various forms of calligraphy, including works by 12 first-generation Korean modern and contemporary calligraphers who were active after liberation, as well as contemporary calligraphy and design calligraphy that emerged around the 2000s. In particular, it reveals the relationship between calligraphy and other art genres, conveying the significance of exhibiting 'Seo' in a museum setting. Over 300 works and about 70 materials, including calligraphy, seal carving, painting, sculpture, ceramics, media art, and printed media, are presented.
The exhibition is organized into four themes: 'Painting Calligraphy, Writing Paintings,' 'The Writing is the Person: The First Generation of Korean Modern and Contemporary Calligraphers,' 'Again, Calligraphy: Experiments and Innovations in Contemporary Calligraphy,' and 'Dressing in Design, Embracing Everyday Life.'
The first part, 'Painting Calligraphy, Writing Paintings,' explains why 'Seo' is highlighted in museums by examining the influence of calligraphy on other art genres such as painting and sculpture, demonstrating that calligraphy is another form of art. This section is divided into three sub-themes to comprehensively explore the relationship between contemporary art and calligraphy.
The second part, 'The Writing is the Person: The First Generation of Korean Modern and Contemporary Calligraphers,' focuses on works by 12 first-generation Korean modern and contemporary calligraphers. It examines modernity and turning points in calligraphy after the traditional period, as well as changes in calligraphy culture. These 12 artists, representing modern Korean calligraphy, were proficient in the five scripts (seal script, clerical script, regular script, semi-cursive script, and cursive script). Having lived through turbulent social and cultural-artistic periods such as the Japanese colonial era and liberation, they led the 'modernization of calligraphy' and established their own artistic worlds. Their works reflect their life paths and temperaments, showing that the writing truly represents the person.
The third part, 'Again, Calligraphy: Experiments and Innovations in Contemporary Calligraphy,' explores new innovations and experiments in contemporary calligraphy by the second generation, who were educated by the first generation of national exhibition calligraphers featured in part two. It focuses on the diversification and individualization of calligraphy in the modern calligraphy scene, questioning the expansiveness and artistry of calligraphy, and highlights 'Again, Calligraphy.' Selected artists and works were chosen based on three criteria set by a selection committee of 15 experts: 'Inheritance and reinterpretation of tradition,' 'Innovation and boldness in calligraphy,' and 'Artistic expression of Hangul calligraphy.' While traditional calligraphy is based on the unity of text and calligraphy, contemporary calligraphy emphasizes calligraphic imagery over the content or legibility of the text, prioritizing 'calligraphy to be seen' rather than 'calligraphy to be read.' This reflects current trends in contemporary art, showcasing calligraphy as a pure art form that communicates and fuses with other genres.
The fourth part, 'Dressing in Design, Embracing Everyday Life,' demonstrates the diverse expansion possibilities of calligraphy infused with design, focusing on calligraphy culture in daily life and text in modern society. Calligraphy, recently recognized by the public as an 'emotional visual art realized through handwritten letters,' and typography, which refers to letters designed for readability and aesthetics, both embody practicality and artistry and are widely used. Selected works in this section suggest the various roles, categories, and expansion potential of calligraphy.
Yun Beom-mo, director of the National Museum of Modern and Contemporary Art, stated, "This exhibition was prepared with the determination to create a calligraphy textbook. Unlike Chinese Shufa (書法) and Japanese Shodo (書道), Korean calligraphy (書藝), which highly values artistic quality, will be reappraised in earnest, showcasing a rich and splendid new era of textual art. Although it is difficult to visit the museum in person due to COVID-19, I hope this online broadcasted calligraphy exhibition will provide new hope and comfort."
The National Museum of Modern and Contemporary Art is temporarily closed until April 5, and will announce reopening plans separately depending on the spread of COVID-19.
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