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Ki-Chang Kim(1914-2001), one of the greatest artists in Korean modern art history is having a retrospective at the outbuilding of Seokjocheon (nickname: Deoksugung branch of the National Museum of Contemporary Art), Deoksugung through April 7. Woonbo is his pen name meaning first and foremost cloud. Over 100 of his paintings are exhibited under the four different themes, which are: 1st part: Cubist Genre Painting, 2nd part: The life of Jesus, 3rd part: Babo Sansu (Innocent Landscape) and Babo Hwajo (Innocent Paintings of Flowers and Birds), 4th part: Abstract World.
Along the Woonbo's artistic developments his experimentalism should be the most highly appreciated. Firstly, this can be noted on his 50s and 60s paintings displayed on the first part of this exhibition "Cubist Genre Paintings." On these paintings Woonbo conjugates the visual language of Cubism (an artistic movement represented by Picasso in the beginning of the 20th century) with the depictions of Korean folk custom by using Oriental brushes, ink and paper. In spite of criticism from his conservative Korean contemporaries, his artistic attempts to experiment new and creative methods and create his own artistic expressions were never discouraged. Finally, in the mid 70s Woonbo achieved his unique artistic realm so-called "Babo Sansu (Inncent Landscapes)" and Babo Hwajo(Innocent Flowers and Birds)." He not only successfully contrasts the Oriental aesthetics of lines and the Western's on color harmony, but also combines the two with genuine Korean folk paintings. His accomplishment has been an exemplar of pursuing the sovereignty of Korean art in modern art world.
Despite Woonbo's eminent influence on the history of Korean modern art, he bears a dishonor of being a Japanesephile (pro- Japanese). As a handicapped - he lost his hearing and speaking ability at 7, he was tutored by Idang Kim, Eunho who was one of the most powerful artists under the Japanese colonial era(1910-1945). With his handicap, Woonbo's passion for art and success drove him to become a protege of his pro-Japanese teacher. This had brought much controversy during his lifetime. He was especially criticized on his patronizing depiction of Japanese coersive conscription over Koreans during World War II. Regarding this, Woonbo admitted his mistakes and apologized to the Korean public. In addition, he hoped another tragedy or mistakes will not happen again in Korean art history.
However, it is an irony that Woonbo's paintings are exhibited at the outbuilding of Seokjocheon, Deoksugung. The original name of Deoksugung is Kyongwoongung and the name of Deoksugung was given by Japanese imperialists when they deposed Go-Jong (the 26th King of Joseon Dynasty: 1863-1907) and expelled him from Kyongbokgung to Kyongwoongung. Also, Seokjocheon and its annex was built by British and Japanese imperialists and these two buildings did not have anything to do with the original plan of Kyongwoongung. They were colonial architecture and built to detract the dignity of Joseon Dynasty and justify their imperialism. In spite of this fact, Seokjocheon and it annex are still in Kyongwoongung and have been thought that they represent Kyongwoongung. Woonbo's exhibition at the outbuilding of Seokjocheon seems that his regret and apology about being a Japanesephile are ridiculed and mocked.
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