Make your Movements presents Korea's diverse contemporary craft and culture through ' movement'. The exhibition provides the viewer with the opportunity to encounter new cultural contexts that lay hidden inside these stunning objects.
On 6 September 2016, we will also hold 'ARTTALK - Creative Relationship in London' - an event that inclues dialogue sessions with artists and curators and a media launch.
The exhibition brings together 18 designers, makers and craftsmen from Korea whose collections range from 3D printed accessories and furniture to jewellery and ceramics. Curated by Kyoungrin Park, the show explores the theory of movement in craft, taking as a starting point the way craftsmen move during their creative work, and how a completed object leaves the hands of its maker imbued with his/ her manual knowledge; it then travels to an exhibition hall, an art gallery or a store, therefore generating another movement.
Kyoungrin Park comments: “When we planned this exhibition we discussed the word ‘movement’. The primary meaning of ‘movement’ knows no immediate distinction in the East and the West. The definition of ‘movement’ in a Korean dictionary would state: ‘a change of a static posture or position or a change of a posture or a position.’ An English dictionary states: ‘movement involves changing position or going from one place to another’. The exhibition uses as its starting point the semantic layers hidden in this single word.”
Park developed the curatorial statement to encompass eight key concepts:
1. Craftsmen design and make objects with their own hands.
2. Hand-made objects are imbued with their makers’ thoughts and physical knowledge.
3. Objects generate movements around them in their users and observers.
4. Objects have a performative quality: they command, and control such movements.
5. Crafts can be considered as a physical record and as receptacle of control and order.
‘Make Your Movement: Korean Contemporary Object, A New Approach’ is an exhibition developed also as tool to communicate Korean culture to a different audience. To further contextualise the objects on display, Park was mindful to extend her curatorial vision to:
6. Objects made by craftsmen pursuing specificity instead of universality.
7. Objects contain their makers’ knowledge, and consequently Korean culture is embedded in them
8. When objects representative of a cultural context are displayed in a different culture, they become a communication tool.
In selecting the designers and their work for the exhibition, Park gives an overview of Korean crafts spanning both the traditional and the innovative, showcasing contextual methods and techniques that reflect both the changes in Korean culture and the idiosyncrasies of centuries- old crafts solutions adapted to today’s society.
From lacquered metal trays that double up as hanging pictures, to 3D printed objects that are highly manipulated by hand, ceramics taken to unprecedented levels of thinness to the point of becoming transparent, and furniture designed specifically for traditional market traders, this exhibition allows western viewers to immerse themselves in a world that is both exotic yet familiar, and invites them to interact with the physical qualities of the objects to appreciate their inner essence, in a near-performative exchange.