Posts Tagged ‘Seoul Arts Centre’

Robert Delpire & Friends at Hangaram Art Museum, Seoul Arts Centre

Wednesday, January 12th, 2011

Seocho-dong
17th December- 27th February
Opening hours: Daily 11 am- 8 pm
Admission: Adults 10,000 won, children 8,000/ 5,000 won
www.sac.or.kr

Robert Delpire and Friends“Who is Robert Delpire?” is the first question that sprung to mind upon reading the title of one of the current exhibitions at Seoul Arts Centre, ‘Robert Delpire and Friends.’ As it turns out, Robert Delpire’s friends are far better known than he is; Delpire being a publisher and curator, and his ‘friends’ including an impressive selection of extremely influential 20th century photographers; Henri Cartier-Bresson, Robert Frank, William Klein, Robert Doisneau and Brassai to name but a few. He also happens to be married to Sarah Moon, another photography heroine. Even the most fleeting of visits to this exhibition would confirm that this unsung hero, who is a member of the prestigious photographer cooperative Magnum, and has played an essential role in introducing his photographer friends to the world over the last 60 years, is completely deserving of this retrospective.

Robert Frank, 'Les Americans,' published by Delpire, (1958)

Robert Frank, 'Les Americans,' published by Delpire, (1958)

Delpire’s colourful career began in 1951, when, at the age of 23, he began carving out his life-long profession as a publisher, abandoning his medical career in favour of publishing ‘Neuf,’ a luxury, glossy art magazine for doctors. ‘Neuf,’ was among the first publications to show works by some afore-mentioned friends of his, kick-starting their careers. Other achievements most importantly include publishing Robert Frank’s definitive photo document ‘The Americans,’ in 1958, known for its ‘street photography’ style and satirical look at the tired cliche of the American Dream, and for publishing ‘Photo Poche,’ the first paperback photography series on significant photographers of our times.

Delpire stands in front of a selection of his 'Photo Poche' series in various languages

Delpire stands in front of a selection of his 'Photo Poche' series in various languages

‘Robert Delpire & Friends,’ is a wonderful collection of largely black and white photographs and books which Delpire has published, including editions of ‘Neuf,’ ‘The Americans,’ and ‘Photo Poche,’ in multi-national, translated guises, re-iterating their significance as accessible documents of modern and contemporary photography greats. There are also a vast amount of hardback photo-documentary books on a huge selection of countries which act as ethnographic records, published in collaboration with, for example, Heni Cartier-Bresson and Werner Bischof. A small corner of this exhibition adds a deeper social dimension to Delpire’s work by showcasing some of the calendars he’s been putting together for Amnesty since 1988. A selection of his short films play on loop, including a marvelous compilation of footage shot by Sarah Moon for her pivotal design work for Cacharel. There’s also a section for visitors to sit and leaf through some of Delpire’s numerous publications whilst marvelling at the the subject of this exhibition.

Henri Cartier Bresson, 'Les Dances a Bali,' published by Delpire, 1954

Henri Cartier Bresson, 'Les Dances a Bali,' published by Delpire, (1954)

There are 52 artists represented by 185 photos, 150 photobooks and four short films in this exhibition which is a rather a lot of printed material. Unfortunately, it’s not backed up by much written information, even in Korean, meaning that visitors might leave feeling unsatisfied that they have benefited fully from the works on show. For Korean visitors, however, there are audio guides available.

Despite lack of written information, ‘Robert Delpire & Friends,’ is a most excellent tribute to a man who is well overdue the recognition he deserves for introducing some of the most influential photographers of the 20th century to the public. Through the selection of works shown, which he nurtured and heralded, the viewer gets a great sense of a man who is intelligent, passionate and dedicated to photography, not to mention very humble, having managed to side-step any mass critical acclaim… until now. Snippets of a humorous character shine through by way of inclusion of his own photographs, for example, ‘Le Pains de Picasso.’ Who is Robert Delpire? A more thorough and deserving exploration of this question awaits you at Seoul Arts Centre.

Robert Delpire, 'Le Pains de Picasso,' 1952

Robert Delpire, 'Le Pains de Picasso,' (1952)

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From Turner to the Impressionists: The Collection of British Landscape Paintings at Seoul Arts Centre

Monday, August 16th, 2010
Seocho-dong
26th June- 26th August
Opening hours: Daily 11 am- 8 pm
Admission: 12,000 won
www.sac.or.kr
Joseph Farquharson, 'The Sun Has Closed The Winter Day,' c.1904

Joseph Farquharson, 'The Sun Has Closed The Winter Day,' c.1904

I have a limit to how many traditional landscapes I can take in at any one time. They’re mostly pretty ‘safe’ paintings; pastorals, old oaks bent over streams under blue skies and clean unadulterated countryside, painted mostly by men, often with double barreled family names. However, it was a joy to be transported back geographically and in time, to these idyllic landscapes of my mother country at the current exhibition, ‘The Collection of British Landscape Paintings,’ at Seoul Arts Centre. No neon lights. No apartment blocks. No ajuma’s elbow-ing you in the back to make sure they get on the bus first. Just wholesome, Victorian, British countryside.

I think I might have given a little squeal as I set my beady little eyes upon two works by my favourite Glasgow Boy, Edward Atkinson Hornel. ‘Spring’s Awakening,’ 1900, and ‘A Summer Idyll,’ 1908, both portay rosy cheeked, white aproned and bonneted young girls frolicking amongst blossoms. Admittedly, they are guilty of very twee subject matter. However, it’s the paint handling that I love so much. It stands out boldly from the canvas in defiant marks and it’s difficult to decipher where the girls end and the negative spaces between them begin. The air is portrayed as physically as the subjects themselves. These paintings are more than representational, tantalising to all of your senses, not just your eyes. He seems to be celebrating the simple pleasure of paint on canvas.

Edward Atkinson Hornel, 'Spring's Awakening,' 1908. This wasn't the exact painting included in the exhibition, but it's similar!

Edward Atkinson Hornel, 'Spring's Awakening,' 1908. This wasn't the exact painting included in the exhibition, but it's similar!

Hornel’s blocky brushwork was something that obviously the Impressionists explored even further and there are examples in this exhibition. There’s a Pierre Bonnard, ‘Palmiers as Cannet,’ 1924, which also portrays physical shadows. There’s helpings from the two Pissarros; Camille and Lucien, and Paul Gauguin. However, the majority of works on display are by British painters.

A few more of Turner-esque stormy scenes would have been ideal. There were only three small Turners exhibited, none of which contained his remarkable mastery of storm clouds. However, there were a few notable stormy contributions by Anthony Vandyke Copley Fielding, for example, ‘Coast Scene,’ 1834 and William Clarkston Stanfield’s, ‘The Mouth of the Texel,’ 1855.

So, go treat yourself to some respite offered in these harmonious, mossy green landscapes of fair Brittania. It really is worth the 12,000 won entry fee. Then it’s back out to these vociferous, sharp elbowed ajumas.

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Capture the Moment: Pulitzer Prize at Seoul Arts Centre

Tuesday, July 13th, 2010

Seochodong
22nd June- 29th August
Opening hours: Daily 11am- 8pm
Admission: Adults 10,000 won
www.pulitzerkorea.com

'A Hero's Return,' Earle E. Bunker, 1944

'A Hero's Return,' Earle E. Bunker, 1944

The Pulitzer Prize was one of these names that I was aware of, but not exactly sure what it was. Well, it’s an annual US competition for journalism, literature and music, founded in 1917. The photography category was added in 1942, and the current exhibition,  Capture The Moment: Pulitzer Prize Photographs, at Seoul Arts Centre, consists of 145 pieces of award winning photo journalism from 1942 up to the present day.

The photographs have been arranged in chronological order and grouped into decades. They  portray a selection of some of the most defining moments in recent world history; some familiar, some not so. They take us from picket lines of the 40‘s to Obama delivering a speech just last year. They show iconic sporting heroes such as Babe Ruth. Acts of human compassion are portrayed in various rescue scenes subsequent t flooding and war. However, they most vividly detail acts of extreme violence mankind inflicts on one another; images we are sadly all too familiar with. Assassinations, assassination attempts and murders abound; Castro, Asanumo Yasushi Nagao, Harvey Oswald to name but a few. Then there’s the scores of nameless soldiers, guerillas, tear streaked and and angry civillians from all corners of the world in between.

'Vietnam: Fleeing to Safety,' Kyoichi Sawada, 1966

'Vietnam: Fleeing to Safety,' Kyoichi Sawada, 1966

I had no idea as to the context of a number of pictures, but some were very familiar, for example, soldiers embracing families upon their return after war. There are a number of infamous photographs taken during the Vietnam war and of course, everyone recognises the horrific images of the burning Twin Towers.

Each picture has it’s own unique story to tell and the talent and dedication put in by the photographers shines through as remarkable. The shocking nature of these pictures is the reason that they are in this exhibition, making it a hard going experience. It took me a long time to take it all in.

Unfortunately, I feel that there are aspects which let it down. The setting for these images should be sharp and clean, not the uninspiring grey that it is, which detracts from the photographs themselves. I do not expect everything to be translated into English, but there are no translations for any of the details on the photographs, and no English audio guides. This means that foreign English speaking visitors have to attempt deciphering what’s going on in the picture by the title alone. I find this frustracting as it’s an American exhibition. Furthermore, Seoul Arts Centre is one of the most prestigious arts spaces in Korea which surely attracts a high volume of foreign visitors.

Oh dear, I don’t like to moan. The collection of photos is truly incredible and as a whole, very humbling. I was confronted with images which punched me in the stomach and made me well up; it’s easy to forget the chaos of the world as I go about my daily routine. But thankfully the photographers behind these pictures haven’t forgotten, and in some cases, have even put their lives on the line to bring these photos to the world. I just feel cheated that I was left wondering the stories behind each one.

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Cecil Beaton, ‘Beauty of the Century,’ at Seoul Arts Centre

Tuesday, June 8th, 2010

Seocho-gu
30th April- 24th June
Opening hours: Daily 11am- 8pm
Admission: Adults W9,000, teens W8,000, children W6,000
www.sac.or.kr

Cecil Beaton, 'Marlene Dietrich,' 1935

Cecil Beaton, 'Marlene Dietrich,' 1935

Cecil Beaton is one of the most recognized and influential photographers of the 20th century. Although not known as a skilled technical photographer, by focussing on capturing the essence of his celebrity sitters, he managed to create some of the most memorable portrait images of the 20th century. He photographed a dizzying amount of superstars in his time and six of them are the subject of the current exhibition ‘Beauty of the Century,’ at Seoul Arts Centre.

The entrance to the exhibition is a giant white embossed frame, marking the movement into a dreamy realm of white draperies set as backgrounds to images of some of the most well known 20th century foxes. Audrey Hepburn is there, looking very prim and proper in her lavish costumes for My Fair Lady, which Beaton actually designed himself. Elaborate hats frame her pretty face and highlight what Beaton referred to as her “heron’s eyes and eyebrows slanted toward the Far East.” He has somehow managed to make her appear different in each photograph.

Elizabeth Taylor is there in full glamour mode with her gorgeous shapely eyebrows and perfect features. Marilyn Monroe is there in positions which we are familiar with by now; playful and seductive, a mischievous twinkle in her eye… frolicking on hotel beds and sofas. Vivian Leigh is there too, in her exotic Anthony and Cleopatra get up, as well as in a series of more casual shots.

However, it was the Greta Garbo and Marlene Dietrich portraits which really appealed to me. The shots of Garbo, with whom Beaton had an affair with, were all taken at the Plaza Hotel in New York in 1946. They are melancholy and dark, yet sultry. She lies on a velvet couch, looking out with sad eyes. She straddles a chair in a Pierrot outfit, looking unhappily down at the floor. She faces the camera, arms full of flowers, a shoulder bared and hair tousled as a blinding light shines straight into the camera from the top right. Most striking is the image of her leaning on a white wall, a strong sideways Caravaggio-esque light illuminating half of her face, the rest in shadow, an elongated silhouette thrown against the wall to the side. This particular piece exemplifies a fine use of negative space in the picture, which is visible in occasional photographs.

Cecil Beaton, Marlene Dietrich, (1935)

Cecil Beaton, Marlene Dietrich, (1935)

Dietrich blurs in and out of her otherworldly backdrops of meshes, gauzes and wisp- like threads; her perfect, porcelain features sometimes mimicking small statuettes placed beside her. Some of the shots are even slightly blurry and I find them surrealistic in their dream- like nature. My favourite is a portrait which shows Dietrich peering out of a black background, her head resting on her palms. Only her head and hands are shown, as if they are floating in some kind of cosmic soup with some white flowers in the bottom right foreground.

I arrived expecting a Beaton retrospective, crammed full of 20th century celebrities grinning out of the photo frames. However, I think that this small selection of work sums up what Beaton did well. He photographed famous people; beauties of the last century, in stage costumes, in hotel rooms, and staged atmospheric sets for them to indulge in fantasy. He made use of strong lighting and worked with mainly in black and white, allowing for striking arrangements which resemble modernist paintings. He showed us the personalities behind these glamorous public figures, and a little of his own at the same time. So take a step through the Alice in Wonderland style giant photo frame and into his exotic world!

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