Ik-Joong Kang: We are Connected
On view: September 26 - November 7, 2024
- Tuesday - Friday: 10 AM - 6 PM / Saturday: 11 AM - 5 PM
- It is closed on Sunday and Monday.
Venue: Atrium & Gallery at the KCCNY
- 122 East 32nd Street, New York, NY, 10016
Ik-Joong Kang bridges East and West through his evocative art. This exhibition reflects his artistic world weaving diverse elements into a harmonious tapestry to illustrate the interconnectedness of our global community.
At the heart of Kang's aesthetic is a macrocosmic worldview that transcends boundaries of race, nationality, age, gender, and nature. This expansive perspective is complemented by his microcosmic view, shaped by his formative experiences as a Korean artist in New York during the 1980s and 1990s. While studying at Pratt Institute in 1984, Kang carried a 3-inch canvas in his pocket, sketching diverse New Yorkers during his subway rides and long work hours. These early experiences honed his skill in capturing intricate details while envisioning grand-scale projects.
Kang's art transforms everyday materials and traditional motifs into profound visual narratives. His monumental works, such as the vast installations composed of thousands of small parts, serve as metaphors for the collective human experience. Each fragment, whether it be a piece of glazed porcelain, a Hangeul tile, or a multimedia element, embodies a story, a memory, or a piece of cultural heritage.
Kang’s fascination with traditional Korean motifs, such as Moon Jars and Hangeul, is evident in his contemporary reinterpretations. His installations highlight the timeless beauty of Korean culture while engaging with universal themes of love, hope, and human connection. Through his art, Kang transcends geographical and cultural boundaries, illustrating how individual stories and traditions contribute to a collective narrative.
As you explore this exhibition, may you be moved by the intricate details, the blend of old and new, and the silent conversations between East and West. Kang’s art invites reflection on our own journeys, our connections with others, and the beautiful complexity of the world we inhabit.
Featured Artworks
Ik-Joong Kang, b. 1960, Cheongju, Republic of Korea
1392 Moon Jars (Wind), 2008–10
1392 glazed porcelain jars and enamel paint
Diameter: Approximately 13 feet 3 inches (403.9 cm)
Solomon R. Guggenheim Museum, New York, Gift, the artist in honor of Jennifer Blei Stockman, 2010
2010.6
1392 Moon Jars (Wind), 2008–2010
On loan from the Solomon R. Guggenheim Museum, this installation of 1,392 glazed porcelain jars adorned with enamel paint forms a breathtaking centerpiece. The number 1,392 emerged unexpectedly in Kang's creative process, intriguingly aligning with the year of the founding of the Joseon Dynasty in Korea. This coincidence imbues the installation with a deeper cultural resonance, connecting Kang's work to a period of profound significance in Korean heritage.
Kang envisioned each of the 1,392 jars as an individual wish, each contributing to a larger cosmic whole. The installation reflects the artist’s philosophical approach, where each jar represents a person and together they form a vast, interconnected universe. The sheer scale of the installation, combined with the meticulous arrangement of the jars, emphasizes both the continuity and transformation of cultural heritage over time.
The Moon Jars, iconic in their simplicity and understated elegance, symbolize the enduring beauty and influence of traditional Korean porcelain. The allure of the Moon Jars lies in their purity and imperfection, which allow them to be both empty and capable of containing everything. This duality perfectly encapsulates Kang’s artistic vision.
Ik-Joong Kang
Throw Everything Together and Add, 1984-1996
Sound installation, with mixed media on various supports (6,000 parts)
Dimensions variable
Whitney Museum of American Art, New York; Purchase, with funds from the Contemporary Painting and Sculpture Committee 97.31a-b
Throw Everything Together and Add, 1984-1996
On loan from the Whitney Museum of American Art, this installation vividly embodies the concept of Korean bibimbap, a dish celebrated for its harmonious blend of diverse ingredients. Featuring 6,000 unique 3-inch canvases, this artwork captures the vibrant diversity of New York. Each canvas, imbued with its unique story and element, comes together to create a cohesive whole.
Created in Kang's twenties, this piece serves as the seminal prototype that has profoundly influenced the evolution of his artistic dimensions. It shows the early genesis of his distinctive style, which now defines his career. Reflecting his formative experiences in New York, this work presents his innovative approach to merging sound and visual art, a technique initially inspired by Christmas cards.
In a manner that anticipates the digital age, the way thousands of small canvases merge into a single, unified image mirrors the concept of individual pixels forming a complete picture. This installation exemplifies Kang’s experimental spirit, where diverse components interact to create an integrated and resonant artistic experience. It highlights his forward-thinking artistic vision, demonstrating how his work epitomizes the modern value of interconnectedness and reveals his genius as an artist ahead of his time.
Ik-Joong Kang
Hangeul Wall: Things I Love to Talk About, 2024
20,000 Hangeul tiles (Mixed media on wood: 3x3 inches each)
Dimensions: Approximately 26 x 72 ft (8 x 22 meters)
Korean Cultural Center New York
Hangeul Wall: Things I Love to Talk About, 2024
The Hangeul Wall, measuring 26 x 72 feet (8 x 22 meters) and composed of 20,000 Hangeul tiles, connects the wisdom and experiences of global citizens. Developed in collaboration with LG CNS, KCCNY launched a website in May 2024, enabling people worldwide to create their own artworks using the site's translation and coloring functions under the theme “Things I Love to Talk About.” The website attracted over 8.2 million visits from more than 50 countries and received 7,000 artwork submissions within two months. From these, 1,000 pieces were selected through public online voting and artist review, culminating in this monumental installation.
The Hangeul Wall stands as a symbol of the rich cultural heritage of Hangeul and the universal freedom of expression, serving as a testament to our shared human narratives. Traditionally, walls are seen as barriers that divide and separate; however, the Hangeul Wall represents a different kind of structure—a wall of peace and unity. It transcends the conventional notion of separation to become a canvas of connection and harmony.
More than just an artwork, it marks a new chapter in Kang's artistic journey by fostering two-way communication with his audience, inviting them to co-create and participate in the artistic process through a digital platform. This collaborative approach not only underscores the dynamic interaction between the artist and the public but also suggests the future direction of Kang’s work, where collective voices and shared experiences play a central role in shaping his evolving artistic vision.
Drawings and Sketches
About the Artist
Born in 1960 in Cheongju and raised in Seoul, Korea, Ik-Joong Kang has been a distinguished figure in the art world since moving to New York City in 1984. He earned his MFA from Pratt Institute in Brooklyn, New York, and a BFA from Hong-Ik University in Seoul, Korea. Kang's artistic journey includes a notable solo exhibition at the Whitney Museum of American Art in New York in 1996 and a two-person show with Nam June Paik at the Whitney Museum in Connecticut. His works have been featured in group exhibitions at various institutions such as the Metropolitan Museum of Art, the British Museum, the Guggenheim Museum Bilbao, the Museum of Contemporary Art in Los Angeles, the Ludwig Museum in Germany, and the National Museum of Contemporary Art in Korea. Kang received the Special Merit prize at the 47th Venice Biennale in 1997 and was part of the Korea pavilion that won the Golden Lion Award at the Venice Architecture Biennale in 2014.
Kang is internationally acclaimed for his large-scale public art projects using multiple 3 x 3 inch canvases emphasizing societal issues and the plight of the individual. His 2001 project "Amazed World," commissioned by the Republic of Korea in association with UNICEF, featured 40,000 children's artworks from 150 countries and was displayed at the United Nations in New York. In 2016, he installed "Floating Dreams" on the River Thames in London, serving as a poignant symbol of hope for the reunification of North and South Korea and shedding light on the suffering of displaced communities worldwide. His latest international project, a grand mosaic wall art installation titled "Things I Know," debuted in Madrid, Spain, in 2023. This installation, part of his ongoing "Hangeul Project" series, features over 6,000 hand-drawn Korean characters on tile canvases created by students studying the Korean language in Spain. This project reflects Kang's vision of collecting global voices through the expressive medium of Hangeul, symbolizing peace and harmony.
Additionally, Kang has announced a majestic Hangeul Temple installation in front of the Pyramids of Giza in Egypt, titled Four Temples — in collaboration with Art D’Egypte, for their exhibition “Forever Is Now .04” — set to debut in October 2024. The project is an arrangement of four structures – Arabic, English, Hangeul and Hieroglyph – each translating the Korean folk song “Arirang,” on the exterior walls. Similarly, drawings by people from around the world are displayed on the interior walls, particularly children and those facing political and social difficulties: refugees from conflict and people displaced due to the Korean War. By sharing the dreams and challenges of many, Kang believes that Four Temples acts as an antidote, through reconciling our shared difficulties and healing the world. set to debut in October 2024, further extending his influence and commitment to cultural dialogue and artistic expression globally.
Organizers:
Sponsored by:
