In a field full of straw, a little girl with a ponytail wearing a Korean-style dress looks into the distance, her smile like sunshine. Behind her, a cow is chewing on some food as it looks in the same direction with its cold eyes.
In this commercial society, it is so rare to see such a simple and unvarnished painting, Gu Xinxia, one employee of the Contemporary Korean Oil Painting Exhibition, told the Global Times.
The exhibition, which kicked off on July 13 and will be held until August 12, is being held at the Greenland Binfen City shopping mall in Beijing's Daxing district by the Jinzhao Art Museum in Dandong, Northeast China's Liaoning Province.
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North Korean paintings are not commercialized due to the country's planned economy system, so artists can fully immerse themselves in art creation and make very pure art works rather than being tempted by commercial interests, Hu Yaozhong, the curator with the Jinzhao Art Museum, told the Global Times.
Hu explained that North Korean painters have a very strict grading system that ranges from the first grade (the highest level) to the sixth grade. To become a sixth grade level painter, an artist must go to a university to studying painting for seven years and then pass the exams. Promotions to subsequent grades usually come every two years. Artists in North Korea enjoy a very stable income but do not have the rights to sell their artworks, which can only be sold by art studios like the Mansudae Art Studio, one of the largest centers of art production in North Korea.
The first generation of artists is made up of those who studied in Japan in the early 20th century. They had wide international vision and paid close attention to the international art trends of the time.
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The second generation, artists after 1953, shared similar backgrounds with the first generation as they too studied in Japan. Some of them adhered to their artistic ideals and maintained a certain distance from mainstream ideology. For example, painter Hong Tian-xing is famous for his impressionist works. Compared with Western works of impressionism, Hong liked to add natural scenery featuring North Korean elements in his works.
The third generation, the artists of today, have their own understanding of certain Western art schools, and are fascinated with impressionist art. They are interested in the personalization of artistic expression and the creativity of artistic language.
Choi Yu-jun, a master of figure painting belonging to the third generation, is really good at using soft colors. In one painting at the exhibition, he uses these colors to depict a courtesan wearing traditional Korean clothing sleeping on a tiger skin chair. Her clothes are embroidered with red peonies representing wealth, and the tiger skin represents power. Looked at from a distance, the painting looks like a very vivid photo.
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We highly recommended the painter Han Il, whose style is very different from other painters. The subject matter he mainly expresses is the commonality of human nature. Almost all of his works are about children. When you look at his works, you will be touched by the children's innocent faces and smiles, Gu said, noting that a price cannot be put on this type of artistic value.
Another interesting painter is Kim Kui-gang, who loves to depict the world from the viewpoint of children. In one painting at the exhibition, chickens are as big as full-grown men and all the roofs of the houses are covered in red chili peppers and corn drying in the sun - a very typical scene in North Korea. Gu said that Jin's painting is very special because he first applies paint to the canvas and then scrapes away the paint with a spatula to form a painting.
According to Bao, a large number of Korean paintings were introduced into China during the 17th century, and many noble families, officials and the businessmen liked to give the painting as gifts. Over the centuries Korean paintings have remained popular and today sales of North Korean paintings continue to show a trend toward growth.
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Since North Korea's art market is still not very developed, modern and contemporary oil paintings are undervalued. The art in North Korea is like an untapped art gold mine with a huge potential for appreciation, Hu said, noting that many Chinese like to collect these artworks as investments.
Compared with the high-priced oil painting in Western countries, the price of paintings in North Korea is very cheap. In China, the middle class can afford them. Many of them like to buy these original paintings to hang them on the wall of their living rooms, Gu said.
The natural formation of a demand for North Korean paintings in China shows that the future of art from the country is bright.
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The present and future of North Korean art cannot be denied nor marginalized. North Korea will appear in every historical stage, telling its own story through various and special art works, Bao said.LONDON — On a gray spring afternoon, the artist Hun Kyu Kim welcomed a visitor into his small London studio, a curtained-off enclosure stocked with pigments, brushes and tools. Resting on an easel was a half-finished painting featuring a menagerie of cartoonish creatures — a dog wielding a gun, a dragon biting a cellphone — all meticulously drawn and painted over in a profusion of colors.
Visitors to Art Basel Hong Kong can see a selection of other works by this 34-year-old South Korean at the stand of the Paris-based High Art gallery. His paintings are part of the Discoveries section of the fair, dedicated to emerging artists.
Unlike other young talents whose careers take a while to lift off, Mr. Kim was spotted early: He got gallery representation as soon as he collected his M.A. from the Royal College of Art in London in 2017, and three months later, was exhibiting work at the Frieze Art Fair.
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Mr. Kim’s paintings are both amusing and unnerving, executed in a blend of the two contrasting aesthetic styles he was immersed in from a young age: traditional Korean silk painting on the one hand, and Japanese pop culture and animation on the other.
Hun Kyu Kim combines the styles of traditional Korean silk painting and Japanese pop culture and animation in his art.Credit... Andrew Testa for The New York Times
“My work is a combination of the fantasy world and the real world, ” Mr. Kim said in an interview at his studio, in a communal artist space in the East London area of Bow. “Everything we see in my painting — the past, the present, the future, East, West — is very chaotic. I try to put everything inside, like Lego blocks, and say, ‘Let’s play.’”
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Mr. Kim said he wanted to be an artist from the time he was in kindergarten. His mother, a high school literature teacher and aspiring writer, encouraged her son’s artistic inclinations. She would come home from school, carrying sheets of paper that were printed on one side and about to be thrown out. Her son would use them in his drawings and watercolors.
As a young boy, Mr. Kim had an eye-opening moment when he was taken to a museum and first saw 14th-century Buddhist scroll paintings that were made in Korea during the Goryeo dynasty. He was mesmerized. “I could see the very thin lines and the very delicate colors, ” he said. “I could feel the time and labor that had gone into it, and it really overwhelmed me. I thought to myself, ‘I want to do that kind of thing.’”
Another major turning point in his formative years came in his teens, when South Korea, until then under strict rule and something of a conservative and closed society, he said, suddenly decided to open up to the culture of its historical enemy: Japan.
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“So many Japanese animation films and pop stars came to South Korea, ” Mr. Kim recalled. “I’m of the generation that was very much influenced by Japanese culture.”
The great Japanese animation filmmaker Hayao Miyazaki was a major source of inspiration, in particular his “Princess Mononoke, ” a 1997 epic fantasy that features gods and other heroic types in a forest, fighting against humans using up natural resources.
On his mother’s recommendation, Mr. Kim attended a secondary school specializing in the arts. There, he started learning traditional Korean drawing and silk painting, as well as art restoration. He continued his education in Oriental painting at the College of Fine Arts at Seoul National University, where he also studied art theory.
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“The training was really strict, ” he recalled, noting that it sometimes took more than a decade of instruction to become a restorer of traditional painting. “But I really found a kind of beauty in Oriental painting, and I enjoyed applying it to contemporary art.”
South Korea at the time was a politically and socially stifling environment, Mr. Kim said. But he was able to save enough money to move to London in 2015, where he enrolled in the painting master’s program at the Royal College. He was suddenly
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