July 11, 2018 Back To News

Entang Wiharso in Jeonbuk Museum of Art

Entang Wiharso is included the group exhibition “Pathos of the Fringes” at the Jeonbuk Museum of Art, South Korea, on view 3 July – 9 September 2018.

Wiharso is exhibiting three important earlier works: Forbidden Exotic Country (2005, triptych painting); Chronic Satanic Privacy (2010, installation); My Heart is Bigger Than You Think (2013, caste aluminum relief).

Pathos of the Fringes is an exhibition that converges the contemporary art of Yogyakarta of Indonesia that takes pride in its high level of free spirits and Jeonbuk contemporary art of Korea with elegance. The exhibition entails the pathos of fringes, which are the source of creativity and liveliness, and artistic sentiment and passion. “Fringes” is space that continues to with a sense of dynamics and life force, while struggling against the hardened core. “Pathos” represent sentiment, collision and passion.

The art gallery has paid attention to Asia for last three years through “Asia Contemporary Art Exhibition”. On a bigger frame, the gallery is rolling out “Asia Jidori Project”. This project is an aggressive initiative where Jeonbuk artists are sent off to other regions in Asia and bring in Asian artists to Jeonbuk for enhancing interaction and relations, while clarifying the diversity in Asia contemporary art that is deep and diverse and delving into the modern conditions into art.

This year, we concentrated on Indonesia’s contemporary art. Jeonbuk Museum of Art visited many workrooms of Yogyakarta of Indonesia to encounter the genuine eyes of artists with high level of free spirits and life force and their artworks. Among them, eight successful artists like Heri Dono, Nasirun and Entang Wiharso were invited. They authentically convey somewhat mixed Yogyakarta’s cultural conditions. The project was partaken by young Jeonbuk artists that have been recruited through pre-challenge. They include; Lee Joonghee who is artistic Mandara-oriented yet is global, Hong Sunkii who reveals the scars derived from the social injustice, and Kim Byunghul who brings up a small light of hope in a layman through experiential installment art.

Both Korea and Indonesia share the same pain as the countries that greeted the modern era as colonized countries due to imperialism supremacy. The process of modernization shook up hugely. In such a whirlpool of convulsion, we somewhat neglected Asia and failed to deep dive into ourselves. Through exhibition, we hope that one would expand their scope of thoughts as they collide against the disparity in their fixed ideas that are prent inside them. In addition, one should enjoy the pathos of Asian contemporary art that is rising up high.

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