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Unfolding the Dynamics of Modern Ceramics in Korea

  • 2024-11-21 ~ 2025-05-06
  • Gwacheon 2F, Gallery 3, 4

Exhibition Overview

Unfolding the Dynamics of Modern Ceramics in Korea
Korean Art Society, ‹White Porcelain Ashtray with Bukdan sanjang Painted in Underglaze Blue›, 1950-1960s, Cobalt painted on porcelain clay, 5.4×11.4×11.4cm, Kansong Art and Culture Foundation Collection
Korean Art Society, ‹White Porcelain Ashtray with Bukdan sanjang Painted in Underglaze Blue›, 1950-1960s, Cobalt painted on porcelain clay, 5.4×11.4×11.4cm, Kansong Art and Culture Foundation Collection
Korean Research Center of Ceramic Arts Ware(Yoo Keunhyung), ‹Celadon Bottle with Incised Peony Design›, late 1950s, Incised on celadon clay, 23×15.5×15.5cm, Haegang Goryeo Celadon Research Institute Collection
Korean Research Center of Ceramic Arts Ware(Yoo Keunhyung), ‹Celadon Bottle with Incised Peony Design›, late 1950s, Incised on celadon clay, 23×15.5×15.5cm, Haegang Goryeo Celadon Research Institute Collection
Research Institute of Ceramics at Ewha Womans University, ‹Celadon Coffee Cup Set›, 1976, Inlaid on celadon clay, 17×19×10, 11.5×8×8(×2), 5.5×11×8(×4), 2×12×12(×4), 5×11×8(×2), 2×12.5×12.5(×2)cm, Research Institute of Ceramics at Ewha Womans University Collection
Research Institute of Ceramics at Ewha Womans University, ‹Celadon Coffee Cup Set›, 1976, Inlaid on celadon clay, 17×19×10, 11.5×8×8(×2), 5.5×11×8(×4), 2×12×12(×4), 5×11×8(×2), 2×12.5×12.5(×2)cm, Research Institute of Ceramics at Ewha Womans University Collection
Ahn Dongoh, ‹Chang Woosoung, Blue-and-white Porcelain Flowerpot with Loquat Design and Poem›, 1975, Cobalt and iron painted on porcelain clay, 17×21×18cm, MMCA Lee Kun-hee Collection
Ahn Dongoh, ‹Chang Woosoung, Blue-and-white Porcelain Flowerpot with Loquat Design and Poem›, 1975, Cobalt and iron painted on porcelain clay, 17×21×18cm, MMCA Lee Kun-hee Collection
Kim Jaesuk, ‹Vase›, Date Unknown, Color glazed on porcelain clay, 29.5×18×18cm, C&S Collection
Kim Jaesuk, ‹Vase›, Date Unknown, Color glazed on porcelain clay, 29.5×18×18cm, C&S Collection
Kim Yikyung, ‹Ritual Pedestal›, 1995, Porcelain clay, 15.5×45×25.5cm, MMCA Collection
Kim Yikyung, ‹Ritual Pedestal›, 1995, Porcelain clay, 15.5×45×25.5cm, MMCA Collection
Designed by Kim Swoogeun, Ceramic exterior by Artist Unidentified, ‹Sewoon Arcade›, 1960s, Photograph by Jang Junho
Designed by Kim Swoogeun, Ceramic exterior by Artist Unidentified, ‹Sewoon Arcade›, 1960s, Photograph by Jang Junho
Chung Damsun, ‹I Wanted to Grow Larger and Stream›, 1983, Mixed clay, 13.5×22.5×17cm, Han Hyang Lim Ceramic Museum Collection
Chung Damsun, ‹I Wanted to Grow Larger and Stream›, 1983, Mixed clay, 13.5×22.5×17cm, Han Hyang Lim Ceramic Museum Collection
Kim Sukwhan, ‹Work›, 1986, Mixed clay, Dimensions variable, MMCA Collection
Kim Sukwhan, ‹Work›, 1986, Mixed clay, Dimensions variable, MMCA Collection
Hahn Aikyu, ‹Winged Woman›, 1989, Color painted on stoneware clay, acrylic paint, 48×68×15cm, Private Collection
Hahn Aikyu, ‹Winged Woman›, 1989, Color painted on stoneware clay, acrylic paint, 48×68×15cm, Private Collection
Kwangjuyo, ‹Buncheong Ware Series with Sgraffito Floral Design›, 1980-1990s, Buncheong clay, sgraffito, 2×22.5×22.5, 12×8×8, 13×15×15, 3×25×25, 3×30×30, 6.5×9×6.5, 2.7×12×12, 10×13×13cm, Kwangjuyo Collection
Kwangjuyo, ‹Buncheong Ware Series with Sgraffito Floral Design›, 1980-1990s, Buncheong clay, sgraffito, 2×22.5×22.5, 12×8×8, 13×15×15, 3×25×25, 3×30×30, 6.5×9×6.5, 2.7×12×12, 10×13×13cm, Kwangjuyo Collection
Oh Serin, ‹Forest Temperature Bunker›, 2022-2024, Glazed on mixed clay, PLA (Polylactic acid), acrylic paint, Dimensions variable, Private Collection and Courtesy of the Artist
Oh Serin, ‹Forest Temperature Bunker›, 2022-2024, Glazed on mixed clay, PLA (Polylactic acid), acrylic paint, Dimensions variable, Private Collection and Courtesy of the Artist
Kim Jin, ‹Sense of the Earth›, 2023, Porcelain clay (slip-casting, stain), a thread that failed while knitting, Dimensions variable, Courtesy of the Artist
Kim Jin, ‹Sense of the Earth›, 2023, Porcelain clay (slip-casting, stain), a thread that failed while knitting, Dimensions variable, Courtesy of the Artist
Kim Jihye, ‹Mother Tongue & The Letter of Love›, 2022, Mixed clay, 3D scanning, pressed forming, hand-pressed mixed clay, panel, 45×100×45(×2)cm, Dimensions variable, Courtesy of the Artist
Kim Jihye, ‹Mother Tongue & The Letter of Love›, 2022, Mixed clay, 3D scanning, pressed forming, hand-pressed mixed clay, panel, 45×100×45(×2)cm, Dimensions variable, Courtesy of the Artist
Moondobang, ‹Sauce Bowl, Sori Case, Flower Shaped Tray, Flower Shaped Bowl, Small Bottle, Round Shaped Tray›, 2020s, Porcelain clay, 6.5×8×8, 9×11.7×11.7, 7×9×9, 8×11.5×11.5, 11×7×7, 7×9×9cm, Courtesy of the Artist
Moondobang, ‹Sauce Bowl, Sori Case, Flower Shaped Tray, Flower Shaped Bowl, Small Bottle, Round Shaped Tray›, 2020s, Porcelain clay, 6.5×8×8, 9×11.7×11.7, 7×9×9, 8×11.5×11.5, 11×7×7, 7×9×9cm, Courtesy of the Artist

Ceramic holds special meaning for Korean people. In particular, “Bisaek celadon, the best under heaven” and the Dalhangari, also known as the Moon Jar (White Porcelain Jar), stand as representative symbols of a national aesthetic sense. Ceramics are “artifacts that are produced out of Dogi and Jagi depending on the times and environment” and have become symbols that afford us insights into our own lives and culture. The exhibition Unfolding the Dynamics of Modern Ceramics in Korea presents ceramics, which have been transformed within the modern environment and taken on various roles, in the context of this esteemed ceramic heritage.


Korea has experienced many periods of rapid change after its independence, and ceramics have also undergone change and growth in response. Despite such change, modern Korean ceramics have never completely abandoned their traditional values. Aesthetics scholar Ko Yuseop (1905-1944) defined tradition as immutable values that are “always newly understood in the now of forever” in a world that is ever changing. This exhibition examines how Korean ceramics embrace tradition, and how they found their role within modern society. The exhibition is divided by period and features a variety of ceramic works, including traditional ceramics, sculptural ceramics, and installations.

  • Artist
    About 74 Artists including Chung Kyu, Won Daichung, Yoo Keunhyung, Kim Jaesuk, Kim Yikyung, Kwon Soonhyung, Kim Sukwhan, Chung Damsun, Hahn Aikyu, Shin Sangho, Yoo Euijeong, Oh Serin
  • Numbers of artworks
    Over 270 artworks and materials

Related Materials

Modern Ceramics in Korea_Brochure.pdf

Audio Guide

0. Introduction Hello, and welcome to the National Museum of Modern and Contemporary Art, Korea, Gwacheon. The exhibition ‹Unfolding the Dynamics of Modern Ceramics in Korea› presents modern Korean ceramics, which have been developed based on the esteemed ceramic heritage of Korea. “Bisaek celadon, the best under heaven” and the dalhangari, or the moon jar, represent the national aesthetic sense of Korea. However, it is not easy to pinpoint a definitive style that represents Korean ceramics after the Goryeo celadon and the Joseon white porcelain. Why a ceramic was created, and who used it often tells us the story of the times. Korea went through many periods of rapid change after its independence, which have led to the rise of a wide range of styles in ceramics. However, Korean ceramics have never completely abandoned their traditional values. Aesthetics scholar Ko Yuseop, believed that tradition was the key characteristic of Korean crafts, and defined tradition as an immutable value that is “always newly understood in the now of forever,” in a world that is ever changing. This exhibition showcases a diverse range of ceramic works, including traditional pieces, sculptural ceramics, and installations, each reflecting the different styles and influences of their times. We invite you to explore how Korean ceramics have both responded to social change and embraced tradition, while staying timeless while continually evolving and seeking new forms of expression.
Introduction

0.Introduction

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