Hyangtosaek
1. In the field of art, ‘Hyangtosaek’ refers to the unique emotions and characteristics of the landscape and scenery of a rural or local village, which is a counterpoint to the urban atmosphere. In the Korean language, the word ‘Hyangto’ contains a variety of nuances and moods, but in the realm of art, it can only be interpreted as ‘local color’. At the same time, and ironically, ‘鄕土’ is not a pre-modern vernacular word, but rather a Japanese translation of the German word ‘Himartkunst’, which became very popular in literary circles during the Japanese occupation. (The word ‘misul’ also had no Japanese equivalent for ‘Kunstgewerbe’, which translates to ‘craft’, so a new word was hastily coined for it: ‘美術’, which connects ‘beauty’, meaning beauty, and ‘術’, meaning skill or method.)
2. ‘Earth tone’ is a term that refers to color tones found in nature. It primarily refers to colors inspired by the natural elements of the earth, such as earth, rocks, wood, and sand. These colors typically include browns, beiges, olive greens, and dark ochres. On the other hand, ‘Hyangtosaek’ refers to colors that are indigenous to a particular region or culture. These are colors that are influenced by the local landscape, culture, traditional clothing, etc. Hyangtosaek reflects the history and culture of an area and is often seen as representative of the identity of the region. Earth tones and Hyangtosaek are therefore closely related. Colors inspired by the earth’s industries, nature, and people’s lives can reflect the local character of a region. For example, a Dead Sea-inspired Hyangtosaek palette might reflect the color of the soil, the tones of the sand and sea on the shore, or the history and culture of the region.
3. We hope to capture new nuances of ‘Hyangtosaek’ through the works of contemporary young artists from various regions in Korea, utilizing various media, whose works directly or indirectly reveal earth tones. Seoul has been gaining attention as an international art hub, thanks to the arrival of international galleries and the growth of the Korean art market. Through ART OnO, which aims to present a new paradigm of the art market with galleries from over 20 countries, which is unusual for a domestic art fair, THEO aims to present an exploration and experience of Korea and Korean art that is not simply commercial.
Curated by Chanyong Chong (THEO Assistant Director) |
