A man with a profound passion for art, known as Dae-Ok Kwon. He had achieved self-made success after earning his degree from Seoul National University, the pinnacle of academic prestige in Korea.
In the year 1979, a decisive moment unfolded when he inaugurated the KwanHoon Museum of Art in the vibrant district of Insa-dong, Seoul, embarking on a journey of providing substantial support to numerous artists. Pioneering the realm of 'contemporary art,' the institution underwent a transformative renaming to become the revered KwanHoon Gallery, earning widespread recognition for its paramount role in shaping the annals of Korean contemporary art.
 |
| ▲ KwanHoon Gallery |
The white building Kwon adorned, now functioning as an art gallery, had its origins as a hospital erected in 1927 during the Japanese colonial era, under Japanese utilization. While Kwon's motives remain enigmatic, he chose the auspicious date of August 15, marking Korea's 34th Korea Independence Day, to inaugurate the gallery. In the decades since its inception, the gallery he established has garnered the moniker
"the epicenter of experimental innovation" within the realm of Korean contemporary art.
Amidst the formidable challenges of the mid-1980s dictatorship era, artist Cho Hyun-jae orchestrated a bold artistic spectacle: the arrangement of numerous ice blocks ignited into flames in the gallery yard, followed by their resounding fracture by an axe. This daring feat found realization within the embrace of the KwanHoon Gallery's nurturing environment.
 |
| ▲ KwanHoon Gallery Founder Dae-Ok Kwon and Artist Yun Hyong-Keun attend an event, Courtesy of KwanHoon. |
The reputation of the KwanHoon Gallery didn't simply materialize; it stands as a testament to the founder's profound love for and philosophy of art. The gallery's establishment wasn't primarily motivated by financial gain; instead, it emerged from a deep-seated joy in aiding struggling artists through his affluence. In essence, he embodied the concept of "Noblesse oblige" within the constrained financial scope of the Korean art realm. Many artists who recall the early days of KwanHoon Gallery liken its atmosphere to a "Sarangbang," a traditional Korean space where the host engaged in intellectual conversations and discussions about art.
 |
| ▲ Young-Hee Kang & Do-Hyoung Kwon |
Summing up KwanHoon's remarkable journey within the annals of Korean contemporary art proves to be an intricate task, defying concise description. Nonetheless, a salient feature is beyond dispute: the origins of the globally celebrated "Korean Monochrome(Dansaekhwa)" movement trace back to this very institution. Equally undeniable is the significant progress that numerous artists, who collaborated with KwanHoon, have made in shaping the narrative of Korean contemporary art. Distinguished figures in the Korean art scene, such as Hyung-Keun Yun, Lee Ufan, Yoo Youngkuk, and Park Seobo, have all left their indelible mark by collaborating with the gallery.
 |
| ▲ Korean artist Jae Young Kang presented his solo exhibition, aptly titled "Today has been cancelled," at The KwanHoon Gallery, Courtesy of KwanHoon |
At this moment, KwanHoon Gallery is steered by the stewardship of its second-generation CEO, Do-Hyoung Kwon. In multiple dimensions, He stands as a well-prepared executive in the arts sphere, having pursued his studies in art management at the nucleus of contemporary art, New York City.
Marking the gallery's 30th anniversary in 2008, he orchestrated a distinguished invitational exhibition, spotlighting 27 emerging and experimental artists under the thematic banner of "Perception and Impulse." His dedication resonates in his unwavering commitment to perpetuating his father's legacy and vision, evident through his facilitation of numerous inventive exhibitions.
 |
| ▲ Basquiat Jean-Michel, Hannah Duncan, James Romberger, Crash, Daze etc "New York East-Village Artists, Courtesy of KwanHoon |
"I firmly believe that our gallery's ability to embrace and convey a wide array of diverse and experimental art to the public is a direct result of my father's unbridled passion for the art world," he expressed. "I'm dedicated to perpetuating that heritage," he appended.
Significantly, the KwanHoon Gallery has garnered significant attention within the art sphere through its hosting of several prominent exhibitions delving into the historical narrative of contemporary Korean art. Throughout the 1980s and 1990s, it presented exhibitions by collectives that propelled the Korean contemporary art movement, including
"Ecole de Seoul," "Realite Seoul," and "Logos and Pathos," along with the pivotal "Art of Life," which spotlighted new exhibitions during the transitional phase of Korean contemporary art. Historical exhibitions showcasing these pivotal phenomena were prominently held at the KwanHoon Gallery.
 |
| ▲ Mattew Hansel, Josh Reames, Lauren Silva, Michael Bevilacqua, Wendy White, Michael Scott
Back to the Painting, Courtesy of KwanHoon |
Do-Hyoung Kwon underscored the imperative of "globalization" as the compass directing KwanHoon's future trajectory. He articulated,
"I take immense pride in my parents' profound journey with KwanHoon. However, the landscape both within and beyond our walls has shifted. Korean art has advanced remarkably from the past, and the influence of collectors has notably swelled. the domain of art trade has burgeoned significantly. I am firmly of the view that we must evolve accordingly. While there remains much on the agenda, my particular focus lies in championing promising Korean artists on the international stage and further elevating our gallery's international footprint. New York, in particular, has captured my interest. Complacency is not our path; we shan't rest on our laurels or reputation." After a reflective pause, he added,
"Similar to my father, my mother harbored a disdain for running a gallery purely for financial gain. Upholding integrity was their foremost principle. I am convinced that these core values and actions have indelibly molded the KwanHoon Gallery of today. My commitment is to sustain my parents' authentic way of life. Yet, I’m acutely aware that this alone is insufficient. In my estimation, an advanced operational framework stands as a linchpin for the gallery's success. By building upon my parents' laudable achievements, I’m steadfastly working to methodically bridge these gaps. This endeavor is my role, my mission."
He further mused, "Ironically, despite my parents' longstanding involvement in the gallery, I didn't bestow much attention upon art. It was only through my exploration of diverse works in New York that my interest in art truly blossomed. On occasion, while curating an exhibition, I have been met with comments like, 'Your selection of artists seems rooted in personal preferences.' However, as time progressed, I've come to the realization that the artists I've chosen possess a caliber akin to those found in museums. This realization brings forth a sense of confidence and genuine delight.”
Concluding the interview, he revealed his forward-looking vision for the burgeoning KwanHoon.
 |
| ▲ Ceo Do-Hyoung Kwon |
"On occasion, my mother expresses her aspiration for KwanHoon to ascend to the ranks of globally renowned galleries like Hauser & Wirth, with me garnering recognition as a global gallerist. I appreciate the virtue inherent in this aspiration. Nevertheless, I hold the perspective that it's of paramount importance to recognize and safeguard the unique essence of KwanHoon Gallery. This distinctiveness possesses the magnetic allure capable of captivating audiences much like the vibrancy of youth."
His implication seemed to intimate that the youthful dynamism of KwanHoon Gallery is poised to stake its claim on the global stage through its singular identity. The foundation laid by founders Dae-Ok Kwon and his wife, Young-Hee Kang, in South Korea, has now become the groundwork for their son’s resolute efforts to cultivate KwanHoon's presence in the global art market.
What impact will Season 2 of KwanHoon Gallery make on the global stage?
Sayart.net
Jason Cs Yim, yimjongho1969@gmail.com
What impact will Season 2 of KwanHoon Gallery make on the global stage?
A man with a profound passion for art, known as Dae-Ok Kwon. He had achieved self-made success after earning his degree from Seoul National University, the pinnacle of academic prestige in Korea.
In the year 1979, a decisive moment unfolded when he inaugurated the KwanHoon Museum of Art in the vibrant district of Insa-dong, Seoul, embarking on a journey of providing substantial support to numerous artists. Pioneering the realm of 'contemporary art,' the institution underwent a transformative renaming to become the revered KwanHoon Gallery, earning widespread recognition for its paramount role in shaping the annals of Korean contemporary art.
|
| ▲ KwanHoon Gallery |
The white building Kwon adorned, now functioning as an art gallery, had its origins as a hospital erected in 1927 during the Japanese colonial era, under Japanese utilization. While Kwon's motives remain enigmatic, he chose the auspicious date of August 15, marking Korea's 34th Korea Independence Day, to inaugurate the gallery. In the decades since its inception, the gallery he established has garnered the moniker
"the epicenter of experimental innovation" within the realm of Korean contemporary art.
Amidst the formidable challenges of the mid-1980s dictatorship era, artist Cho Hyun-jae orchestrated a bold artistic spectacle: the arrangement of numerous ice blocks ignited into flames in the gallery yard, followed by their resounding fracture by an axe. This daring feat found realization within the embrace of the KwanHoon Gallery's nurturing environment.
|
| ▲ KwanHoon Gallery Founder Dae-Ok Kwon and Artist Yun Hyong-Keun attend an event, Courtesy of KwanHoon. |
The reputation of the KwanHoon Gallery didn't simply materialize; it stands as a testament to the founder's profound love for and philosophy of art. The gallery's establishment wasn't primarily motivated by financial gain; instead, it emerged from a deep-seated joy in aiding struggling artists through his affluence. In essence, he embodied the concept of "Noblesse oblige" within the constrained financial scope of the Korean art realm. Many artists who recall the early days of KwanHoon Gallery liken its atmosphere to a "Sarangbang," a traditional Korean space where the host engaged in intellectual conversations and discussions about art.
|
| ▲ Young-Hee Kang & Do-Hyoung Kwon |
Summing up KwanHoon's remarkable journey within the annals of Korean contemporary art proves to be an intricate task, defying concise description. Nonetheless, a salient feature is beyond dispute: the origins of the globally celebrated "Korean Monochrome(Dansaekhwa)" movement trace back to this very institution. Equally undeniable is the significant progress that numerous artists, who collaborated with KwanHoon, have made in shaping the narrative of Korean contemporary art. Distinguished figures in the Korean art scene, such as Hyung-Keun Yun, Lee Ufan, Yoo Youngkuk, and Park Seobo, have all left their indelible mark by collaborating with the gallery.
|
| ▲ Korean artist Jae Young Kang presented his solo exhibition, aptly titled "Today has been cancelled," at The KwanHoon Gallery, Courtesy of KwanHoon |
At this moment, KwanHoon Gallery is steered by the stewardship of its second-generation CEO, Do-Hyoung Kwon. In multiple dimensions, He stands as a well-prepared executive in the arts sphere, having pursued his studies in art management at the nucleus of contemporary art, New York City.
Marking the gallery's 30th anniversary in 2008, he orchestrated a distinguished invitational exhibition, spotlighting 27 emerging and experimental artists under the thematic banner of "Perception and Impulse." His dedication resonates in his unwavering commitment to perpetuating his father's legacy and vision, evident through his facilitation of numerous inventive exhibitions.
|
| ▲ Basquiat Jean-Michel, Hannah Duncan, James Romberger, Crash, Daze etc "New York East-Village Artists, Courtesy of KwanHoon |
"I firmly believe that our gallery's ability to embrace and convey a wide array of diverse and experimental art to the public is a direct result of my father's unbridled passion for the art world," he expressed. "I'm dedicated to perpetuating that heritage," he appended.
Significantly, the KwanHoon Gallery has garnered significant attention within the art sphere through its hosting of several prominent exhibitions delving into the historical narrative of contemporary Korean art. Throughout the 1980s and 1990s, it presented exhibitions by collectives that propelled the Korean contemporary art movement, including
"Ecole de Seoul," "Realite Seoul," and "Logos and Pathos," along with the pivotal "Art of Life," which spotlighted new exhibitions during the transitional phase of Korean contemporary art. Historical exhibitions showcasing these pivotal phenomena were prominently held at the KwanHoon Gallery.
|
| ▲ Mattew Hansel, Josh Reames, Lauren Silva, Michael Bevilacqua, Wendy White, Michael Scott
Back to the Painting, Courtesy of KwanHoon |
Do-Hyoung Kwon underscored the imperative of "globalization" as the compass directing KwanHoon's future trajectory. He articulated,
"I take immense pride in my parents' profound journey with KwanHoon. However, the landscape both within and beyond our walls has shifted. Korean art has advanced remarkably from the past, and the influence of collectors has notably swelled. the domain of art trade has burgeoned significantly. I am firmly of the view that we must evolve accordingly. While there remains much on the agenda, my particular focus lies in championing promising Korean artists on the international stage and further elevating our gallery's international footprint. New York, in particular, has captured my interest. Complacency is not our path; we shan't rest on our laurels or reputation." After a reflective pause, he added,
"Similar to my father, my mother harbored a disdain for running a gallery purely for financial gain. Upholding integrity was their foremost principle. I am convinced that these core values and actions have indelibly molded the KwanHoon Gallery of today. My commitment is to sustain my parents' authentic way of life. Yet, I’m acutely aware that this alone is insufficient. In my estimation, an advanced operational framework stands as a linchpin for the gallery's success. By building upon my parents' laudable achievements, I’m steadfastly working to methodically bridge these gaps. This endeavor is my role, my mission."
He further mused, "Ironically, despite my parents' longstanding involvement in the gallery, I didn't bestow much attention upon art. It was only through my exploration of diverse works in New York that my interest in art truly blossomed. On occasion, while curating an exhibition, I have been met with comments like, 'Your selection of artists seems rooted in personal preferences.' However, as time progressed, I've come to the realization that the artists I've chosen possess a caliber akin to those found in museums. This realization brings forth a sense of confidence and genuine delight.”
Concluding the interview, he revealed his forward-looking vision for the burgeoning KwanHoon.
|
| ▲ Ceo Do-Hyoung Kwon |
"On occasion, my mother expresses her aspiration for KwanHoon to ascend to the ranks of globally renowned galleries like Hauser & Wirth, with me garnering recognition as a global gallerist. I appreciate the virtue inherent in this aspiration. Nevertheless, I hold the perspective that it's of paramount importance to recognize and safeguard the unique essence of KwanHoon Gallery. This distinctiveness possesses the magnetic allure capable of captivating audiences much like the vibrancy of youth."
His implication seemed to intimate that the youthful dynamism of KwanHoon Gallery is poised to stake its claim on the global stage through its singular identity. The foundation laid by founders Dae-Ok Kwon and his wife, Young-Hee Kang, in South Korea, has now become the groundwork for their son’s resolute efforts to cultivate KwanHoon's presence in the global art market.
What impact will Season 2 of KwanHoon Gallery make on the global stage?
Sayart.net
Jason Cs Yim, yimjongho1969@gmail.com
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