Art

The elephant artworks interrogating Korean life: ‘When we get rid of the power structure, what will we see?’

Published

1 year ago

April 23, 2023

It’s a strange sight at an art exhibition. While people mill around, respectfully observing works from a distance, some walk towards a white sculpture with their arms outstretched. Then they put their hands directly on to it: the cardinal art sin.

But this artwork doesn’t just invite touch – it depends on it. Wool and fabric cover a 3x3m, 500kg iron skeleton. The figure looks at once familiar and alien: its large ears and thick legs are instantly recognisable, but there is no tail, trunk or face. Touching the elephant, something stirs.

On display at the 14th Gwangju Biennale, the South Korean artist Oum Jeongsoon’s Elephant Without Trunk is the inaugural winner of the art show’s $100,000 Park Seo-Bo art prize. It’s the latest instalment in her ongoing project, Another Way of Seeing, which draws from experiences of difference to suggest new modes of understanding the world.

“In my art career, I usually deal with the topic of what it means to see,” Oum says from Kote, an art space in Seoul’s bustling Insa-dong district. It’s days after the prize announcement, and the artist, who was born in the central province of Chungju in 1961, speaks mostly through an interpreter, Ho Bin Kim. “It was a natural process for me to also question what it means to not see.”

Oum launched Another Way of Seeing in 1996, beginning as an art teacher for blind school students before starting her own workshops. Since 2008, she has been fascinated by elephants, after reading about the first elephant to arrive on the Korean peninsula via Indonesia 600 years ago as a gift from Japan.

After the creature trampled a government official who mocked its appearance, it was exiled to the southern Jangdo Island. There’s a loneliness in this story that comes across in Oum’s works.

Another of Oum’s elephants – an animal she has been fascinated with since she learnt about the history of their arrival in South Korea.

Her award-winning piece, she says, “represents the current situation of minorities in Korea … I’m looking at the similarities between oppressed groups and the elephant, who was going around as a stranger.”

Oum’s first elephant workshop took place at Gwangju’s Uchi Park zoo, giving the biennale prize additional significance. The blind students touched the elephants and shared what they felt through art. A workshop in Chiang Mai, Thailand, with disabled or ill elephants, offered a new depth.

“We spent four days in the sanctuary, cleaning the animals’ poop and eating together. During that time, not only did they touch, but they also had the ability to hear and smell,” Oum says. “Because both the animals and the students had a disability, when the students were asked to create a narrative, they could really sympathise with the elephants and create products that are phenomenal.”

Oum’s works inspired by these workshops have included paintings and mixed media, depicting elephants at various stages of their journeys. Commissioned for the Gwangju Biennale, Elephant Without Trunk includes three related works – some older that have been newly covered in wool. The trunk’s absence forces a new perspective of a familiar form.

“When we visualise an elephant, the first thing we think about is its nose,” Oum says. “It represents power and hierarchy, and I wanted to make a connection to our society: when we get rid of the power structure, what will we see?”

‘We spent four days in the sanctuary, cleaning the animals’ poop and eating together’: teaching a workshop with elephants in Thailand became a formative experience for Oum.

The work’s tactility invites the audience to experience the animal through different senses. I’m awash in childlike wonder as I feel the wool beneath my fingers, closing my eyes to immerse myself fully. “When you touch the wool, you get an immediate sense of something inside of you,” Oum says.

Of course, works are usually not to be touched for preservation’s sake. Was there concern about degradation? “When I made this piece, I assumed that there would be damages,” Oum says. “I was quite surprised to see some damage already happening, but I was also happy, because it means that a lot of people came to see my work.” The artwork will require regular maintenance as it continues its life at the biennale.

Winning the Park Seo-Bo prize – named after one of Korea’s preeminent contemporary artists – is a boon for Oum after a long career that has gone largely unrecognised. “It was a cheer for what I have done for quite some time,” she says. “Community art involving non-artists is quite a new form of art, and in the eyes of a very conventional field in Korea, it has been underestimated.

“Winning this prize gave me assurance, because many very well-established judges were involved. One [piece of] feedback from the judges was that it was visually satisfying, as well as portraying our current society and era very well.”

The prize money will allow the artist to further probe the possibilities of her dual projects. “What it means to see is a very fundamental question that artists have been asking for ages,” she says. “Because it doesn’t have a clear answer, I can use it as a pivot point to explore many other fields. As a person who works with images, asking these questions is what drives me to continue.”

Oum and Kim laugh, before the interpreter turns to me: “She said that if I know the answer, please don’t tell.”

The 14th Gwangju Biennale, Soft and Weak Like Water, is on at the Gwangju Biennale Exhibition Hall and various sites throughout the city until 9 July
Guardian Australia travelled to South Korea courtesy of the Gwangju Biennale

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

1 day ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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