GWACHEON.- The National Museum of Modern and Contemporary Art, Korea presents Unfolding the Dynamics of Modern Ceramics in Korea, an exhibition that traces the evolution of modern Korean ceramics. This exhibition showcases the story of Korean ceramic art from the 1950s to the present, exploring how ceramics have responded to Korea’s dynamic societal changes while preserving and advancing traditional values includes a wide array of ceramic works including traditional pottery, painting on ceramics, architectural ceramics, ceramic sculpture, and installations.

The Prologue: The Beginnings of Modernity highlights the emergence of modern Korean ceramics in the 1950s, a period during which the country was striving to overcome the shadow of Japanese colonial rule and the Korean War. This part introduces notable institutions from this era, such as the Korean Art Society, which was established as a National Museum of Korea-affiliated organization and operated the Seongbuk-dong Kiln to continue the legacy of Joseon white porcelain. Likewise, the Korean Research Center of Ceramic Arts Ware, founded by sculptor Yun Hyojoong, operated the Daebang-dong Kiln, continuing the tradition of Goryeo celadon.

Part I: The Pursuit of Identity, explores how Korean ceramics began to embody modern characteristics during the 1960s and 1970s. At the time, the government initiated a national revival policy aimed at establishing a cohesive national identity, which also became an opportunity to revive traditional ceramics. During this period, many collaborations between prominent ceramicists and painters led to the production of a significant number of blue-and-white porcelain works. In this exhibition, 12 works from the Painting on Ceramic series of the MMCA Lee Kun-hee Collection are being unveiled for the first time. Also showcased are works by Kim Yikyung, Yoon Kwangcho, and Cho Chunghyun, who advanced the aesthetic and sculptural qualities of white porcelain; buncheong ware and onggi with their modern reinterpretation of tradition. Architectural ceramics from this era, such as those featured on the exterior walls of iconic buildings like Sewoon Arcade and Oyang Building, also illustrate another facet of this period shaped by industrialization and urbanization.

Part II: Ceramics as Art, introduces ceramics from the 1980s and 1990s when Korea actively embraced international art styles, spurred on by global events such as the 1988 Seoul Olympics. This part begins with the works of Chung Damsun and Kim Sukwhan, who laid the foundation for domestic ceramic sculpture, demonstrating the myriad possibilities of clay. Furthermore, the exhibition features ceramics as a canvas, including pieces by Lee Seyoung, Lee Soojong and Hahn Aikyu, who helped establish the “studio craft” system under the influence of postmodernism. Additionally, the exhibition highlights the establishment of aesthetic lifestyle ceramics, featuring works by Kwangjuyo and Yi Yoonshin, who founded Yido. These brands emerged in response to the rising demand for handmade ceramics during and after the 1997 financial crisis.

Part III: Shifting Tradition, highlights how modern ceramics in the 21st century are embracing pluralism, hybridity, and decolonization. The works of Ju Sekyun, Yoo Eui jeong, and Kim Junmyeong who have earned acclaim on the international craft biennale stage, are featured to evoke the contemporary significance of traditional ceramics. This part also showcases experimental pieces by Kim Jihye and Oh Serin, who use digital technology to interpret culture through a humanities perspective, as well as works by Sim Daeun and Kim Jin, which explore themes of environmental and communal consciousness. Additionally, post-COVID-19 pandemic Korean craft leaders, such as Kim Deokho and Lee Inhwa, along with Moondobang and Deux garçons, demonstrate how contemporary ceramic artists are broadening the scope of their roles in modern society through diverse forms of collaboration and communication.

Artists: 73 artists included Kim Yikyung, Yoon Kwangcho, Chung Damsun, Ju Sekyun, Oh Serin.