PRESENTATION: Unfolding the Dynamics of Modern Ceramics in Korea

Kim Jin, Love, Potato, Labor, 2022, Porcelain clay (slip-casting, liquid gold, stain), painted plywood, concrete, plexiglass, stainless steel, Dimensions variable, Courtesy of the ArtistThe exhibition “Unfolding the Dynamics of Modern Ceramics in Korea” 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. Ko Yuseop (Korea’s first art historian, who described tradition as “always newly understood in the now of forever” in a world that is ever changing, the exhibition highlights how modern ceramics have embraced tradition while adapting to the changing times.

By Dimitris Lempesis
Photo: MMCA Archive

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

Modern ceramics have significantly impacted various domains, including cultural heritage, design, industry, architecture, and art. However, they are often narrowly regarded for their techniques and forms. The exhibition, “Unfolding the Dynamics of Modern Ceramics in Korea”, with works by 73 artists seeks to present a more comprehensive perspective, showcasing the multifaceted expressions of ceramics and their reflection of societal and cultural changes in Korea. Organized chronologically, the exhibition comprises a prologue and three sections, featuring a diverse range of works such as traditional pottery, ceramic paintings, architectural ceramics, sculptures, and installations. “Prologue: The Beginnings of Modernity”: The journey begins in the 1950s, a transformative period for Korean ceramics during the nation’s recovery from Japanese colonial rule and the Korean War. Key institutions like the Korean Art Society, affiliated with the National Museum of Korea, preserved the legacy of Joseon white porcelain through the Seongbuk-dong Kiln. Similarly, the Daebang-dong Kiln, operated by the Korean Research Center of Ceramic Arts Ware and sculptor Yun Hyojoong, continued the Goryeo celadon tradition. Significant works such as the “White Porcelain Ashtray with Bukdan sanjang Painted in Underglaze Blue” (1950s–1960s) and the *Celadon Vase with Inlaid Human Figure Design* (late 1950s) highlight how these traditions were sustained across different kilns. Archival materials from the Korea Handicraft Demonstration Center (KHDC) reveal how ceramics were adapted for export to support national industrial growth. “The Pursuit of Identity”: In the 1960s and 1970s, Korean ceramics embraced modern characteristics as the government promoted a national revival policy to establish cultural identity. This era witnessed the revival of traditional ceramics and collaborations between ceramicists and painters, producing notable blue-and-white porcelain works. The exhibition features 12 newly unveiled pieces from the “Painting on Ceramic” series within the MMCA Lee Kun-hee Collection, created by ceramic artist Ahn Dongoh and painters Seo Seok and Kim Kichang. Other highlights include Yoo Keunhyung’s “Celadon Hexagonal Flowerpot with Inlaid Plant Design: (1973) and innovative works by Kim Yikyung, Yoon Kwangcho, and Cho Chunghyun, who advanced the aesthetic and sculptural dimensions of white porcelain, buncheong ware, and onggi.  Additionally, architectural ceramics from urbanization and industrialization during this time, such as those adorning the *Sewoon Arcade* (1967) and the *Oyang Building* (1964), demonstrate the integration of ceramics into Korea’s evolving cityscapes. “Ceramics as Art”: The 1980s and 1990s marked a period when Korea embraced global art styles, catalyzed by international events like the 1988 Seoul Olympics. Pioneers such as Chung Damsun and Kim Sukwhan laid the groundwork for ceramic sculpture, showcasing the versatile possibilities of clay. The exhibition includes large-scale installations by Shin Sangho, Bae Jinhwan, and Yuh Sunkoo, alongside ceramic works serving as canvases, such as those by Hahn Aikyu and members of the Sinawi Ceramics Group. Influenced by postmodernism, artists like Lee Seyoung, Lee Inchin, and Lee Soojong established a “studio craft” system, empowering creative freedom. This era also saw the rise of aesthetic lifestyle ceramics, exemplified by brands like Kwangjuyo and Yi Yoonshin’s Yido, which met the increasing demand for handmade ceramics during and after the 1997 financial crisis. “Shifting Tradition”: In the 21st century, modern ceramics embrace pluralism, hybridity, and decolonization. Artists such as Ju Sekyun, Yoo Eui-jeong, and Kim Junmyeong, who gained international recognition at craft biennales, exemplify the contemporary relevance of traditional ceramics. Experimental works by Kim Jihye and Oh Serin integrate digital technology to reinterpret culture through a humanities lens. Themes of environmental and communal awareness are explored by artists like Sim Daeun and Kim Jin. Post-pandemic, ceramic artists such as Kim Deokho and Lee Inhwa from Studio Sohman, along with collectives like Moondobang and Deux garçons, are expanding the role of ceramics in society, fostering collaboration and communication through innovative practices. This exhibition offers an enlightening journey through the evolution of Korean ceramics, celebrating their enduring legacy and dynamic transformation across decades.

Photo: Kim Jin, Love, Potato, Labor, 2022, Porcelain clay (slip-casting, liquid gold, stain), painted plywood, concrete, plexiglass, stainless steel, Dimensions variable, Courtesy of the Artist

Info: The National Museum of Modern and Contemporary Art, Korea (MMCA), 313 Gwangmyeong-ro, Gwacheon, Gyeonggi-do, South Korea, Duration: 21/11/2024-6/5/2025, Days & Hours: Tue-Sun 10:00-18:00, www.mmca.go.kr/

Left: 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 CollectionRight: Kim Jaesuk, Vase, Date Unknown, Color glazed on porcelain clay, 29.5×18×18cm, C&S Collection
Left: 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
Right: Kim Jaesuk, Vase, Date Unknown, Color glazed on porcelain clay, 29.5×18×18cm, C&S 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

 

 

Ji Soontak, Tea Bowls, early 1970s, Tenmoku glazed on porcelain clay, 7×14×14(×2)cm, MMCA Lee Kun-hee Collection
Ji Soontak, Tea Bowls, early 1970s, Tenmoku glazed on porcelain clay, 7×14×14(×2)cm, MMCA Lee Kun-hee Collection

 

 

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

 

 

Kim Deokho, Lee Inhwa, 2023 SeMA HANA Media Art Award Trophy, 2023, Porcelain clay, stain, polishing, 20×4.8×4.8(×2)cm, Courtesy of the Artist
Kim Deokho, Lee Inhwa, 2023 SeMA HANA Media Art Award Trophy, 2023, Porcelain clay, stain, polishing, 20×4.8×4.8(×2)cm, Courtesy of the Artist

 

 

Research Institute of Ceramics at Ewha Womans University, Celadon Coffee Cup Set, 1976, Inlaid on celadon clay, 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, Research Institute of Ceramics at Ewha Womans University Collection

 

 

Kim Sukwhan, Work, 1986, Mixed clay, Dimensions variable, MMCA Collection
Kim Sukwhan, Work, 1986, Mixed clay, Dimensions variable, MMCA 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

 

 

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

 

 

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

 

 

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
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

 

 

Left: Korean Research Center of Ceramic Arts Ware, Celadon Vase with Inlaid Human Figure Design, late 1950s, Inlaid on celadon clay, 20.5×14×14cm, C&S Collection Right: Shin Sangho, Head Series, 1994, Color painted on mixed clay, Dimensions variable, Courtesy of the Artist
Left: Korean Research Center of Ceramic Arts Ware, Celadon Vase with Inlaid Human Figure Design, late 1950s, Inlaid on celadon clay, 20.5×14×14cm, C&S Collection
Right: Shin Sangho, Head Series, 1994, Color painted on mixed clay, Dimensions variable, Courtesy of the Artist