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#阿拉里奥展览 Arario Exhibitions#金炳昊

展览| Exhibition

金炳昊
《迷失花园》
KIM Byoungho
<Lost in Garden>
展期|Duration
2024年12月26日(周四) - 2025年2月8日(周六)
地点 | VENUE
阿拉里奥画廊·首尔
ARARIO GALLERY SEOUL, B1, 1, 3F
阿拉里奥首尔于2024年12月26日(周四)至2025年12月14日(周六),呈现艺术家金炳昊(KIM Byoungho,1974年生)个展《迷失花园》(Lost in Garden)。本次展览跨越画廊空间的三个楼层,展出15件艺术家的代表作及最新作品。
金炳昊以金属为主要创作媒介,其创作历程遵循现代工业制造方式,制作严谨的设计图纸并在高度系统化的生产框架中运行,也由此反映当代社会结构的多重面向。于艺术家而言,作品如同由社会习俗、规范和制度塑造的产品。而其机械复制的精准性与令人眩惑的艺术表现相融合,不仅实现了雕塑的新形式,也以悖论般的批判意识,揭示建立在理性主义之上的现代文明中,个体与群体、同质与差异之间的对立和张力。在本次展览中,艺术家将其雕塑准则比作人工培育的“花园”,以金属模块为基本构件,探索三维空间的结构美学。
ARARIO GALLERY SEOUL presents KIM Byoungho’s (b. 1974) solo exhibition, Lost in Garden, from 26 December 2024 (Thurs) to 8 February 2025 (Sat). KIM Byoungho primarily works with metal as his main medium, creating sculptures and installations distinguished by their striking aesthetic forms. His meticulous creative process, rooted in detailed design blueprints and executed within a highly systematized production framework, reflects aspects of contemporary society. Immersed in today’s social structures, he merges mechanical precision with captivating artistic expression to realize new forms of sculpture. To him, an artwork resembles a product shaped by societal conventions, norms, and systems. His oeuvre raises philosophical questions about human life and the psyche within a civilization built on rationalism.
The exhibition at ARARIO GALLERY SEOUL spans 3 floors and features 15 works of varying scales, including both representative and newly created pieces. The artist likens his sculptural principles to an artificially cultivated "garden," using metal modules as fundamental building blocks to explore the aesthetics of composition within three-dimensional space. Abstract forms and surfaces, finished with diverse textures, interact to achieve a unique balance and harmony within the exhibition space.

57座垂直花园 57 Vertical Gardens
2024
不锈钢、镀铬
Stainless steel, chrome plating
92 x 60 x 274(h) cm
?阿拉里奥画廊及艺术家
展览现场,2024,阿拉里奥画廊首尔空间
在地下一层和一层,被称为“文明团块”的金属椭圆体作品占据了主要位置。《水平花园》悬浮在半空中,由自天花板的细线垂挂其庞大的形制,而投射在地上形态各异的影子,将雕塑的存在感延伸到更广延的空间。《两次碰撞》是一件由两种形态构成的旋转机器式作品。两个模块中一个表面为镜面般的银色,另一个为石墨般的黑色,在各自的轴线上以相反方向转动。而在它们一旁,银色雕塑《57座垂直花园》呈现出一个引人注目的金属椭圆体阵列,“文明的赘生之物”密布在线性结构上。
On the basement and ground floors, works with rounded metal ellipsoids, referred to as "lumps of civilization", are predominantly featured. On the basement level, Horizontal Garden (2018) floats midair, its massive form suspended by thin wires from the ceiling. The diverse shapes of shadows cast on the floor extend the sculpture’s presence into the surrounding space. On the ground floor, Two Collisions (2024), a rotating machine-like work composed of two forms, is displayed. Two modules, one with a mirrored silver surface and the other with a graphite-like black finish, rotate in opposite directions on their respective axes. Nearby, the radiant silver sculpture 57 Vertical Gardens (2024) presents a striking array of rounded metal ellipsoids—referred to as "civilization’s excrescences"—densely perched on linear structures.

两次碰撞 Two Collisions
2024
不锈钢、真空电镀
Stainless steel, vacuum plating
334.5 x 242 x 105(h) cm
?阿拉里奥画廊及艺术家
画廊三楼空间的作品聚焦平面和线性元素。《花园的一部分》系列中的四件作品在空间中或立或倚于地面,这些具有黑色哑光涂层的雕塑与展览空间形成鲜明对比,突显出作品的曲线形态。每个造型轮廓的切割面边缘都被平滑打磨,露出原初的铝质材料并形成银色线条,这也成为雕塑的标志性元素之一。暴露一个物体的横截面意味着切割物体以揭示其内部结构,这满足了人们的好奇心和解释欲,提供了对内部结构的视觉探索。
这些作品强调平面感,突出横截面的厚度,与由金属椭圆体构成的作品的立体感形成鲜明对比,反映了艺术家对现代物质文明的观察与思索。作品《9处观察》便是通过层叠的银色和黑色圆盘来表现平面和形式,当九个截面彼此观照和反射时,平面转化为三维形态,展现了一种新颖的视觉体验。雕塑《323根刺》着重强调了线性元素,这些抽象的金属雕塑以多种纹理修饰,在空间中构建了独特的平衡与和谐。
The third floor highlights works focused on planar and linear elements. Notably, the four pieces from the A Section of the Garden (2024) series adopt standing or reclining postures within the space. These sculptures, coated in matte black finishes, contrast with the exhibition space, accentuating the sculptural qualities of their curves. The edges of the cut surfaces along the contours of each form have been smoothly polished, revealing the natural aluminum material to create silver lines as a defining element. Observing a cross-section signifies an act of cutting through an object to reveal its interior on a plane, fulfilling human curiosity and the desire for interpretation, offering a visual exploration of internal structures. These works emphasize flatness and highlights the thickness of the cross-sections, in contrast with the three-dimensional splendor of the works formed with rounded metal ellipsoids, and reflects the artist's contemplation on modern material civilization. 9 Observations (2024), also features planes and form, through layers of silver and black discs stacked together. As the nine cross-sections observe and reflect each other, there is transition from flat surface to three-dimensional form, offering a novel visual experience. The sculpture 323 Thorns (2024) strongly focuses on linear elements. These abstract metal sculptures, finished with a variety of textures, establish a unique balance and harmony within the space.


展览现场,2024,阿拉里奥画廊首尔空间
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阿拉里奥画廊·首尔 ARARIO GALLERY SEOUL

正在展出 | Current Exhibition
阿拉里奥画廊·天安 ARARIO GALLERY CHEONAN

关于画廊 | ABOUT US
阿拉里奥画廊自1989年创立至今,拥有韩国天安、首尔和中国上海三处画廊空间。在过去的三十多年间,阿拉里奥画廊专注于呈现亚洲艺术特性的概念与作品,通过展览在国际上发掘、培养和推广亚洲艺术家,担当起引领亚洲当代艺术的长远使命。
自2005年入驻中国起,阿拉里奥画廊始终以国际视野促进亚洲与世界的艺术交流,画廊代理的五十余位艺术家来自韩、日、中和东南亚地区各国,涵盖自20世纪中后叶至今的实验艺术先锋,回应着亚洲地区令人瞩目的社会历史文化。
2025年,阿拉里奥画廊上海定址苏州河畔苏河皓司,将继续作为当代艺术领域的先锋力量而存在。
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