Lee Kang-So: Becoming
Gallery Hyundai is pleased to present Lee Kang-So’s solo exhibition Becoming at the Palazzo Caboto in Venice, Italy. This exhibition will include around 20 pieces featuring Lee’s key works Untitled-75031 and Painting (Event 77-2) as well as experimental works from the 1970s and his most recent paintings and sculptures. Practicing his own experimental style of expression, free from conventional customs and ideologies, Lee created works in the 70s that are now considered to be the foundation for his paintings and sculptures from recent years.
As one of Korea’s most representative experimental artists, Lee founded and participated in various art movements of the 1970s, including the ‘Shincheje Group,’ ‘Daegu Contemporary Art Festival,’ and ‘Seoul Contemporary Art Festival.’ His installations and performance pieces from the 1970s resemble unscripted theatrical plays acted out through audience participation. The artist invites the audience to a loosely structured situation, enabling the freedom of interpretation and experience. The 1st floor and part of the 2nd floor accommodate Lee’s experimental pieces from the 1970s reproduced for this occasion. The 1st floor of the Palazzo Caboto houses Void (1971), an installation of reeds taken from its original environment and resituated within the exhibition space provides a sensory experience for the audience.
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Gallery Hyundai is pleased to present Lee Kang-So’s solo exhibition Becoming at the Palazzo Caboto in Venice, Italy. This exhibition will include around 20 pieces featuring Lee’s key works Untitled-75031 and Painting (Event 77-2) as well as experimental works from the 1970s and his most recent paintings and sculptures. Practicing his own experimental style of expression, free from conventional customs and ideologies, Lee created works in the 70s that are now considered to be the foundation for his paintings and sculptures from recent years.
As one of Korea’s most representative experimental artists, Lee founded and participated in various art movements of the 1970s, including the ‘Shincheje Group,’ ‘Daegu Contemporary Art Festival,’ and ‘Seoul Contemporary Art Festival.’ His installations and performance pieces from the 1970s resemble unscripted theatrical plays acted out through audience participation. The artist invites the audience to a loosely structured situation, enabling the freedom of interpretation and experience. The 1st floor and part of the 2nd floor accommodate Lee’s experimental pieces from the 1970s reproduced for this occasion. The 1st floor of the Palazzo Caboto houses Void (1971), an installation of reeds taken from its original environment and resituated within the exhibition space provides a sensory experience for the audience.
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