Not only the lines come into view against the white background, but the white background itself appears as another shape between the lines, making the lines also become the its own background. It is an important element that enables the colored lines to exist and one that transforms into another form of line, connected to the colored lines. White, the background color between the lines, is not simply a background. There is no hierarchical logic in his work. The making process, with its repetitive bodily motions, resembles that of asceticism.

He excludes any specific explanation, artificial composition, or literary modification, and makes traces with unconscious and coincidental movements. The artist leans his body close to the canvas in order to paint rhythmic lines with intervals. Janos Ber does not paint on a canvas placed on an easel, but instead, he lays the canvas cloth on the ground and draws lines with a huge brush. Janos Ber, No Title, 2012-2018, acrylic on canvas Far from the painting that shows a closed conclusion, her drawing moves freely like wind, infusing life in the color, line, and bulk. What makes the shapes a masterpiece is the drawing itself without being fettered by any rule or doctrine, the journey and the moments.

They are the trace of handicraft work in an organic flow, piling up the temporal development of the working process. The elements of the drawing may seem like shapes that are mechanically repeated, and yet they are not specifically measured, but manually drawn one by one. Connected and overlapped, the forms do not describe any external objects, but are constructed in a spontaneous and coincidental way, appearing on the wall in an abstract pattern. The forms made of colors and fields continue linearly following the artist’s movement. In Mur/Murs, la peinture au-delà du tableau the form, color, and traces of artistic movement are maximized in the murals and give the visitors an opportunity to intensively think about what an image is in today’s world flooded with virtual reality, symbols, and images.Įmilie Satre paints the mural through promenade, her own practice of painting. In the exhibition hall, where the walls become the painting and the paintings are the walls, visitors can approach the works and have new visual and perceptual experiences that go beyond their range of vision by walking through the murals. They either produce the world of abstract and supernatural images with their painting and drawing or engrave the images by making cracks on the wall or with soot. Their experiments of the painting go beyond the frame onto the walls and into space. The participating artists in Mur/Murs, la peinture au-delà du tableau continue to inquire what the painting is, with their creative and fundamental study of the painting, inside and outside of the canvas. It allowed the study of the painting through its deconstruction.

Having existed only as the background of pieces of art, the walls of the exhibition hall become core elements to the paintings through the various artistic practices of the artists.įrom the late 1960s to the early 1970s in France, an artistic movement called Support-Surface saw the day. The eight artists from France created their murals directly on the wall of the gallery to introduce French contemporary art from different angles.

Mostly glues enjoy an A+ certification which proves their low VOC emissions.Gyeonggi Museum of Modern Art holds Mur/Murs, la peinture au-delà du tableau as its first project exhibition in 2018, where you will be able to find murals created by French artists. We develop our products from natural raw and renewable materials and we use recyclable packaging to reduce waste. In 20, the Environment Minister awarded the company the EPV label (French Living Heritage recognition) which is testimony to the performance of its expertise. Environmental management via the EMAS certification (EU Eco-Management and Audit Scheme in which ecology is a management system)

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