Many of Lee Woosung’s works are what he calls “cloth paintings,” unstretched works in acrylic gouache on large sheets of lightweight cotton or canvas. They recall the geolgae geurim, literally “hung paintings,” made by artist-activist collectives during the tumultuous period of nationwide student demonstrations in South Korea in the 1980smassively scaled propaganda images on fabric. The social-realistic style of geolgae geurim and their political context derive from the minjung misul (people’s art) movement of that time, which protested South Korea’s dictatorial government. Taking a cue from the portability and the anti-establishment associations of geolgae geurim, Lee sheds the historical weight and formal demands conventionally stretched canvas carries with it, reconfiguring the banner-like format as a ground for more private and contemporary concerns.
As the exhibition’s
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