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¾Èâȫ ÇÁ·ÎÇÊAHN CHANG HONG ' PROFILE
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ÀÛ°¡´Â À̰ÍÀ» ÀÚ½ÅÀÇ °¡Á·ÀÇ ÈÑ¼ÕµÈ ÃÊ»óµéÀ» ÅëÇÏ¿© ÀÌ¹Ì ÈÑ¼ÕµÈ ¼¼°èÀÇ È²·®ÇÔ¿¡ ´ëÇÑ °øÆ÷¿Í °Ý¸®°¨À» Ç¥ÇöÇØ ¿Ô´Ù. °¡Á·ÀÇ ÃÊ»óµéÀÇ ´«°ú ÀÔÀ» °Ë°Ô ¶Õ°í ¹ú¾îÁö°Ô ¸¸µç ±× °øÆ÷´Â Áö±Ýµµ ±×ÀÇ ¿µÈ¥¿¡ ±×¸²ÀÚ¸¦ µå¸®¿ì°í ÀÖ´ÂÁöµµ ¸ð¸¥´Ù. ¾Èâȫ ÀÛǰÀÇ ÀÌ ¾îµÎ¿î Ãø¸éÀº °³Àλ糪 ÀÛ°¡Àû ±âÁúÀÇ °á°ú¸¸ÀÌ ¾Æ´Ï¶ó ¿ì¸®ÀÇ ¿ª»çÀû »îÀÇ ¾îµÎ¿ò, ƯÈ÷ ÃÖ±ÙÀÇ Àú Á߾а¨À» ÁÖ´Â ¿ì¸®ÀÇ ¾îµÎ¿î »çȸÀÇ½Ä ³»Áö »óȲÀǽÄÀ» ´ãÀº °ÍÀ̶ó ÇØ¼®µÇ±âµµ ÇÑ´Ù. ±×·¯³ª ±×°¡ Çö½ÇÀ» ±×¸®´Â ¹æ½ÄÀº »óȲÀû¡¤¼»çÀûÀ̶ó±âº¸´Ù´Â Çö½ÇÀÇ ¿ìÈÀû º¯¿ëÂÊ¿¡ °¡±õ´Ù. ±×¸®°í ÀÌ ¿ìÈÀû º¯¿ë ¼Ó¿¡¼ ±×´Â ´õ¿í º»ÁúÀûÀÎ Àΰ£¼º ÀÇ ºñ±ØÀ», Àΰ£¼º ¼Ó¿¡ ±êµé¾î ÀÖ´Â ¿µ¿øÇÑ ºÒ±¸(ÝÕÎý)¸¦ È·ÁÇÏ°Ô µå·¯³»°í ÀÖ´Ù. ¾ÈâȫÀÌ ¿ì¸® ¹Ì¼ú°è¿¡¼ ¼ÒÁßÈ÷ ±â¾ïµÇ¾î¾ß ÇÏ´Â ÀÛ°¡¶ó°í ³»°¡ ¹Ï´Â °ÍÀÌ ¹Ù·Î ÀÌ Á¡ ¶§¹®ÀÌ´Ù. ( 1987 ¼º¿Ï°æ ±Û -µ¶¸³»ýȰÀÚÀÇ ÃÊ»ó-Áß¿¡¼)
Ahn Chang-hong, both in his own self and in his works, is a typical loner. Traces of wretchedness and splendour can be found alike in his paintings and the artist's obsessive interest in desertion and loneliness, alienation and anxiety, the bestiality of human character, fear and tragedy are displayed.
Through perverse and twisted portraits of himself and his family, An has already expressed his fear of and distance from the already torn-apart outside world. The fear that had made the eyes of the family members black and their mouths
wide open might yet be drawing a dark shade over his soul.
This dark aspect of An cannot wholly be admitted to his personal history or character.
It is often interpreted that the shades in our historical life, especially our gloomy social consciousness, that carries a weight with them, are reflected in his works. His method of representation, however, is far from being true to circumstances. His inclination is more towards transforming reality into fables. In this transformation, An gives a dashing display of the fundamental tragedy of human character, the never-to-be-healed distortion in human character. This is the very reason I believe An Chang-hong is one artist whom we should cherish and remember.
Faces, Bodies, Souls, and a Life Story of One Artist
(¡¦¡¦omitted¡¦¡¦)
3. What does a face or portrait mean to Ahn Chang Hong? And, what about photographs? Why is he obsessed with pictures, faces, and masks? A photograph is a thing that stirs up important memories and emotions whether they belong to a particular individual or, more generally, to a society. Ahn likens photographs to magic since a piece of a photograph can playback personal misfortune, social cataclysm, and the gloom of an era lurking behind all the years of past memories surprisingly clearly in an instant. We can surmise that this kind of effect is one of the reasons that Ahn is so attached to photographs. However, that is not all. Essentially, a photograph is a matter of mentality. In other words, it is a matter of being captivated.
A similar story line applies to faces. Every face represents a soul. At the same time, it is a mask. Every mask, i.e., face, is a habitat of power. Every mask conceals a violent force disturbing the person. It is not about a particular face but about any faces. Every face is a mask, symbol, force, and a soul, whether it is alive or dead.
Subsequently, the problem boils down to the person¡¯s interconnection with the soul and the force. Ahn has instinctively continued to focus on this aspect of images in his work. Faces that are expressed as if they were masks in Family Picture (1980), one of his family photo series, which was a starting point for his subsequent works on faces, speak for themselves. It is an important paradox that a mask-like face emits an even more vivid impression than that a real face does. They look at us with eyes that are more profound and penetrating. The reason that a face or a mask has constantly been the target of Ahn¡¯s obsession in his work lies in this fact.
4. What is special in Ahn¡¯s case is that a previously mentioned feeling of healing and liberation occurs in accordance with a masterly blooming of his works. Right now is the moment in which he adds enrichment to his masterly formative characters. This was detected in some of his recent works and is more distinctly felt in this exhibition.
His work makes me realize that the concentration and focusing that seem to have happened in the twinkling of an eye are in fact an elaborated result of a technical and mental craft. In particular, this point is clear in the knife cuts and quality of his collage works. Cracks and commissure look almost irrelevant in images, yet they provide new contents and depth to the image. In other words, it can be put in this way: he makes viewers contemplate the images with an aesthetic distance. His swiftness and boldness, which make his works look like they were done at a stroke, deserve our attention. All in all, it is about breathing and about mentality. Technical skills lie on the same line. Fortunately, he is a great artist. The fact that he is accumulating maturity and enrichment of his skills is obviously demonstrated in his recent works. Speaking about a masterly authenticity, what matters most is swiftness and concentration, which dazzle viewers so that they almost believe that the work was dashed off by the artist with one stroke of brush. Such a feeling about his works reminds us of precious things.
Ahn¡¯s true color as a producer and a master might be related to the fact that he has obtained the habit and wisdom to embrace incompatibility while he oscillates between wetness and dryness. This wisdom could be the true secret that enabled him to outgrow his former self of ¡°fishy immaturity¡±, casting off his not-so-cool side. In Ahn¡¯s world, wet things and dry things coexist. The oscillatory movement between wetness and dryness has played a role as a moving force behind the growth and self-expansion of his world, which is analogous to human life in that a person breaths and grows up in an alternating wet and dry days. While wetness implies fishiness, resistance, grief, etc., dryness stands for crispy sunshine, leisure, breathing, and most importantly, neutrality. When carefully observing Ahn, sometimes he seems to be enjoying his splendid skills as a graphic artist in a neutral and leisurely manner, as if doing a warm-up. These moments are actually very important for him since they might provide a secret key to his survival as an artist and his self-expansion.
Since 1976, Ahn Chang Hong has exhibited in twenty-four solo shows and several foreign and domestic group exhibitions. For example, he participated in the 1997, 2000, and 2002 Kwangju Biennales, the 2003 Beijing Biennale, the 2004 Pusan Biennale;, Rehabilitation of Korean Contemporary Painting (National Museum of Contemporary Art, Seoul, 2001), Seoul International Photography Festival (Seoul, 2006), Special Exhibition for 100th Anniversary of Korean Contemporary Art (National Museum of Contemporary Art, Seoul, 2006);¡°), ¡°You Are My Sun¡± (Total Gallery, Seoul, 2006), ) and ¡°Spring Is Gone¡± (Kwangju Museum of Art, 2008).
Ahn was has been awarded the Special Judge¡¯s Prize of Judge in the 1989 Cagnes International Fine Art Competition (France), the Bongseng Culture Award (Pusan, Korea), and the Bu-Il Art Prize (Pusan, Korea). A book by an art critic Choi Tae Man, The bloom of youth shining in the dark (The Eye Light, 1997) analyzes Ahn¡¯s works.
¡× °³ÀÎÀü ¡×
1981 Á¦ 1ȸ ¾ÈâȫÀÛǰÀü (°ø°£È¶û/ºÎ»ê,û³âÀÛ°¡È¸°ü/¼¿ï )
1984 Á¦ 2ȸ ¾ÈâȫÀÛǰÀü (°í·Á¹Ì¼ú°ü/ºÎ»ê)
1986 Á¦ 3ȸ ¾ÈâȫÀÛǰÀü (ÇѰ¹Ì¼ú°ü/¼¿ï,»çÀÎȶû/ºÎ»ê)
1987 Á¦ 4ȸ ¾ÈâȫÀÛǰÀü-»õ¿Í »ç¶÷À̾߱â (°¶·¯¸® ´©º¸/ºÎ»ê)
1989 Á¦ 5ȸ ¾ÈâȫÃÊ´ëÀü (¿Â´Ù¶ó¹Ì¼ú°ü ÃÊ´ë/ÀüÁÖ)
1991 Á¦ 6ȸ ¾ÈâȫÃÊ´ëÀü (¸ÆÈ¶û/ºÎ»ê)
1991 Á¦ 7ȸ ¾ÈâȫÃÊ´ëÀü (»ùÅÍȶû/¼¿ï)
1993 Á¦ 8ȸ ¾ÈâȫÃÊ´ëÀü (±ÝÈ£¹Ì¼ú°ü/¼¿ï)
1994 Á¦ 9ȸ ¾ÈâȫÀÛǰÀü (°¶·¯¸®¾Æ ¾ÆÆ®È¦ ÃÊ´ë/¼¿ï,°¶·¯¸® ´©º¸/ºÎ»ê)
1995 Á¦10ȸ ¾ÈâȫÀÛǰÀü (À̸ñȶû ÃÊ´ë/¼¿ï)
1995 Á¦11ȸ ¾ÈâȫÀÛǰÀü (³ª¹«È¶û ÃÊ´ë/¼¿ï)
1995 Á¦12ȸ ¾ÈâȫÀÛǰÀü (±×¸²½Ãȶû ÃÊ´ë/¼ö¿ø)
1997 Á¦13ȸ ¾ÈâȫÀÛǰÀü (Àü°æ¼÷ °¶·¯¸®,N/C °¶·¯¸® ÃÊ´ë/ºÎ»ê)
1998 Á¦14ȸ ¾Èâȫ ½ÅÀÛÀü (°ø°£È¶û ÃÊ´ë/ºÎ»ê)
1999 Á¦15ȸ ¾Èâȫ ÀÛǰÀü (³ëȶû.°¶·¯¸® »çºñ³ª ÃÊ´ë/¼¿ï)
2000 Á¦16ȸ ¾Èâȫ ÀÛǰÀü (°¶·¯¸® ±×¸²½Ã ÃÊ´ë/¼ö¿ø)
2000 Á¦17ȸ ¾ÈâȫÀÛǰÀü (³²»êȶû ÃÊ´ë/ºÎ»ê)
2001 Á¦18ȸ ¾Èâȫ ÀÛǰÀü "¸ð·¡¹Ù¶÷-°íºñ»ç¸· °¡´Â±æ" (À̸ñȶû ÃÊ´ë/¼¿ï)
2002 Á¦19ȸ ¾Èâȫ ÀÛǰÀü (»çºñ³ª ¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
2003 Á¦20ȸ Á¦1ȸ ºÎÀÏ ¹Ì¼ú´ë»ó ¼ö»ó ±â³äÀü (ÄÚ¸®¾Æ ¾ÆÆ® °¶·¯¸®/ºÎ»ê)
2003 Á¦21ȸ ¾Èâȫ ÀÛǰÀü "¾ÈâȫÀÇ Àεµ ¿©Çà±â" (°ø°£È¶ûÃÊ´ë/ºÎ»ê)
2004 Á¦22ȸ ¾Èâȫ ÀÛǰÀü (°ø°£È¶û ÃÊ´ë/ºÎ»ê)
2006 Á¦23ȸ ¾Èâȫ ÀÛǰÀü (»çºñ³ª ¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
2006 Á¦24ȸ ¾Èâȫ °³ÀÎÀü( °ø°£È¶ûÃÊ´ë/ºÎ»ê)
2009 Á¦25ȸ ¾Èâȫ ÀÛǰÀü -½Ã´ëÀÇ ÃÊ»ó- (½Ã¸³¹Ì¼ú°ü ±âȹ/ºÎ»ê)
2009 Á¦26ȸ ¾Èâȫ ÀÛǰÀü -Èæ¹é°Å¿ï-(»çºñ³ª ¹Ì¼ú°ü ÃÊÀç/ ¼¿ï)
2010 ........ Á¦10ȸ ÀÌÀμº ¹Ì¼ú»ó ¼ö»óÀÚ ÃÊ´ëÀü(¹®È¿¹¼úȸ°ü ´Þ±¸¹ú Ȧ/ ´ë±¸)
2011 Á¦27ȸ ¾Èâȫ ÀÛǰÀü -ºÒÆíÇÑ Áø½Ç- (°¡³ªÈ¶û ÃÊ´ë/ ¼¿ï)
2011 Á¦28ȸ ¾Èâȫ ÀÛǰÀü - Àεµ ¿©ÇེÄÉÄ¡-(°ø°£È¶û/ ºÎ»ê)
2012 Á¦29ȸ ¾Èâȫ ÀÛÃãÀü - Äí¸®¿¡¼ °íºñ±îÁö (°¶·¯¸® ·è½º/ ¼¿ï)
2012 Á¦30ȸ ¾Èâȫ ÀÛǰÀü '¾Æ¸®¶û' (ÆäÀÌÁö °¶·¯¸®/¼¿ï)
2013 Á¦31ȸ ¾Èâȫ ÀÛǰÀü '¹ß°ß' (´ë¾È°ø°£ ·çÇÁ/¼¿ï)
2013 Á¦32ȸ 25ȸ ÀÌÁß¼· ¹Ì¼ú»ó ¼ö»ó ±â³ä ¾Èâȫ ÀÛǰÀü(Á¶¼±ÀϺ¸ ¹Ì¼ú°ü/¼¿ï)
2014 Á¦33ȸ ¾Èâȫ ÀÛǰÀü 'atthe garden'(ÆäÀÌÁö °¶·¯¸®/¼¿ï)
2015 Á¦34ȸ ¾Èâȫ ÀÛǰÀü ' ¾ß¸¸ÀÇ ½Ã´ë(¾Æ¶ó¸®¿À °¶·¯¸®/õ¾È)
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1989 Á¦21ȸ Ä«´º±¹Á¦È¸ÈÁ¦ ½É»çÀ§¿ø Ưº°»ó ¼ö»ó(Ä«´º/ÇÁ¶û½º)
2000 Á¦10ȸ ºÀ»ý¹®È»ó Àü½ÃºÎºÐ ¼ö»ó(ºÀ»ý ¹®ÈÀç´Ü/ºÎ»ê)
2001 Á¦1ȸ ºÎÀÏ ¹Ì¼ú ´ë»ó ¼ö»ó(ºÎ»ê ÀϺ¸»ç/ºÎ»ê)
2009 Á¦10ȸ ÀÌÀμº ¹Ì¼ú»ó ¼ö»ó(´ë±¸½Ã)
2013 Á¦25ȸ ÀÌÁß¼·¹Ì¼ú»ó ¼ö»ó
¡× ±×·ìÀü ¡×
1976 ¾Èâȫ,Á¤º¹¼ö 2ÀÎÀü (Çö´ëȶû/ºÎ»ê)
1977-81 Á¦1ȸ-Á¦5ȸ POINTÇö´ë¹Ì¼úȸÀü (ºÎ»ê/¿ï»ê/¼¿ï)
1977-79 Á¦1-2ȸ ±â·ùÀü (ºÎ»ê)
1978 ±¹Á¦È¶û°³°ü±â³äÀü (±¹Á¦È¶û/ºÎ»ê)
1978 Á¦2ȸ ºÎ»êÇö´ë¹Ì¼úÁ¦ (½Ã¹Îȸ°ü/ºÎ»ê)
1978 Á¦4ȸ ´ë±¸Çö´ë¹Ì¼úÁ¦ (½Ã¹Îȸ°ü/´ë±¸)
1979-81 Á¦8ȸ-15ȸ Çѱ¹¹Ì¼ú û³âÀÛ°¡È¸Àü (¼¿ï/Ãáõ/´ë±¸/Á¦ÁÖ)
1979 36ÀÎÀÇ ¹æ¹ýÀü (¹Ì¼úȸ°ü/¼¿ï)
1980 Çö´ë¹Ì¼ú 21ÀÎÀÇ ÃÊ´ëÀü (±¹Á¦È¶û/ºÎ»ê)
1980 µ¿¹æ¹Ì¼úȸ°ü °³°ü±â³äÀü (µ¿¹æ¹Ì¼úȸ°ü/ºÎ»ê)
1980 18ÀÎÀÇ È¸ÈÀü (û³âÀÛ°¡È¸°ü/¼¿ï)
1980 Àü½Ãȶû±âȹ 15ÀÎ ÃÊ´ëÀü (Àü½Ãȶû/Á¦ÁÖ)
1980 È¸È 15ÀÎÀü (¾î¸°ÀÌȸ°ü ÃÊ´ë/Ãáõ)
1981 ºÎ»êû³âºñ¿£³¯·¹ (°ø°£È¶û/ºÎ»ê)
1982 »óȲ°ú ÀÎ½Ä È¸ÈÀü (Çö´ëȶû/ºÎ»ê)
1982 Çѱ¹Çö´ë¹Ì¼ú 80³â´ë Á¶¸ÁÀü (¹Ì¼úȸ°ü/¼¿ï)
1982 ±èÀÀ±â¡¤¾Èâȫ 2ÀÎÀü (»çÀÎȶû/ºÎ»ê)
1982 Àΰ£ 11ÀÎÀü (°üÈÆ¹Ì¼ú°ü/¼¿ï)
1983 Á¦1ȸ ½Ã´ëÁ¤½ÅÀü (Á¦3¹Ì¼ú°ú/¼¿ï)
1983 Çö½Ç°ú ¹ß¾ð µ¿ÀÎÀü (°üÈÆ¹Ì¼ú°ü/¼¿ï)
1983 '¼¿ïÀÇ º½'¼¿ï¹Ì¼ú°üÀÇ ÀÛ°¡Àü (¼¿ï¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1983 ÀþÀº ÀǽÄÀü (°üÈÆ¹Ì¼ú°ü/¼¿ï)
1984 »îÀÇ ¹Ì¼úÀü (¾Æ¶ø¹Ì¼ú°ü/¼¿ï)
1984 '83 ¹®Á¦ÀÛ°¡Àü (¼¿ï¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1984 ÇØ¹æ 40³â ¿ª»çÀü (ºÎ»ê¡¤¼¿ï¡¤±¤ÁÖ)
1984 Çö½Ç°ú ¹ß¾ð µ¿ÀÎÀü (¾Æ¶ø¹Ì¼ú°ü/¼¿ï)
1984 Àΰ£Àü (¹Ì¼úȸ°ü/¼¿ï)
1984 Á¦2ȸ ½Ã´ëÁ¤½ÅÀü (ºÎ»ê/¸¶»ê/¼¿ï)
1985 ¾î¶² Á¤½ÅµéÀü (ÇѰ¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1985 ¼¿ï¹Ì¼ú°ü °³°ü 4Áֳ⠱â³äÀü (¼¿ï¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1985 Àΰ£Àü (¼±È¶û/¼¿ï)
1986 ¿ì¸®½Ã´ëÀÇ ÃÊ»óÀü (ÇѰ¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1986 Àΰ£Àü (µ¿´ö¹Ì¼ú°ü/¼¿ï)
1986 Çö½Ç°ú ¹ß¾ðÀü (±×¸²¸¶´ç ¹Î/¼¿ï)
1987 ¹Ý°í¹®Àü (±×¸²¸¶´ç ¹Î ÃÊ´ë/¼¿ï)
1987 ÇöÁ¸½Ã°¢Àü(»çÀÎȶû ÃÊ´ë/ºÎ»ê)
1988 Çѱ¹¹Ì¼úÀÇ À§»óÀü (ÇѰ¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1990 ȶû¹Ì¼úÁ¦ (È£¾Ï¹Ì¼ú°ü/°ø°£È¶û ÃÊ´ë)
1991 û´ã¹Ì¼úÁ¦ (»ùÅÍȶû ÃÊ´ë/¼¿ï)
1991 Àΰ£Àü (¾Æ¹Ìȶû ÃÊ´ë, ¼¿ï)
1991 "°¥µî°ú ´ë°áÀÇ ½Ã´ë"ȯ¿ø¹Ì¼ú°ü °³°ü±â³ä ÃÊ´ëÀü (ȯ¿ø¹Ì¼ú°ü ÃÊ´ë/ ¼¿ï)
1992 90³â´ë ¿ì¸®¹Ì¼úÀÇ ´Ü¸éÀü (¿ì¸®¹Ì¼ú¹®È¿¬±¸¼Ò ÃÊ´ë/¼¿ï)
1992 ¿À´ÃÀÇ »î, ¿À´ÃÀÇ ¹Ì¼ú-¹«Àǽİú ¿å¸Á (±ÝÈ£¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1992 ¹ÎÁß´ëÅë·É ÈÄ¿øÀ» À§ÇÑ ±â±Ý ¸¶·ÃÀü (±×¸²¸¶´ç ¹Î ÃÊ´ë,/¼¿ï)
1992 ±¸»ó¹Ì¼úÀÇ ¿À´Ã - ²Þ°ú Çö½ÇÀÇ ´ë°á (Çö´ë¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1992 ±¸»óȸÈÀÇ ÀçÁ¶¸í-dzÀÚÈ ±× ÇØ¼®ÀÇ ¼Ò¸® (Çö´ë¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1993 »î°ú ¿À´ÃÀÇ Ç³°æ (¸¶´ãÆ÷¶ó¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1993 93 Çѱ¹Çö´ë¹Ì¼úÀÇ ²É (±×¸²¸¶´ç ¹Î ÃÊ´ë/¼¿ï)
1994 ¹ÎÁ߹̼ú15³âÀü (±¹¸³Çö´ë¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1994 ´ÀƼ³ª¹« ¾Æ·¡ÀÇ ¿Á¤ (¸¶´ãÆ÷¶ó¹Ì¼ú°ü ÃÊ´ë)
1994 Çѱ¹Çö´ë¹Ì¼ú 27ÀÎÀÇ ¾ÆÆ÷¸®ÁòÀü (¿ùµåȶû ÃÊ´ë/ºÎ»ê)
1994 ÀÚÁ¸ÀÇ ±æ (±ÝÈ£¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1995 È»ó 10³âÀÇ ´«.ȶû¹Ì¼úÁ¦Æ¯º°Àü ÃÊ´ë (ÇѰ¡¶÷¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1995 ÇØ¹æ 50³â ¿ª»çÀü (ÇѰ¡¶÷¹Ì¼ú°ü/¼¿ï)
1995 Çö´ë¾ÆÆ®È¦ °³°ü±â³ä ÃÊ´ëÀü (Çö´ë¾ÆÆ®È¦/ºÎ»ê)
1995 ÀÛÀº±×¸²Àü (Á¶Çöȶû ÃÊ´ë/ºÎ»ê)
1995 ÀÚÈ»óÀü (½ºÆäÀ̽º¿ùµå ÃÊ´ë/ºÎ»ê)
1995 ºÎ»ê»ç¶÷Àü (ûȶû ÃÊ´ë/¼¿ï)
1995 3ÀÎÀÇ È¸ÈÀü (³²»êȶû ÃÊ´ë/ºÎ»ê)
1996 ¹ãÀÇ Ç³°æÀü (°¶·¯¸® »çºñ³ª ÃÊ´ë/¼¿ï)
1996 ÀÒ¾î¹ö¸° Á¦±¹À» ã¾Æ¼-½ÇÅ©·Îµå ¹Ì¼ú±âÇà (µ¿¾Æ°¶·¯¸® ÃÊ´ë/¼¿ï)
1997 ¹Ì¼ú°ü¿¡ ³ÑÄ¡´Â À¯¸Ó (¼º°î¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1997 Çö´ë¹Ì¼ú '97Àü (±¹¸³Çö´ë¹Ì¼ú°ü ÃÊ´ë/¼¿ï)
1997 ±¤ÁÖ ºñ¿£³¯·¹ Ưº°Àü (½Ã¸³¹Ì¼ú°ü ÃÊ´ë/±¤ÁÖ)
1998 ´º¿å ¾ÆÆ®Æä¾î Jacod K.Javits. ÄÁº¥¼Ç ¼¾ÅÍ (»çºñ³ªÈ¶û ÃÊ´ë/´º¿å)
1998 BODY in Painting (ÇѸ²¹Ì¼ú°ü ÃÊ´ë/´ëÀü)
1998 Çö´ë illusartÀü (°¶·¯¸® ¿ì´öÃÊ´ë/ ¼¿ï)
1998 ÀÔ ¸ÂÃã Àü (°¶·¯¸® »çºñ³ª ÃÊ´ë /¼¿ï)
1998 ºÎ»ê¹Ì¼úÀçÁ¶¸íÀü (ºÎ»ê½Ã¸³¹Ì¼ú°üÃÊ´ë/ºÎ»ê)
1998 dzÀÚ¿Í ÇØÇÐ (µ¿¾Æ°¶·¯¸®/¼¿ï)
1998 â-¾È°ú ¹Û (±¤ÁÖ ½Ã¸³¹Ì¼ú°ü ÃÊ´ë/±¤ÁÖ)
2000 ±¤ÁÖºñ¿£³¯·¹ Ưº°Àü-Àΰ£°ú¼º(½Ã¸³¹Ì¼ú°ü/±¤ÁÖ)
2001 "³ë ÄÆ"Àü (°¶·¯¸® »çºñ³ª/¼¿ï)
2001 ¿©ÀÎÀÇ Çâ±â (°¶·¯¸® ¿ì´ö/¼¿ï)
2001 "°¡ Á·"Àü (½Ã¸³¹Ì¼ú°ü/¼¿ï)
2001 Çѱ¹¹Ì¼ú2001; Çö´ë ȸÈÀÇ º¹±Ç (±¹¸³ Çö´ë ¹Ì¼ú°ü/¼¿ï)
2002 ÇÑ.Áß 2002»õ·Î¿î Ç¥Á¤ (¿¹¼úÀÇ Àü´ç/¼¿ï)
2002 "THE DOG" (»çºñ³ª ¹Ì¼ú°ü/¼¿ï)
2002 ºÎ»ê ±¹Á¦ ¾ÆÆ®Æä¾î (ÄÁº¥¼Ç ¼¾ÅÍ/ºÎ»ê)
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2003 enrgyÀü(ÇÁ·ÎÁ§Æ® ½ºÆäÀ̽ºÁý/¼¿ï)
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2005 »ç¶÷,Áý,°¡Á·Àü(Á¦ºñ¿ï ¹Ì¼ú°ü/°úõ)
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2005 ¹ø¿ª¿¡ ÀúÇ×ÇÑ´Ù(ÅäÅ» ¹Ì¼ú°ü/¼¿ï)
2006 °ß°ø½Ã´ë (EBS space/¼¿ï)
2006 ßÌßÀÀÇ Èû °í·Á´ëÇб³ °³±³101Áֳ⠱â³ä Á¦ 47ȸƯº°Àü(°í·Á´ëÇб³ ¹Ú¹°°ü/¼¿ï)
2006 °¶·¯¸® ´« °³°ü ±â³äÀü( °¶·¯¸® ´« /¼¿ï)
2006 Çѱ¹ Çö´ë¹Ì¼ú 100³âÀü (±¹¸³ Çö´ë ¹Ì¼ú°ü/¼¿ï)
2006 »çÁøÀÇ ²®Áú , ȸÈÀÇ ÇǺÎ(°Ö·¯¸® now/ ¼¿ï)
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2007 ±×¸²º¸´Â¹ý (»çºñ³ª ¹Ì¼ú°ü/¼¿ï)
2007 °¨¿°µÈ Àι° (´ë¿ø°Ö·¯¸® °³°ü ±â³äÀü/¼¿ï)
2007 ¾Èâȫ Á¤º¹¼ö,¶Ë°ú âÀÚ ±×¸®°í ÀÚÁ¸°ú ÇØ¹æ(¾ÆÆ®½ÎÀÌµå ±âȹÀü/¼¿ï)
2007 Çѱ¹¹Ì¼úÀÇ ¸®¾ó¸®Áò-¹ÎÁßÀÇ °íµ¿(¹Ý´ÙÁö¾Æ,ÈÄÄí¿ÀÄ«,¹Ì¾ßÄÚÁÒ³ë½Ã¸³¹Ì¼ú°üµî 5°³¹Ì¼ú°ü¼øÈ¸Àü/ÀϺ»)
2008 º½³¯Àº °£´Ù(½Ã¸³¹Ì¼ú°ü/±¤ÁÖ)
2009 ±«¹°½Ã´ë(½Ã¸³¹Ì¼ú°ü /¼¿ï)
2009 ¾Èâȫ, ±èÁ¤¿íÀü(°Ö·¯¸® ½ºÄÉÀÌÇÁ/ ¼¿ï)
2009 Àΰ£ÀÇ °Å¿ï- The Head (Å´½º¾ÆÆ® ÇÊµå ¹Ì¼ú°ü/ºÎ»ê)
2010 ¾Ï½ºÅÚ´ã ¾ÆÆ®Æä¾î (³×µ¨¶õµå ¾Ï½ºÅÚ´ã)
2010 ¿¹¼ú°¡¿Í °¡Á· (´ëÀü ½Ã¸³ ¹Ì¼ú°ü)
2011 ½Ã´ëÀÇ °Å¿ï, ÃÊ»óî÷( ºÏÃÌ ¹Ì¼ú°ü/ ¼¿ï)
2011 Visible. Invisble./º¸ÀÌ´Â, º¸ÀÌÁö¾Ê´Â(°¶·¯¸® ·Î¾â/¼¿ï)
2011 ÄÚ¸®¾È ·¦¼Òµð ¿ª»ç¿Í ±â¾ïÀÇ ¸ùŸÁÖ (»ï¼º ¹Ì¼ú°üleeum/¼¿ï)
201 High Times, Hard Times ; °´°üÈ Çϱâ î÷(ÀÎÅÍ ¾Ë¸®¾Æ/ ¼¿ï)
2012 ̳ìÑñýäñ(ARTSIDE °¶·¯¸®/¼¿ï)
2012 mapping the gray (zandari gallery /seoul)
2013 »ç¶÷¾Æ!»ç¶÷¾Æ! ½ÅÇÐö, ¾Èâȫ 2ÀÎÀü(°æ±âµµ¸³¹Ì¼ú°ü/°æ±âµµ)
2013 'ÅÚ·¹-ºñ'Àü (Çö´ëȶû/¼¿ï)
2016 '³¸¼±¾ó±¼' °°æ±¸,±è³ª¸®,¾Èâȫ 3ÀÎÀü(°¶·¯¸® ·è½º/¼¿ï)
2017 'Æ®¶óÀ̾ޱÛ"'(¾ÆÆ®»çŸÞ °¶·¯¸®/¼¿ï)
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ÀÛ¾÷½Ç ÁÖ¼Ò : °æ±âµµ ¾çÆò±º ´Ü¿ù¸é »ï°¡¸®49-4
¡× PROFILE ¡×
1953 Born in Milyang
Solo Exhibition
1981 The 1st An Chang-hong Exhibition (Busan, Young Artist Center, Seoul)
1984 The 2nd An Chang-hong Exhibition (Korea Museum of Art, Busan)
1986 The 3rd An Chang-hong Exhibition (Hangang Gallery, Seoul, Sain Gallery, Busau)
1987 The 4th An Chang-hong Exhibition- The Story of Birds and Man (Gallery Novo, Busan)
1989 The 5th An Chang-hong (Ondara Museum of Art, Jeonju)
1991 The 6th An Chang-hong Exhibiton (Mac Gallery, Busan), The 7th An Chang-hong Exhibition
(Saetoe gAllery, Seoul)
1993 The 8th An Chang-hong Exhibition (Gumho Museum of Art, Seoul)
1994 The 9th An Chang-hong Exhibitoin (Gallery Art Hall, Gallery Noveau, Busan)
1995 The 10th An Chang-hong Exhibition (Imok Gallery, Seoul), The 11the An Chang-hong Exhibition (Namu Gallery, Seoul)
1995 The 12th An Chang-hong's Work Exhibition (Inviting of the Picture and Poetry Gallery, Suwon)
1997 The 13th An Chang-hong Exhibition (Jeon Gyeong-suk Gallery, N¡¤C Gallery, Busan)
1998 The 14th An Chang-hong Exhibition (Gonggan Gallery, Busan)
1999 The 15th An Chang-hong Exhibition (No Gallery, Sabina Gallery, Seoul, Gonggan Gallery, Busan)
Group Exhibition
1991 Human Being Exhibition (Ami Gallery, Seoul)
1992 Sectional Exhibition of Korean Fine Art in 90s (Invited by Uri Art Study, Seoul)
Fund Preparation Exhibition for Sponsoring Popular President (Invitation of Picture Yard, Seoul),
1993 Life and Today's Landscape (Madampola Gallery Opening Exhibition, Seoul)
1994 Minjung Art 15 Years Exhibitioon (National Museum of Contemporary Arts, Seoul)/Passion Under
the Zelkova (Madampola Gallery)/Road to Self-Respect (Invitation of Gumho Museum of Art, Seoul)
1995 The Picture Dealer's Eyes with 10 years ¡¤Invitation in the Special Exhibition of Gallery Art Festival (Invitation of Hangaram Arts Hall, Seoul)
1996 The Exhibition of the View of a Night (the Invitation Sabina Gallery, Seoul)
1997 [The Humour to Overflow at the Arts Hall] (Invitation of Seonggok Arts Hall, Seoul)
97 Contemporary Art Exhibition (Invitation of National Museum of Contemporary Arts, Korea, Seoul)
1998 [A Satire and humor] (Donga Gallery, Seoul)
1999 Body in Painting (Hanrim Museum of Art, Daejeon)
1999 [Window -the Inside and the Outside] (Gwangju Municipal Art Hall)
2000 Gwangju Biennale Special Exhibition (Human Being and Sex) (Gwangju Municipal Museum of Art)
2000 Busan International Art Festival (Busan Culture Center) and a large of Group Exhibition
2001 18th Ahn Chang Hong solo show "wind of sand-passage to Gobi dessert"
(organized by the gallery "I Mok" /Seoul)
2002 19th Ahn Chang Hong solo show(gallery 'Sabina' , 'Noh' /Seoul)
2003 20th Awarded Exhibition by the The Busan Il Bo(News paper)
(Korea art gallery/Busan)
2003 21st Ahn Chang Hong solo show "A record of Ahn Chang Hong's travel to India "
(organized by the gallery 'KongGan'/Busan)
2004 22nd Ahn Chang Hong solo show ¡°The collection of death ¡±
(organized by the gallery 'Sabina'/Seoul)
2006 23rd Ahn Chang Hong solo show ¡°Face¡±
(organized by the gallery 'Sabina'/Seoul))
major group show
1998 BODY in Painting (Hal Lim art museum/Dae Jeon)
2000 The Gwang Ju Biennale GwangJu art Museumt/GwangJu)
2001 "THe Family" (Seoul City Art Museum/Seoul)
2001 2001Korean Art ; "Rehabilitation of contemporary painting"
(National Museum of Modern Art/Seoul)
2002 "Korea.China 2002, The New look" (Seoul Arts Center/Seoul)
2002 The Gwang Ju Biennale project3-a suspended sentence (8.15citizen's park/Gwang ju)
2003 1st Peking Biennale (China/Peking )
2003 "drawing Painting- presentation of mixture painting"
(Young Eun Art Museum/Kyeongkido)
2004 "A record of Ahn Chang Hong's travel to the Greece"(organized by the gallery 'Sabina'/Seoul)
2004 The Busan Biennale( Busan Museum of Modern Art/Busan)
2005 "Resisting on to the Translation"(Total Art museum/Seoul)
2006 The power of imagination The special exhibition, Commemoration of 101Anniversary of Korea Uni.(Korea museum/Seoul)
2006 seoul international potogaphy festival 2006 ( kanhoun gellery/seoul)
Reference book
Choi Tae Man ¡ºthe bloom of youth that shining in the dark-panting era of Ahn Chang Hong: ¡ºThe eye light ¡»1997.
Awards
1989 Awarded Special Prize of Judge in the Cagne International Fine Art Competition (France)
Address : Workshop 49 Samga-ri, Danwal-myoen, Yangpyeong-gun, Gyeonggi-do
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