Discover Masterpieces Born in Times of War and Violence at Frieze Seoul 2024

Frieze Masters returns to Frieze Seoul 2024 with a unique perspective on thousands of years of art history. Steered by Nathan Clements-Gillespie (Director, Frieze Masters), the section is now in its third year and spans collectable objects, significant Old Masters and 20th-century icons.  

A prominent theme of this year’s Frieze Masters in Seoul is the global history of war and violence. Across eras and geographies, the featured artists demonstrate how times of turbulence have given rise to major cultural movements, including Abstract Expressionism and technical revolutions in the classic medium of ink on paper. Highlights include monochrome works by Jackson Pollock, Niki de Saint Phalle’s renowned ‘Nana’ sculptures, ink drawings by Liu Kuo-Sung and an 18th-century porcelain moon jar.

The dislocation of artists from Asia to the West after World War II positioned them as instruments of cultural translation. Their detachment enabled them to reconnect with their root cultures. Known as the father of Chinese contemporary ink art, Liu Kuo-Sung's (1932–) reinvention of the use of ink, brush and textures revolutionized the traditional medium. Meanwhile, Wesley Tongson (1957–2012) combined classical ink traditions with Western pictorial abstraction. (Galerie du Monde, Hong Kong, Frieze Masters Section)  

Kim Young-Jin (1946–) and Kwak Hoon (1941–) emerged in the aftermath of the Korean War to rethink Korean Buddhist identity through the lens of modern experimental expression. Kim and Kwak navigate themes of heritage, history and human experiences with a resilient and avant-garde creative drive. While Kwak’s 1980s paintings depict traditional objects in repetition, Kim’s installations from the 2000s exemplify his ongoing exploration of Buddhism and shamanism, recently featured in the exhibition ‘Only the Young: Experimental Art in Korea, 1960s–1970s’ at The Guggenheim Museum, New York. (Gallery Shilla, Daegu and Seoul, Frieze Masters Section)

In Korea, the latter half of 20th century also saw the re-evaluation of Joseon porcelain from the 18th century, colloquially known as ‘moon jars’. This minimal, white vessel is the product of times of both war and peace during the Joseon dynasty: unable to secure their cobalt supply during the Japanese invasion (1592–98) and Manchu invasions (1636–37), porcelain artists developed the monochrome vessel as a unique alternative. As the peninsula recovered from periods of turbulence, so did its ceramic art, reaching new heights during the 18th century, and inspiring modern Korean artists, such as Kim Whanki (1913–74). (Hakgojae Gallery, Seoul, Frieze Masters Section)    

Shifting continents, ACA Galleries presents paintings and works on paper from the New York School of Abstract Expressionists and the American Abstract Artists from the 1930s to ’80s. Abstract Expressionism, particularly Jackson Pollock’s (1912–56) practice, is now positioned in opposition to the Socialist Realism that accompanied the nascency of the Cold War. Featured artists also include Sam Francis (1923–94), who served in the United States Air Force during World War II and became interested in painting when he was hospitalized for spinal tuberculosis. (ACA Galleries, New York, Frieze Masters Section)  

Niki de Saint Phalle’s (1930–2002) imposing and corpulent figures, fondly referred to as ‘Nanas’, are a testimony to her naive yet insightful aesthetics. These iconic sculptures evolved from de Saint Phalle’s early, violent series of work entitled ‘Tirs’, for which she shot her assemblages with rifles, pistols and cannons. Associated with the second wave of feminism of the late 1960s, de Saint Phalle’s work addresses a duality in female experience. (Galerie Mitterrand, Paris, Frieze Masters Section)

Further Information

Frieze Seoul, COEX, 4 – 7 September 2024.  

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A dedicated online Frieze Viewing Room opens in the week before the fair, offering audiences a first look at the presentations and the ability to engage with the fair remotely.  

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^{Main Image: Liu Kuo-Sung, The Thawing Snow Mountains, 2009. Ink and color on paper, 94 × 186 cm. Courtesy: the artist and gdm Hong Kong}