By Chong Doryun
Chong Doryun, 2025
ΠΠ°ΡΠ°Π»ΠΎΠ³ Β«ΠΠΈΠΊΠ°ΡΡΠΎ/ΠΠ·ΠΈΡ: Π Π°Π·Π³ΠΎΠ²ΠΎΡΒ» ΡΠΎΠΏΡΠΎΠ²ΠΎΠΆΠ΄Π°Π΅Ρ ΠΌΠ°ΡΡΡΠ°Π±Π½ΡΡ Π²ΡΡΡΠ°Π²ΠΊΡ Π² Π³ΠΎΠ½ΠΊΠΎΠ½Π³ΡΠΊΠΎΠΌ ΠΌΡΠ·Π΅Π΅ M+ ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ Π½ΠΎΠ²ΡΠΉ Π²Π·Π³Π»ΡΠ΄ Π½Π° ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ ΠΠ°Π±Π»ΠΎ ΠΠΈΠΊΠ°ΡΡΠΎ Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ Π°Π·ΠΈΠ°ΡΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ·Π΄Π°Π½ΠΈΠ΅ ΠΈΡΡΠ»Π΅Π΄ΡΠ΅Ρ, ΠΊΠ°ΠΊ ΡΠ°Π±ΠΎΡΡ ΠΠΈΠΊΠ°ΡΡΠΎ, ΠΊΠ»ΡΡΠ΅Π²ΠΎΠΉ ΡΠΈΠ³ΡΡΡ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·ΠΌΠ°, ΠΏΠ΅ΡΠ΅ΠΊΠ»ΠΈΠΊΠ°ΡΡΡΡ Ρ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡΠΌΠΈ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² ΠΈΠ· ΠΠ·ΠΈΠΈ ΠΈ Π°Π·ΠΈΠ°ΡΡΠΊΠΎΠΉ Π΄ΠΈΠ°ΡΠΏΠΎΡΡ. ΠΠ½ΠΈΠ³Π° ΡΡΠ°Π²ΠΈΡ Π²ΠΎΠΏΡΠΎΡΡ ΠΎ Π²ΠΎΡΠΏΡΠΈΡΡΠΈΠΈ ΠΠΈΠΊΠ°ΡΡΠΎ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΠΌΠΈΡΠ΅ ΠΈ Π΅Π³ΠΎ Π²Π»ΠΈΡΠ½ΠΈΠΈ Π½Π° Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ², ΡΠ°Π±ΠΎΡΠ°ΡΡΠΈΡ Π² ΡΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎ ΠΈΠ½ΡΡ ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ ΡΡΠ»ΠΎΠ²ΠΈΡΡ .
Π ΡΠ΅Π½ΡΡΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΡ β ΡΠΎΠΏΠΎΡΡΠ°Π²Π»Π΅Π½ΠΈΠ΅ Π±ΠΎΠ»Π΅Π΅ ΡΠ΅ΡΡΠΈΠ΄Π΅ΡΡΡΠΈ ΡΠ΅Π΄Π΅Π²ΡΠΎΠ² ΠΠΈΠΊΠ°ΡΡΠΎ Ρ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡΠΌΠΈ ΠΈΠ· ΠΊΠΎΠ»Π»Π΅ΠΊΡΠΈΠΈ M+, ΡΡΠΎ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ Π²ΡΡΠ²ΠΈΡΡ ΡΠΎΡΠΊΠΈ ΡΠΎΠΏΡΠΈΠΊΠΎΡΠ½ΠΎΠ²Π΅Π½ΠΈΡ ΠΈ ΡΠ°Π·Π»ΠΈΡΠΈΡ Π² ΠΏΠΎΠ΄Ρ ΠΎΠ΄Π°Ρ ΠΊ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Ρ. ΠΠ½ΠΈΠ³Π° ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅Ρ ΠΆΠΈΠ·Π½Ρ ΠΈ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ ΠΠΈΠΊΠ°ΡΡΠΎ ΡΠ΅ΡΠ΅Π· ΠΏΡΠΈΠ·ΠΌΡ Π°ΡΡ Π΅ΡΠΈΠΏΠΎΠ²: Π³Π΅Π½ΠΈΡ, Π°ΡΡΡΠ°ΠΉΠ΄Π΅ΡΠ°, ΠΌΠ°Π³Π° ΠΈ ΡΡΠ΅Π½ΠΈΠΊΠ°, ΠΏΠΎΡΡΠΎΡΠ½Π½ΠΎ ΠΈΠ·ΡΡΠ°ΡΡΠ΅Π³ΠΎ ΠΈΡΡΠΎΡΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ°ΡΠ°Π»Π»Π΅Π»ΡΠ½ΠΎ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ, ΠΊΠ°ΠΊ Π°Π·ΠΈΠ°ΡΡΠΊΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΈ ΠΏΡΠΎΠ½ΠΈΠΊΠ°Π»ΠΈ Π² ΠΠ²ΡΠΎΠΏΡ Π²ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½Π° ΠΠΈΠΊΠ°ΡΡΠΎ, ΡΠΎΡΠΌΠΈΡΡΡ Π΅Π³ΠΎ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠΉ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡ, ΠΈ ΠΊΠ°ΠΊ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ ΠΠΈΠΊΠ°ΡΡΠΎ Π²ΠΎΡΠΏΡΠΈΠ½ΠΈΠΌΠ°Π»ΠΎΡΡ Π² ΠΠ·ΠΈΠΈ Ρ 1910-Ρ Π³ΠΎΠ΄ΠΎΠ² ΠΈ Π΄ΠΎ ΠΊΠΎΠ½ΡΠ° XX Π²Π΅ΠΊΠ°.
ΠΠ·Π΄Π°Π½ΠΈΠ΅ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ Π²ΠΈΠ·ΡΠ°Π»ΡΠ½ΡΡ Ρ ΡΠΎΠ½ΠΎΠ»ΠΎΠ³ΠΈΡ, Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠΈΡΡΡΡΡΡ ΠΌΠΈΠ³ΡΠ°ΡΠΈΡ Π°Π·ΠΈΠ°ΡΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΈ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² Π² ΠΠ²ΡΠΎΠΏΡ Π²ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½Π° ΠΠΈΠΊΠ°ΡΡΠΎ, ΡΡΠΎ ΡΡΠ°Π»ΠΎ Π½Π΅ΠΎΡΡΠ΅ΠΌΠ»Π΅ΠΌΠΎΠΉ ΡΠ°ΡΡΡΡ Π΅Π³ΠΎ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ³ΠΎ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ°. Π’Π°ΠΊΠΆΠ΅ ΠΏΡΠΎΡΠ»Π΅ΠΆΠΈΠ²Π°Π΅ΡΡΡ Π²ΠΎΡΠΏΡΠΈΡΡΠΈΠ΅ ΠΠΈΠΊΠ°ΡΡΠΎ Π² ΠΠ·ΠΈΠΈ Ρ 1910-Ρ Π³ΠΎΠ΄ΠΎΠ² Π΄ΠΎ ΠΊΠΎΠ½ΡΠ° XX Π²Π΅ΠΊΠ°. ΠΠ½ΠΈΠ³Π° ΠΏΡΠΈΠ·Π²Π°Π½Π° ΠΎΠ±ΠΎΠ³Π°ΡΠΈΡΡ Π΄ΠΈΡΠΊΡΡΡ ΠΎ ΡΡΠ°Π½ΡΠ½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠΌ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ Π°Π·ΠΈΠ°ΡΡΠΊΠΎΠΌ ΠΈΡΠΊΡΡΡΡΠ²Π΅ ΠΈ Π²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΠ΅, Π° ΡΠ°ΠΊΠΆΠ΅ Π²Π½Π΅ΡΡΠΈ Π²ΠΊΠ»Π°Π΄ Π² ΡΠ°ΡΡΡΡΡΡ ΠΊΡΠΈΡΠΈΡΠ΅ΡΠΊΡΡ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ ΠΏΠΎ Π³Π»ΠΎΠ±Π°Π»ΡΠ½ΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ ΠΈΡΠΊΡΡΡΡΠ²Π°.
Chong Doryun, 2025
Published in conjunction with a major exhibition at M+, Hong Kong, "Picasso/Asia: A Conversation" offers a fresh perspective on Pablo Picasso's work within the context of Asian art. This catalog explores the connections between Picasso, a pivotal figure in modernism, and contemporary artists from Asia and the Asian diaspora. It raises fundamental questions about Picasso's relevance in today's world and his influence on artists working in vastly different cultural landscapes.
At the heart of this exploration is a juxtaposition of over sixty Picasso masterpieces with works from the M+ collection, revealing common ground and contrasting approaches to artistic creation. The book interprets Picasso's life and artistic practice through archetypes: the creative genius, the outsider looking in, the consummate magician, and the endlessly inquisitive student of art history. Simultaneously, it analyzes how Asian art and artists infiltrated Europe during Picasso's time, shaping his cultural context, and how Picasso's work was received in Asia from the 1910s to the end of the 20th century.
The publication includes a visual timeline illustrating the migration of Asian art and artists to Europe during Picasso's lifetime, which became an integral part of his cultural milieu. It also traces the reception of Picasso in Asia from the 1910s to the late 20th century. This book aims to enrich the discourse on transnational contemporary Asian art and visual culture, while contributing to the growing body of critical literature on global art history. It delves into the complex relationships between origin and reception, invention and adaptation, and the interplay between West and East.