7

NO.

NO.

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<CRAFT+DESIGN> magazine is published and distributed by KCDF. We hope these magazines to be widely read by all the people who are
interested in Korean crafts and design including administrators, policy makers, teachers in addition to craftsmen and designers. We strived
to build a network between craftsmen and designers who are working in numerous fields.

Craft+design 2013

Craft+design 2013

+=

, ?

+=

++

2013

++

D es i gn+ +

Conversation with Director Typojanchi 2013

C r a ft+D e s ign=iss u e

C ra ft + +

2013

Why does Yanagi Muneyoshi make us uneasy?

Korea in Collect 2013

< >

C r a ft+ D e s ign=LIFE

Discussion: Why Yanagi Muneyoshi deserves a

Scenery of crafts / A visit to the artists studio

second look / Exhibition review

2013

Tradition and modernism within dailiness by

Craft+design

Kim Hongnam / Road to meet crafts and design

no . 7
13-01
issn 2234-1781

13-01
Korea Craft & Design Foundation

Craft+design 2013

No

Craft+design 2013

No

7
2013 08 31

Publication Date 31, Aug. 2013

()

Publisher Korea Craft & Design Foundation

53 5 110-240

Address 5th floor, Haeyoung Building, 53,

02-398-7900

Yulgok-ro, Jongno-gu, Seoul (110-240)

02-398-7999

Tel 02-398-7900 Fax 02-398-7999

Editorial Advisors Kang Hyeonjoo

Kymn KyungsunKyungchan Paik

Oh ChangsupLee Geejo

()

Jeon Yong-ilChoi Bum

Management KCDF
(Livre Boy)

General Manager Jeon Miyeon

Assistant Manager Song Yumi

Jenie

Assistant Manager Jo Jisun

Editor-in-Chief
()

Kwak Soyoung(Livre Boy)

Editor Park JinyoungYu Jiyeon

Translator Lee HanaaJenie

( )

Proofreader Hong Jooyeon

Design Director
()

Ban Yoonjung(HONGDAN)

/ magazine@kcdf.kr

Designer Hwang Changdae

Choi SujiLee Jiwon

Photo director
Lee Jongkeun(Apo Studio)

Photographer Moon Sungjin

Lee EunsukLee Sooyeoun

Inquiry KCDF

<+> 7

Song Yumi / magazine@kcdf.kr

1 2013 8 31
Paper Doosung Paper
2013

Printing Samsung Moonhwa Printing co.,ctd.

Reproduction of any part of this

magazine in whole or in part without

written permission is prohibited.

ISSN 2234-1781-07 <>

Craft+design 2013

Contents
No

40

46

112

28

112

12

58

+=

04

<+>

+=

06

/ 08

+=

10

, / 12

22

- / 28 / 32 / 36 &

40

/ 46 / 58

70

(Yanagi Muneyoshi) / 72 , ?

77

: / 84 < > / 86

+=

+=

88

/ 90 / 92 / 94

96

/ 98 / 99

++

100

2013 / 104 2013 4

++

110

2013 / 112 2013 ,

+=

114

/ 116 / 123 / 132 / 134

Craft+design 2013

Participation
No

<+>

<+> ?

<+>

<+>

... !

<+> ,

<+> .

, (),
,
magazine@kcdf.kr <+>
.
<+> 7

.

,

.
<+>

12
8
.

(Skill) ,

(Idea)
. ()

<+>

(PAUL AVRIL)

.
(7Doors)

Craft+design 2013

Contents
No

36

100

58

32

46

58

88

CRAFT+DESIGN=PARTICIPATION

04

Readers voice to <Craft+Design>

Craft+Design=Object

06

A coffee dripper selected by Chung Soyoung, the CEO of Sikijang

08

A tumbler selected by Senior Curator Kwon Jeongmin of Daelim Museum

10

Crafts and design, lifted by life /

28

Kim Kiho, trainee in gold leaf imprinting /

36

Lee Nakyeong, designer of natural dye & Hanbok /

46

Tradition and modernism within dailiness by Kim Hongnam /

70

A perspective of Yanagi Muneyoshi /

77

Discussion: Why Yanagi Muneyoshi deserves a second look

84

Reading an exhibition review of <Yanagi Muneyoshi>

88

The house of an artist /

96

Ko Heedong house /

CRAFT+DESIGN=LIFE

CRAFT+DESIGN=ISSUE

CRAFT+DESIGN=TRAVEL

90

98

12

Scenery of crafts /

72

32

22

A visit to the artists studio, Ko Heesook, ceramist

Jeong Jimin, metalwork artist

40

Lee Gwangho, designer

58

Choi Sunu House /

92

86

Current status of research on Yanagi Muneyoshi

Atelier of Kwon Jinkyu /

Lee Ungno memorial & house /

99

Conversation with Director Choi Seongmin of Typojanchi 2013

104

Interview of the 4 artists who participate in Typojanchi 2013

CRAFT++

110

Korea in Collect 2013 /

CRAFT+DESIGN=NOW

114

Current landscape of craft and design /

112

94

Yun Dongju literature museum

Other artists house

100

DESIGN++

Road to meet crafts and design

Why does Yanagi Muneyoshi make us uneasy

Artist Jeong Haejo, the rising star of Collect 2013

116

Exhibition /

123

Event /

132

Book /

134

Global

CRATF+DESIGN=OBJECT

C R A F T+=
+DESIGN=OBJECT

+=

() .

1 (Hand Mill) (Drip)

. , ,

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150

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( )

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text by Chung Soyoung photographs by Lee Jongkeun

CRATF+DESIGN=OBJECT

C R A F T+=
+DESIGN=OBJECT

08

+=

TV

1900

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(Gerhard Steidl)

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text by Kwon Jeongmin photographs by Lee Jongkeun

CRAFT+DESIGN=LIFE

If it doesnt ring a bell when you hear the slogan, Crafts and Design, Lifted by
Life, you may want to pay attention to the next four columns.
Scenery of Crafts shows you in just how many ways crafts can be used in your
daily life, and how many beautiful and practical craft items you can find near
you. Maybe visiting a studio and any looking at the works of professionals will
open up your eyes to the value of crafts. We also interviewed an art historian who
has put together contrasting elements such as crafts and design, and traditional
and modern styles into the context of daily life. Lastly, you will get a chance to
see the space which plays a mediating role between craft/art works and the public
and closely view both the dailiness and the mass appeal of the works.

NO

Crafts and Design,

Lifted by Life
1

Scenery of Crafts

2 A visit to the artists studio

Ko Heesook, ceramist

Kim Kiho, trainee of the gold leaf imprinting

Jeong Jimin, metalwork artist

Lee Nakyeong, designer of natural dye & Hanbok

Lee Gwangho, designer

3 Tradition and modernism within dailiness by Kim Hongnam

4

Road to meet crafts and design

+=

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NO

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text by Kwak Soyoung photographs by Lee Jongkeun Styling by 7Doors

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.

01

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Scenery of Crafts
NO

02



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(http://blog.naver.com/seedanna) / (www.woonggul.com) / (02-3463-7752, www.innometsa.com)

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A Visit to the Artists Studio

NO

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text by Kwak Soyoung
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C R A F T + D E S I G N = iss u e

An exhibition of Yanagi Muneyoshis works opened at National Museum

of Modern and Contemporary Art. The media, disappointingly, paid
little attention to this rare exhibition considering how important Yanagi
Muneyoshi is to Korean culture. It was actually this lukewarm reaction
of the Korean media that caught my eye. Most of the medias voices have
focused on the approval or disapproval of Yanagi Muneyoshi. To this day,
much of our perspective on Yanagi Muneyoshi is dictated by emotions.
Is that really fair? This exhibition offers an opportunity to gauge the reaction
of our society to Yanagi Muneyoshi and also to discuss the right direction
with respect to evaluating him as an artist.
planning & progress by craft & Design critic Choi Bum

NO

A perspective of
Yanagi Muneyoshi
1

Why does Yanagi Muneyoshi make us uneasy?

Discussion: Why Yanagi Muneyoshi deserves a second look

Reading an exhibition review of <Yanagi Muneyoshi>

Current status of research on Yanagi Muneyoshi

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C R A F T + D E S I G N = iss u e

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Why does Yanagi Muneyoshi make us uneasy?

Text

Craft & Design critic Choi Bum

A Japanese Who Makes Us Uneasy

how much impact he had on Korean culture. On another note,

Did he love Joseon?

it is worth talking about why <Yanagi Muneyoshi> makes us

What he felt was much more than love.

uncomfortable.
The primary reason is that he is a controversial figure viewed
from the Korean perspective. He was a rare figure in Korea

Whom are these questions for?

These are the titles of articles that covered the recently opened

under Japanese colonization as a person who loved Korea

exhibition of Yanagi Muneyoshis works. They are all asking

(then Joseon) and Korean art; however, he is also suspected

the same question. Did he love Joseon (the former name for

of being a leading figure in the further colonization of Korea

Korea)? Why are we asking ourselves these questions about a

by pretending to love Korean culture. That is the basis of the

Japanese man who died five decades ago? Is he someone that

endless questions posed by Koreans. Was your love for Korea

we dearly miss? Who really was Yanagi

real? Or did you only pretend? Would

Muneyoshi?

he be able to answer these questions?

He was a Japanese modern art historian,

religious philosopher, a collector of folk
crafts, and an avid folk art lover. He was
a representative thought leader of modern
Japan with a huge impact on its culture
at that time, and he also left a significant
footprint in Korean culture as well.
This makes us wonder just what kind
of relationship he had with Korea and
how much impact he had on our culture
for us to keep asking questions about

The important thing is that what he

acquired from the Joseon art became
a solid fertilizer for Japanese art. We
need to take two perspectives on Yanagi:
Yanagi as an interpreter of the Korean
culture, and Yanagi as a founder of folk
art theory. In other words, Yanagi as a
Korean art interpreter is inseparable
from us, but Yanagi as a founder of the
folk art theory has nothing to do with
Korea-Japan relationship.

Rather, are these questions reasonable?

Of course, it is not my intention to
reject the diverse perspectives on the
works of Yanagi. Depending on which
perspective you take, he could have
been an amiable friend who really loved
Korea, or he could have been a cowardly
spy who favored Japanese colonization.
Maybe both arguments are valid.
I am not trying to criticize the different
perspectives, but would rather re-

him. There is little doubt that he was an

evaluate the standards which we use to

influential figure on Korean culture, but

select our perspective. To be precise,

these standards are self-destructive, because asking whether

the opportunity to view his works was quite seldom.

There were two exhibitions which were overdue, to be

he really loved Joseon means that we only evaluate him based

honest- in 2005 and 2006 titled <Nice to Meet You, Folk Art>

on whether he was pro-or anti-Korea. It would be making a

and <Cultural Memories> respectively. In this regard, the

serious mistake if I were to overlook how difficult it is to escape

Yanagi Muneyoshi exhibition put together by National Museum

the context of the Korea-Japan relationship. When we hear his

of Modern and Contemporary Art is indeed an opportunity

name, we rationalize and try to put on an act. But I wish to point

to shed renewed light on the works by this influential artist.

out that this is a result of having a colony complex.

And similar such event should continue to be help considering

75

philosophy.
A bridle called nationalism

The important thing is that what he acquired from Joseon

The whole discussion on Yanagi is borne out of the frame

art became a solid fertilizer for Japanese art. We need to hold

of nationalism and we keep on staying within that frame. In

two perspectives of Yanagi: Yanagi as an interpreter of Korean

retrospect, Yanagi was quite admired in colonized Korea. This

culture, and Yanagi as a founder of folk art theory. In other

changed after Korea became independent around the 1970s. But

words, Yanagi as a Korean art interpreter is inseparable from

we have since ceased giving our attention to his works. The

us, but Yanagi as a founder of folk art theory has nothing to

media coverage of his exhibition shows starkly just how much

do with the Korea-Japan relationship. And I think he deserves

our interest has waned. At this point, let me briefly state the

to be viewed from this perspective and we need to ultimately

contrasting perspectives of Yanagi Muneyoshi. The first one is

overcome the limits of the relationship between the two

an appriciative one since he was a Japanese person who was a

countries. That is the only way our uneasiness will be lifted in

friend and a lover of Joseon art under the difficult circumstance

viewing his works. What we need is to become more rational

of Japanese colonization. The other is that he was the worst

and level-headed.

villain for he tried to disarm Korea by pretending to love Korean

This is my conclusion. He created his own art with Joseon

culture. And there are those who criticize him for viewing the art

as his object. What he did was art called creative collecting.

of Joseon as the mere expression of sorrow and sorrow only. All

He once said that the value of Japanese aesthetics is having a

in all, we are not free from the compulsion that we must decide

discernible eye which means an eye to discover beauty.

whether he was a friend or foe. Maybe he was neither a friend

From such a point of view, Yanagi Muneyoshi is the Japanese

nor a foe, but rather, just a weird one. He was surely the first of

Marcel Duchamp. Duchamp was the pioneer of abstract art,

his kind and the social context in which he lived was completely

and Muneyoshi implemented and made full use of abstract art.

different from ours.

I would like to emphasize once more that the Joseon art that

I think discussions about him have to overcome these limits.

Muneyoshi loved so much became the basis of modern Japanese

I think it is fair to make the argument that these discussions are

culture. He did not plunder the art of Joseon, but he also did not

wasteful, meaningless and self-destructive. In my perspective,

return the achievement.

the core value of Yanagi has nothing to do with Korea. I do not

That is not what we can ask of him. Many say that one loses

doubt that he loved Joseon, but that is beside the point. Whether

when one becomes jealous. However, there is nothing wrong

he was pro-or anti-Korea is irrelevant for understanding his

with jealousy. If you are jealous, you can try harder. Its the

works. The most important questions are not concerned with

incapability to try harder that becomes a problem.

How much longer are we going to either appreciate or criticize

proving whether his love for Korea was real.

Yanagi for enriching his own national culture by exploiting that of

Questions for Us, not Yanagi

ours? This should be the startingpoint of our reflection rather than

Simply put, he was an artist who was inspired by the art of

a reason to make us jealous or appreciative. Someone once said,

Joseon and paved his own way.

Culture belongs to those who live in it, not those who created it.

He did admire Joseon art, but we should not be flattered by

Who created and who lived Joseon art? The ultimate question

that. He really did have love for the art of Joseon. However, he

we need to pose is not whether Yanagi loved Joseon, but rather

did not plunder our art. We should not doubt his sincerity.

why we did not love Joseon, our own culture. His love for

Reading the criticism that he tried to disarm Koreans and

the people, folk art, and pride are nowhere to be found in our

gloss over Japanese colonization, maybe it is fair to say that he

modern history. Why is modern craft history so elite-oriented

lacked political awareness, but that is not enough to make him

and why has it not taken firm root among us, among our people?

a criminal. Also, the criticism that he claimed Korean art was

If Yanagi makes us uncomfortable, it is not because of his

sorrowful and sorrowful only is only viable in a narrow scope

sincerity. It is because the uneasiness we have with ourselves.

and does not take into consideration the core of his artistic

76

C R A F T + D E S I G N = iss u e

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photographs by Lee Eunsuk

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CRAFT+DESIGN=TRAVEL

The work may disappear after an artist leaves; however, his studio
in which he lived and breathed his art remains. Some of them
become residential buildings or are marked for disposal, but there
are many others that are given a second life armored with artistic
values and creative strength to breathe again.
To our surprise, an artists studio is nearer to us than his/her works
and these spaces and the footprint left behind can inspire us more.

NO

The House of
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CRAFT+DESIGN=now

Koreas craft scene which shocked the craft and design power house of
Milan and Paris, is revealed signaled by the opening of the exhibition
<Ungseong Ungseong Craft> put together by KCDF. It is then followed
by the <Craft Trend Fair> which will modernize our craft scene
once more. That will be followed by a public participation event put
together by Culture Station Seoul 284. This series of events provides an
opportunity to learn about crafts and design-related exhibition, relevant
books, events, and overseas news.

NO

Current Landscape
of craft and design

114

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