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       2003  µ¶ÀÏ ´µ¸¥º£¸£Å© ±¹¸³¹Ì¼ú´ëÇÐ ±Ý¼Ó°ø¿¹Çаú Àü°ø

                 Á¹¾÷ ¸¶À̽ºÅÍ ½¶·¯.Ulla Mayer ±³¼ö »ç»ç(Germany)

       °³ÀÎÀü

       2005 Á¦1ȸ °³ÀÎÀü(°æÀÎ ¹Ì¼ú°ü)   ¼­¿ï

       2008 Á¦2ȸ ÃÊ´ë°³ÀÎÀü(Çѱ¹°ø¿¹¹®È­ÁøÈï¿ø)   ¼­¿ï

       ±×·ìÀü

       2014  Çѱ¹ÀÇ °ø¿¹Àü.   Àεµ(·¡µå Æ÷Æ®)

       2013  2013ÄÝ·ºÆ® »çÄ¡ °¶·¯¸®  ¿µ±¹

       2013  2013Exhibition of l,Atelier France  ÇÁ¶û½º

       2011  Çɶõµå µðÀÚÀÎ ¹Ú¹°°ü. Çѱ¹ÀÇ µðÀÚÀÎÀü.

                (Çɶõµå °ø¿¹¹Ú¹°°ü)  Çɶõµå

       2011  ÇÁ¶û½º ¸¶·¹ °¶·¯¸® ±âȹÃÊ´ëÀü   ÇÁ¶û½º

       2011  ¸ÞÁ¾ ¿ÀºêÁ¦ ¹Ú¶÷ȸ   ÇÁ¶û½º

       2010  Çѱ¹ µµÀÚÀç´Ü ±âȹÃÊ´ëÀü MIX UP   ÀÌõ

       2009  °¶·¯¸® ¶óÀÌÇÁ,ÁÖÀüÀÚ,Àü   ¼­¿ï

       2009  Ã»ÁÖ±¹Á¦°ø¿¹ºñ¿£³¯·¹ ÃÊ´ëÀÛ°¡Àü   Ã»ÁÖ

       2007  ¸ÁÄ¡+Á¶ÇüÀü. °ø¿¹¹®È­ÁøÈï¿ø   ¼­¿ï

       2005  Raus ´µ¸¥º£¸£Å©¹Ì¼ú´ëÇÐ µ¿¹®Àü   µ¶ÀÏ

       2004  Kararu ÇÑÀÏ °ø¿¹±³·ùÀü ,Çѱ¹°ø¿¹¹®È­ÁøÈï¿ø   ¼­¿ï

       2004  Á¦14ȸ ±¹Á¦ Àº °ø¿¹Æ®¸®¿£³¯·¹   µ¶ÀÏ

       2003  Small objects for the   µ¶ÀÏ

       2003  every use ÄÚºí·»Áî   µ¶ÀÏ

       2003  Handgepaeck µ¶ÀÏ ´µ¸¥º£¸£Å© ¹Ì¼ú´ëÇÐ ±×·ìÀü

                ¡®Çѱ¹ °ø¿¹¹®È­ÁøÈï¿ø¡¯   ¼­¿ï

       2003  Inhorgenta ±¹Á¦°ø¿¹¹Ú¶÷ȸ ¹ÀÇî   µ¶ÀÏ

       2002  ´µ¸¥º£¸£Å© Silversmith ÃÊ´ëÀü

                ¡®ÇԺθ£Å© °ø¿¹¹Ú¹°°ü¡¯   µ¶ÀÏ

       2001  ´µ¸¥º£¸£Å© Silversmith ÃÊ´ëÀü

                ¡®·ÎÁ¨ÇÏÀÓ °ø¿¹¹Ú¹°°ü¡¯  µ¶ÀÏ

       2001  Talent ±¹Á¦°ø¿¹¹Ú¶÷ȸ   µ¶ÀÏ

 

 

 

 

ENGLISH

       2003  Graduate from Akademie Der Bildenden

                  Kuenste, Nurnberg

                 studied under Meisterschueler Prof, Ulla Mayer

                  (Germany)

       Solo Exhibition

       2005 The 1st solo Exhibition in Kyungin Museum

                  of Fine Art Foundation

       2008 The 2st solo Exhibition in Korean Craft

                  Promotion

       Group Exhibitions

       2011 Korea Craft, Gallery Mare (France)

       2002 Annual Exhibition, Special guests Nurnberg

                  Silversmithe

                 (Hamburgs Art and Craft Museum)

       Fair

       2013 collect Saatchi Gallery

                  (UNITED KINGDOM London)

       2013 Exhibition of I, Atelier in 2013, (France, Paris)

       2011 Maison & Objet (France Paris)

       2003 Inhorgenta, International Craft

                  Art Fair(Germany Munich)

       Award

       2004 The 14th Internationnal Silver

                  Triennale(Germany)

       2001 Talent, special show at the international

                  Craft fair

                 (Germany Munich)

       Present

       Association Member of Bayerischer

                  Kunstgewerbe-Verein (Germany)

       AUAG Operator of Metal Craft Workshop

 

Abstract

ENGLISH

 

       Containing Daily Life, Contained in Daily Life

       Creating a 'tool' that sympathizes with daily life

       and containing it'in a tool'

       

If you had to choose a work of art closest to our daily life, it is of course the objectsof craftwork. The craftwork, which is a work of art most practical and is the most wonderfully and finely shaped among daily supplies, can be said as a genre that stands exquisitely on the boundary of art and utility. Among them, especially the craftwork made up of meta' has excellent function and durability compared to other craftwork. Also, is more interesting because with the delicacy and sharpness of metal, you can seek perfect shape and fine adornment at the same time, and it is also easy to meet with other various materials.

       

       Our daily life is a series of work always containing

        and sharing something.

When we contain and share, 'bowl' is an absolutely necessary tool. A bowl' has sincerity when contains something inside. so a 'container' a work Of art can Come into our daily life when it wants to contain or hold something. Kettle and vase, which the artist Min-sik Ahn has been hardly working on for last 10 years, are also a tool and daily container that interconnects to a 'bowl' in the fact that it presents sincerity of containing something inside them. Through this piece of art, he expresses both the exterior that seems to contain something, and the interior that wants to contain something even when it is empty So we can feel the sincerity that we contain our daily life inside his work. and we are always contained inside the daily life.

       

       It is totally empty without sympathy with daily life.

What is it that we want to finally contain and share through daily life, which moves one thing here from there and share it with oneself and others? It is a warm emotion that sympathizes through objects, called ¡®mind¡¯. As a complex that contains utility and shape undivided from daily life, the artist's mind that wants all objects to seem close and be used truly is contained in every single piece of work and sympathizes with us Looking at Min-sik Ahn¡¯S work, it seems that he is an artist with great skills in dealing with metal. But if you look more closely to his work. you may think that rather than his great skills in dealing with metal, it is the artists sincerity to sympathize warmly with daily life which is transferred to the metal.

       

       Culture Columnist, Yeon-sook Chung    

KOREAN

 

 

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Min-Sik Ahn

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  • Seoul, Korea
  • Seodaemun-gu
  • 1F 11-gil, Seongsan-ro