Born 1950 in Klagenfurt, Austria, died 2014 in Farrach in Carinthia, Austria
Ferdinand Penker studied medicine and art history at the University of Graz from 1968 to 1972. In 1971, he got to know Josef Albers, and he lived in the USA as a professor at the University of California, Davis, from 1977 to 1987. In 1986, he travelled to Japan for the first time, and he later lived and worked in Tokyo for half a year in 2008.
In the 1970s, Ferdinand Penker began building up an oeuvre influenced by Constructivist and Concrete art, American Color Field painting, and Minimal art. Throughout his career, he explored and continued to develop the means, possibilities, and conditions of painting. Ferdinand Penker’s work is characterized by an analytic quality and consistency that has earned him a singular position within Austrian painting.
Also in the 1970s, he developed a distinct vocabulary and methodology, which he continued to vary and intensify in his work. Due to his fascination with space and architecture, his artistic endeavors began to concentrate on the line. He used the serial repetition of identical lines to produce two-dimensional structures as examples of abstract composition and formal results of a method of a specific scriptural application of paint. In the 1990s, this often minimalistic, monochrome, and radically decelerated painting acquired a sense of spatiality through which the picture as an autonomous unit dissolved, thus expanding the range of his engagement.
Born in 1965 in Onyang, South Korea. She lives and works in Düsseldorf, Germany.
Yoon's father ran a gallery for traditional East Asian ink painting. In 1995, she moved to Europe and studied at the Kunstakademie (Academy of Art) in Münster in 1996. From 1997 to 2001, she was a student at the Kunstakademie (Academy of Art) in Düsseldorf, and she earned a master’s degree at the Chelsea College of Art in London 2004–2005. She has earned numerous grants, including from the Kunststiftung NRW in Düsseldorf, the DAAD Berlin Artists-in-Residence Program, and a travel grant for London from the Kunstverein für die Rheinlande und Westfalen in Düsseldorf.
At first glance, the paintings by Jongsuk Yoon seem to belong to the tradition of Abstract Expressionism. While Jongsuk Yoon is indeed familiar with the paradigms of European and American modernism, thanks to her studies at the academies of art in Münster and Düsseldorf, she is also influenced by the traditions of her home country and by an Asian sense of form, especially regarding Asian landscape painting and its specific two-dimensionality. Yoon’s paintings evolve in a process guided by meditation and concentration. Her subdued colors and frequent changes in perspective, with their suggested landscape elements and gestures reminiscent of calligraphy, create a balance between Western and East Asian painting traditions without one outweighing the other. Despite her animated painting style, we sense a great slowness, something quiet and trans-personal that avoids all drama and remains open to the unexpected. Yoon describes her painting process as a kind of “communication between the painting and me… My ideas take shape on the canvas while I am painting. I do not yet have the finished image in my head. In a way, it’s the painting telling me what to do.” This “web of relationships” creates paintings that are “Mind Landscapes” (the title of her solo exhibition at the Museum Kurhaus Kleve) oscillating between disparate worlds full of poetry. They become pictorial metaphors fluctuating between dream and reality.
I agree to receive electronic communications about ARCOmadrid, and ARCOLisboa.