{"id":38642,"date":"2024-02-07T13:46:51","date_gmt":"2024-02-07T04:46:51","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&#038;p=38642"},"modified":"2024-02-07T13:46:51","modified_gmt":"2024-02-07T04:46:51","slug":"murmures","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/38642","title":{"rendered":"Murmures"},"content":{"rendered":"<p>Moonassi\u00a0\ubb34\ub098\uc528<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-38638\" src=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223722\/22.jpg\" alt=\"\" width=\"600\" height=\"777\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223722\/22.jpg 541w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223722\/22-232x300.jpg 232w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223722\/22-116x150.jpg 116w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p><em>Moonassi, Keep you burning, 2023, Meok and acrylic on hanji, 92 x 72 cm\u00a0<\/em><\/p>\n<p>From February 1st to 24th, 2024, Galerie Vazieux hosts the first solo exhibition in France by Korean artist Moonassi. Entitled &#8220;Murmures&#8221;, it features eighteen previously unseen works in black ink and acrylic on traditional Korean paper (hanji).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-38639\" src=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223833\/223.jpg\" alt=\"\" width=\"600\" height=\"774\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223833\/223.jpg 538w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223833\/223-233x300.jpg 233w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223833\/223-116x150.jpg 116w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p><em>Moonassi, Dive into uncertainty, 2023, Meok and acrylic on hanji, 92 x 72 cm\u00a0<\/em><\/p>\n<p>Moonassi \ubb34\ub098\uc528 (b. 1980), also known as Daehyun Kim, has became famous on the Korean and international creative and artistic scene as an illustrator and painter since 2008. His drawings, with their clean, graphic style, have won over an eclectic clientele \u2013 from the Maison Kitsun\u00e9 label to the luxury house Herm\u00e8s, via the famous American daily The New York Times \u2013 while his paintings are exhibited in galleries and museums in Europe and Asia.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-38640\" src=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223909\/333.jpg\" alt=\"\" width=\"600\" height=\"785\" srcset=\"https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223909\/333.jpg 537w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223909\/333-229x300.jpg 229w, https:\/\/static-edge.kiaf.org\/web\/2024\/02\/07223909\/333-115x150.jpg 115w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p><em>Moonassi, A Burden a priori, 2023, Meok and acrylic on hanji, 92 x 72 cm\u00a0<\/em><\/p>\n<p>From his training in traditional Korean painting, Moonassi retains the use of materials \u2013 paper, ink, water \u2013 as well as the spiritual essence \u2013 representing feelings rather than likeness. In a very contemporary aesthetic, he deploys large black flat tints from which emerge characters evolving in enigmatic, silent landscapes. The sceneries, which sometimes seem to touch on surrealism, are inspired by the artist\u2019s memories and poetic imagination. Conceived as metaphysical explorations of the human condition, Moonassi\u2019s singular works offer an infinite palette of emotions, plunging us into a dreamlike universe of multiple interpretations.<\/p>\n<p><span style=\"font-weight: 400;\">Galerie Vazieux<br \/>\n5bis Rue du Louvre,\u00a0<span class=\"locality\">Paris, France<\/span>\u00a0<span class=\"postal-code\">75001<br \/>\n+331 48 00 91 00<\/span><\/span><\/p>\n<p><a href=\"https:\/\/www.vazieux.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">WEB<\/a>\u00a0 \u00a0 <a href=\"https:\/\/www.instagram.com\/galerievazieux\/\" target=\"_blank\" rel=\"noopener noreferrer\">INSTAGRAM<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-38642","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/38642","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=38642"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=38642"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}