Kim Tschang-yeul

Kim Tschang Yeul (also known as "김창열","Kim Tchangyeul", "Kim Chang Yeul", or "Tschangyeul Kim") is a South Korean painter born in Maengsan,[1] South P'yŏngan province, Chōsen, in Japanese occupied North Korea, on December 24, 1929.[2]

This is a Korean name; the family name is Kim.

Kim Tschang-yeul
Hangul	김창열
Hanja	金昌烈
Revised Romanization	Gim Chang-yeol
McCune–Reischauer	Kim Ch'angyŏl

Kim Tschang Yeul is part of the first generation of modern artists in South Korea. He is a prolific painter well known for his 'water drop' paintings, and has been one of the most influential figures in modern Korean art history. Although he started out as part of the Art Informel movement in South Korea, he has lived most of his adult life in Paris, France, where he developed his own unique style of painting.

After graduating from the College of Fine Arts at Seoul National University in 1950, Kim led the Korean Art Informel movement with Park Seo-Bo, Suh Se-Ok, Ha Chong-Hyun, and Chung Chang-Sup in the 1950s and 60s. This movement greatly inspired many avant-garde artists of the next generation in rejecting the conservative values imposed on them by Korean institutions.

Shortly after his participation in the Paris Biennale in 1961 and the São Paulo Biennale in 1965, Kim moved to New York City and studied at the Art Students League of New York from 1966 to 1968. Kim Tschang Yeul's time spent in New York City allowed him to interact with and be inspired by the Pop art movement, which was a significant influence on him.

Because of his years abroad, Kim Tschang-Yeul developed his art outside of the Seoul and Tokyo art scene, developing his unique style parallel to the Dansaekhwa movement. In 1969, Kim moved from New York City to Paris, where he continued depicting opaque abstract liquid forms.

With time, the liquid abstract forms transformed into spherical, transparent 'water drops', which have become his distinctive, trademark style after the mid-1970s. The water drops have been Kim’s focus for the past five decades. He has pursued the painting of water drops between Seoul and Paris, where he lives and works.

Kim’s water drop paintings speak a language that amalgamates the discourses around photorealism and abstract expressionism, situating themselves in an ambiguous space between reality and the abstract. According to Kim, he does not interpret his subject as realistic depictions of actual water drops, but “idealistic” ones. Kim explains that the continued act of painting water drops helps him erase painful and traumatic memories of Korean War broke out between 1950 and 1953, where he witnessed the deaths of his younger sisiter and friends. In a way, the incessant act of painting water drops served as a therapeutic tool for him, bringing his art closer to surrealism and spirituality. Many have speculated about the meaning behind his obsession with water drops. On the subject of their repetitious painting, Kim has stated: 'I've said often that painting water drops is a way of erasing my ego. This is an idea close to Taoism and Zen Buddhism. In the West, I feel that Marcel Duchamp and Dada came closest to these philosophies.'[3]

In 2016, the government of Jeju Province opened the Kim Tschang Yeul Art Museum in Artists' Village in Jeoji, Jeju island, South Korea, the highest honor bestowed upon a living Korean artist.[4]

In 2017, he was awarded the Officier medal of the Ordre des Arts et des Lettres bestowed by the Embassy of France in Seoul.

Kim Tschang Yeul is represented by Gallery Hyundai in South Korea and by Pearl Lam Galleries in Hong Kong and Almine Rech Gallery (Paris, Brussels, London and New York).

Artwork

The famous monk Dharma meditated for nine years to achieve spiritual enlightenment, I have been painting water drops for 40 years but wasn't able to reach Dharma's level of enlightenment. — Kim Tschang-Yeul

Kim is considered the artist that inspired monochrome painting in Korea, as well as being one of the most influential Korean masters in contemporary art in the West. At the time of Japanese colonialism and the Korean war, the turmoil of social culture and political history pushed Kim to participate in the movement of contemporary art and establish his self through art. In the 1960s, Kim left Korea to stay in New York; in the 1970s, Kim made Paris his home. A tranquil morning, sunlight slid in from the window, shining on the canvas sprayed with water the night before. The glistening and sparkling water drops at the moment moved Kim Tschang-yeul so much that he started painting waterdrops. Over the next forty years in Paris, Kim continued painting water drops, becoming known as the "painter of water drops". In 2004, Kim was invited to display his works in an art show at Galerie Nationale du Jeu de Paume, where he was awarded with the Commandeur medal, the highest honor of the Ordre des Arts et des Lettres.

Kim Tschang-yeul's water drops are intimately connected to his life, that is, the wars, poverty, love and pain he experienced. By painting drops, over and over, he attempts to erase the pain and to look for absolute transparency, absolute withering, until he reaches a spiritual state of emptiness. He stated,

"The process of painting the water drops is to filter, to dissolve all the impurities out of them and return them to a clear state of nothing. When all the rage, anxiety, and fear come to the moment of nothing, we reach a state of peace and comfort."

To Kim, the pure clean water drop is a consolation, a remedy for himself, seeking, not forgetting, peace, forgiveness, and reflection between now and the past. Regardless of single drops or in groups, the water drops of Kim Tschang-yeul are sprinkled non-uniformly upon the canvas of sleek or rough surface. It is as if they are falling off the canvas, or they are absorbed by the canvas but afloat, or it is that they are pulled out of the canvas by gravity. A ray of light gleams from the side, slightly gliding through the isolated water drops, reflecting their crystal clarity. The water drops give the extremely realistic impression made out of fiction, enticing people to touch them. Time also finds its own refraction in the water drops with enormous layers and transparency: every temporary moment that doesn't seem to be is actually permanent existence. How we captures the flashes of our creative mind determines how insightful that particular piece of memory unfolds to us. By making water drops the thematic subject of his painting career, for which he does with such care, details, and joy of art in everyday life, so much so that it paves the way to art for him. By 1972, new Waterdrops works showed a conceptual shift from the Phenomenon series which visualized the quality of existence.

Kim lived abroad for many years in the 1980s. He recalled reading and practicing writing when he was a child. Kim decided to draw positive texts from Thousand Character Classic, or deconstruct Chinese letters to compose together with water drops to create the new series Recurrence. It is a return to Kim's cultural origin as well as the origin of his life; it is also a struggle over the reality and illusion of time and space. By the 1990s, Kim began to paint water drops on wooden boards and newspapers like Le Monde, too, actively exploring new media and techniques for his works. In the other hand, he also makes several pieces of works in sculpture, with iron, bronze, or rock as the base, and with glass for water drops as the installation. Kim persists in pushing for extremely refined changes in plasticity as well as exploring the multiple aesthetic values of water. With his personal life force as well as his simple strokes and plain arrangement in the frame, Kim paints what his mind envisions. In this inner world, with all its moments, intervals, stillness and motions, rests a sophisticated life that opens to the universe through the strokes. No matter if it is his Waterdrops from the 1970s or Recurrence of the 1980s and 1990s, Kim structures countless highly realistic water drops in the abstract space. And, with the impermanence of time by which he contemplates, Kim expresses the immensity and nothingness of nirvana and ever-flowing life.

He has said that, "My waterdrops paintings are accomplished under the encounters of my life experiences and my plasticizing experiences." Each clear, impeccable water drop is in its initial state since purification, as if it is a recurrence of absolute nothingness; the water drop is also what it finally returns to."

Kim Tschang-Yeul Art Museum

In 2016, Kim Tschang-Yeul Art Museum opened in Jeju island, South Korea to honor the artist. Kim donated two hundred and twenty works. They represent all stages of his work from late 50's to present. [5] [6]

Selected Solo exhibitions

Kim Tschang-Yeul, Almine Rech Gallery, New York (2018)

A Communion of Beads, Pearl Lam Galleries, Hong Kong, China (2017)

Traces of Beads, Metaphysical Art Gallery, Taipei, Taiwan (2017)

Galerie Baudoin Lebon, Paris, France (2016)

Galerie 75 Faubourg - Galerie Enrico Navarra, Paris, France (2016)

Gwangju Museum of Art, Gwangju, Korea (2014)

National Taiwan Museum of Fine Arts, Taichung, Taiwan (2012)

Busan Museum of Art, Busan, Korea (2009)

National Art Museum of China, Beijing, China (2006)

Gallery Hyundai, Seoul (2004)

Galerie nationale du Jeu de Paume, Paris (2004)

Sakamoto Zenzo Museum of Art, Kumamoto, Japan (1998)

Draguignan Museum, Draguignan, France (1997)

Enrico Navarra Gallery, Paris, France (1996)

Sonje Museum of Contemporary Art, Korea (1994)

Kongkan Gallery, Pusan, Korea (1994)

SAGA (Matsumura Graphics, Tokyo), Paris (1993)

The National Museum of Contemporary Art, Korea (1993)

Chicago International Art Exposition, Gallery Hyundai, Chicago (1989)

Naviglio Gallery, Milan, Italy (1987)

Tokyo Gallery, Tokyo (1983)

Staempfli Gallery, New York, (1978)

Antwerp Gallery, Antwerp, Belgium (1977)

Hyundai Gallery, Seoul, Korea (1976);

Kunsthaus, Hamburg, Germany (1975)

INKO Arts, Galerie Sprick, Bochum, Rome, Italy (1975)

Knoll International, Paris (1973)

8th São Paulo Biennale (1968)

2nd Paris Biennale (1961)

Selected Group Exhibitions

2015 MMCA Collection Highlights: Untitled, National Museum of Modern and Contemporary Art, Gwacheon, Korea

2014 Botero, Ufan Lee, Tschang-Yeul Kim, Galerie Bhak, Seoul, Korea

2013 A Moment of Truth, Hansol Museum, Wonju, Korea

2011 Qi is Full, Daegu Art Museum, Daegu, Korea

2010 Portrait of the Korean War, Museum of Art at Seoul National University, Seoul, Korea

Korean Avant-Garde Drawing, Soma Museum of Art, Seoul, Korea

OFF the WALL, Clayarch Gimhae Museum, Gimhae, Korea

2009 Beginning the New Era, National Museum of Contemporary Art, Seoul, Korea

The Colour of Nature—Monochrome Art in Korea, Wellside Gallery, Shanghai, China

2008 Recomposition of the Works, Gyeongi Do Museum of Art, Ansan, Korea

Korean Contemporary Art Show, Singapore Art Museum, Singapore, Singapore

2007 Writing Paintings, Painting Words, Seoul Museum of Art, Seoul, Korea

Poetry in Motion, Galerie Beyeler, Basel, Switzerland

2006 Kim Whan-Ki, Kim Tschang-Yeul, Lee U-Fan, 1970–1980: Where, in What Form, Shall We Meet Again, Gallery Hyundai, Seoul, Korea

2005 Poem of Indian Ink, Guimet Museum of Asian Art, Paris, France

2004 Painting in Korea—Yesterday and Today, Seoul Museum of Art, Seoul, Korea

2001 Monochrome Painting in Korea, Korea Art Gallery, Busan, Korea

Korean Contemporary Art Festival (KCAF), Hangaram Art Museum, Seoul, Korea

2000 Gwangju Biennale 2000 Special Exhibition, The Facet of Korean and Japanese Contemporary Art, Gwangju Museum of Art, Gwangju, Korea

1998 Les peintres du silence, Museum of Art and History, Monbliéard, France

1997 Made in France, Centre Georges Pompidou, Paris, France

1996 Letter and Images, Hanlim Museum, Tae-Jeon, Korea

1992 Working with Nature: Traditional Thought in Contemporary Art from Korea, Tate Liverpool, Liverpool, England

1988 Olympiad of Art: The International Contemporary Painting Exhibition (sponsored by Seoul Olympic Organising Committee). National Museum of Contemporary Art, Gwacheon, Korea

1986 Seoul-Paris, Press Center, Seoul, Korea and Center National des Arts Plastiques, Paris, France

Korean Art Today, National Museum of Contemporary Art, Gwacheon, Korea

1984 Korean Contemporary Fine Arts Exhibition—The Stream of the ’70s, Taipei Fine Arts Museum, Taipei, Taiwan

1983 Korean Contemporary Arts Exhibition—The Latter Half of the ’70s: An Aspect, Tokyo, Osaka, Sapporo, Utsunomiya, Fukuoka, Japan

1982 Korean Contemporary Art Phase, Kyoto Municipal Museum of Art, Kyoto, Japan

Works on Paper in Korea and Japan, National Museum of Modern and Contemporary Art, Seoul, Korea; travelled to Kyoto Municipal Museum of Art, Kyoto; The Museum of Modern Art, Saitama; and Kumamoto Traditional Crafts Center, Kumamoto, Japan

1981 Dealers Eyes, Long Island Museum, New York, USA

Korean Drawing Now, Brooklyn Museum, New York, USA

1980 Asian Artists Exhibition Part 2, Fukuoka Art Museum, Fukuoka, Japan

Festival: Contemporary Asian Art Show, Fukuoka Art Museum, Fukuoka, Japan

Faculty Choices, Albany Museum, New York, USA

Salon des grands et jeunes d’aujourd’hui, Grand Palais, Paris, France

1979 Reality of Illusion Traveling Exhibition, Denver Art Museum, Denver, USA

1977 15th Biennale of São Paulo, São Paulo, Brazil

Korea: Facet of Contemporary Art, Tokyo Central Museum, Tokyo, Japan

Korean Modern Painting, National Museum of History, Taipei, Taiwan

1976 Aspect of Realism, Winnipeg Art Gallery, Winnipeg, Canada

1975 Salon de Mai, Paris, France

1974 Salon de Mai, Paris, France

1973 Salon de Mai, Paris, France

Salon des Réalitiés Nouvelles, Paris, France

12th Biennale of São Paulo, São Paulo, Brazil

1972 Salon de Mai, Paris, France

50 Paintings of Salon de Mai de Paris, Yugoslavia

Festival International de la Peinture (International Painting Festival), Cagnes-sur-Mer, France

8th Prints Biennale of Tokyo, Tokyo, Japan

4 Painters Exhibition, Museum of Saint-Paul-de-Vence, Saint-Paul-de-Vence, France

1971 Korean Contemporary Painting Exhibition, Paris, France

1969 Avant-Garde Festival, New York, USA

1965 8th Biennale de São Paulo, São Paulo, Brazil

1962–64 The Actuel Exhibition, Shinsegae Art Hall, Seoul, Korea

1961 The 2nd Biennale de Paris, Paris, France

Selected Public Collections

Albright-Knox Art Gallery, Buffalo, USA

Aqua Museum 104°, Shimane, Japan

Art Center Nabi, Seoul, Korea

Bochum Museum Art Collection, Bochum, Germany

Busan City Museum of Art, Busan, Korea

Centre Georges Pompidou, Paris, France

Daejeon Museum of Art, Daejeon, Korea

Daegu Art Museum, Daegu, Korea

Daelim Museum, Seoul, Korea

Detroit Institute of Arts, Detroit, Michigan, United States.

Fondation Veranneman, Ghent, Belgium

Fukuoka Art Museum, Fukuoka, Japan

Fundació Stämpfli, Sitges, Barcelona, Spain

Gwangju Museum of Art, Gwangju, Korea

Hakodate Museum, Hokkaido, Japan

Hansol Museum, Wonju, Korea

Hiroshima Contemporary Museum of Art, Hiroshima, Japan

Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA

Ho-Am Art Museum, Yongin, Korea

Iwaki City Art Museum, Iwaki, Japan

Leeum, Samsung Museum of Art, Seoul, Korea

Museum Boijmans Van Beuningen, Rotterdam, the Netherlands

Museum of Fine Arts, Boston, USA

Museum of Fine Arts, Gifu, Japan

Museum of Modern Art, Saitama, Japan

Museum of Oriental Art, Cologne, Germany

Museum of Texas Tech University, Lubbock, Texas, USA

National Museum of Contemporary Art, Gwacheon, Korea

National Museum of Modern Art, Tokyo, Japan

Niigata Prefectual Museum of Modern Art, Niigata, Japan

Ohara Museum of Art, Kurashiki, Japan

Seoul Museum of Art, Seoul, Korea

Seoul National University Museum of Art, Seoul, Korea

Shimonoseki City Museum of Art, Shimonoseki, Japan

Sonjae Museum of Contemporary Art, Gyeongju, Korea

Sunkyung Museum of Art, Seoul, Korea

Takamatsu City Museum of Art, Takamatsu, Japan

Tokyo Metropolitan Museum of Art, Tokyo, Japan

Walker Hill Art Center, Seoul, Korea

Winnipeg Art Gallery, Winnipeg, Canada

Art market

Many works by the artist have been sold at auction, including 'Gouttes d'eau' sold at Korea Premier Auction 'K Auction 2016 May Hong Kong Sale' in 2016 for $2,300,000.[7]

Selected publications

2009 Morgan, Robert C., Kim Tschang-Yeul: The Paradox of Meaning, PYO Gallery, Seoul (in English and Korean).

2008 Sergeant, Philippe, Kim Tschang-Yeul, Éditions de la Différence, Paris (in French and Korean).

2002 Barrière, Gérard, Kim Tschang-Yeul, Galerie Bhak, Seoul (in French and Korean).

2000 Restany, Pierre, “A Bit of the Comet’s Coma”, in Kim Tschang-Yeul, Gallery Hyundai, Seoul (in French).

Restany, Pierre, Kim Tschang-Yeul, Galerie Bhak, Seoul (in English and Korean).

1998 Chiba, Shigeo, “Like Play, Also Like a God”, Tokyo Gallery, Tokyo (brochure).

Shioda, Junichi, “A Word About Kim’s Paintings: The Waterdrops and the Kanji Characters”, in Tschang Yeul Kim: Water Drops—Play and Prayer, Sakamoto Zenzo Museum of Art, Kumamoto (in English and Japanese).

Masuda, Ryoske, “Entretien”, in Kim Tschang-Yeul: Water Drops—Play and Prayer, Sakamoto Zenzo Museum of Art, Kumamoto.

1997 Matheson, John, Kim Tschang-Yeul, Antwerp Gallery, Anvers (in English, Flemish, and French) Byong-Kwan, Jeung, “Notes Verbales”, in Kim Tschang-Yeul, Galerie Bhak/Gallery Hyundai, Seoul (in English and Korean).

1994 Byong-Kwan, Jeung, “The Artist’s Avant-Garde Spirit Seen from the Transition of the Waterdrops”, in Kim Tschang-Yeul: Waterdrops, Sonje Museum of Contemporary Art, Kyongju, pp7–12 (in English and Korean).

Tae-Sung, Kang, “Transformation of the World of Water, Waterdrops”, in Kim Tschang-Yeul:

Waterdrops, Sonje Museum of Contemporary Art, Kyongju, pp13–21 (in English and Korean).

1993 Lee, Yil, “Kim Tschang-Yeul’s ‘Water Drops’ oeuvre and its path", in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp48–60 (in English and Korean).

Cohen, Ronny, Kim Tschang-Yeul, Hudson Hills Press, New York.

Kyong-Soo, Lee, “Literature on Water Drops”, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp30–37 (in English), pp25–29 (in Korean).

Cyroulnik, Philippe, “Kim Tschang-Yeul”, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp73–75 (in French and Korean).

Oh, Kwang-Soo, “Kim Tschang-Yeul’s ‘Drops of Water’ as the Essence of Consciousness", in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp30–37 (in English and Korean).

Restany, Pierre, “The Other Place”, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp25–29 (in French and Korean).

Bosquet, Alain, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp115–119 (in French and Korean).

Barrière, Gérard, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp11–27 (in French and Korean).

Barrière, Gérard, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp28–38 (in French, English, and Korean).

Cohen, Ronny, in Kim Tschang-Yeul, National Museum of Contemporary Art, Seoul, pp61–71 (in English and Korean).

Cohen, Ronny, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp69–78 (in French and English).

Cohen, Ronny, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp102–116 (in French, English, and Korean).

Byong-Kwan, Jeung, in Kim Tschang-Yeul, National Museum of Contemporary Art, Seoul, pp77–95 (in French and Korean).

Kwang-Soo, Oh, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp7–12 (in English and Korean).

Restany, Pierre, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp7–10 (in French and English).

Restany, Pierre, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp17–25 (in French, English, and Korean).

Ufan, Lee, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp97–105 (in English and Korean).

Matheson, John, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp107–113 (in English and Korean).

Barrière, Gérard, “Notes on Kim Tschang-Yeul or The Universe After the Rain”, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp38–47 (in French and Korean).

1991 Cohen, Ronny, “Introduction”, in Kim Tschang-Yeul, Sigma Gallery/Staempfli Gallery, New York (in English).

Yil, Lee, “Kim Tschang-Yeul’s 1000 Characters and Water Drops”, Inkong Gallery, Daegu (brochure in Korean).

Yil, Lee, Kongkan Gallery, Busan (catalogue in Korean).

1988 Yil, Lee, “Kim Tschang-Yeul and a Water Drop”, Gallery Hyundai, Seoul (brochure in Korean), Tokyo Gallery, Tokyo (in Japanese).

Moriguchi, Akira, “Kim Tschang-Yeul—Luminous and Fresh Paintings”, in Tschang-Yeul Kim, Seibu Contemporary Art Gallery, Tokyo (in Japanese).

1987 Wolff, Theodore F., “Tschang-Yeul Kim”, Staempfli Gallery, New York (brochure in English).

1983 Yil, Lee, “This is Not a Water Drop”, Tokyo Gallery, Tokyo (brochure in Japanese).

1979 Bosquet, Alain, “The Waterdrops of Kim”, in Kim Tschang-Yeul, Staempfli Gallery, New York, pp30–37 (in French and English).

Byong-Kwan, Jeung, “Painting of Another Genre”, in Kim Tschang-Yeul, Staempfli Gallery, New York, pp8–27 (in French and English).

Ufan, Lee, “Entre l’idée et la matière” (“Between the Idea and the Material”), in Kim Tschang-Yeul, Staempfli Gallery, New York, pp38–39 (in French and English).

Matheson, John, in Kim Tschang-Yeul, Staempfli Gallery, New York, pp48–55 (in French and English).

Staempfli, George W., “Introduction” in Kim Tschang-Yeul, Staempfli Gallery, New York, pp6–7 (in French and English).

1978 Ufan, Lee, “Fra l’idea e la material” (“Between the Idea and the Material”), Galleria del Naviglio, Milan (in Italian).

Staempfli, George W., Staempfli Gallery, New York (brochure in English).

1976 Bosquet, Alain, “Les gouttes de Kim” (“The Drops of Kim”) in T. Kim, Gallery Hyundai, Seoul (in French and Korean).

Yil, Lee, “To Brother Tschang-Yeul”, in T. Kim, Gallery Hyundai, Seoul (in French and Korean). Nakahara, Yusuke, Tokyo Gallery, Tokyo (brochure in Japanese).

1974 Bosquet, Alain, “Die Wassertropfen von Kim” (“The Water Drops of Kim”), Galerie Sprick, Bochum (in German).

Bosquet, Alain, “20 gouttes d’eau pour Kim” (20 poemes) (“20 Water Drops by Kim”, 20 poems) in Kim, Gouttes d’eau (Kim, Water Drops), Galerie Engelberts, Geneva.

1973 Leuwers, Daniel and Ryoske Masuda, Knoll International, Paris (brochure).

Pre-1973 Yil, Lee, Kasahara Gallery, Osaka (brochure in Japanese).

Matheson, John, “Merely Drops of Water?”

Restany, Pierre, in Kim Tschang-Yeul, Galerie Bhak, Seoul (in English and Korean).

Lewis Biggs. Working with Nature: Traditional Thought in Contemporary Art from Korea: Chung, Chang-Sup; Yun, Hyong-Keun; Kim, Tschang-Yeul; Park, Seo-Bo;

Lee, U-Fan; Lee, Kang-So.este señor a creado en sus dibujos el relieve

Ronny Cohen. Tschang Yeul Kim.

Writings by the Artist

1962 “My Vision”, Taehan Ilbo, Seoul, 1 January 1962.

1960 “Note”, Hanguk Ilbo, Seoul, 24 January 1960.

1960 “The Problem of 30 Years”, Segye Ilbo, Seoul, 31 May 1960.

1960 “The Advance of the Avant-Garde”, Jayu Munhak, Seoul, December 1960.

1958 “Secret Words”, Hanguk Ilbo, Seoul, 11 January 1958.

Notes

1. Ronny Cohen: Tschang Yeul Kim.
2. Kim Ho-jeong (김호정). "김창열 (Gim Chang-yeol)" (in Korean). Doosan Encyclopedia.
3. Chui, Vivian (22 November 2019). "Kim Tschang-Yeul: Art Without Ego". Ocula.
4. "Kim Tschang Yeul Art Museum".
5. Youtube https://www.youtube.com/watch?v=j6hLTUGWt7Q. Retrieved 31 March 2017. Missing or empty |title= (help)
6. Youtube https://www.youtube.com/watch?v=VAdkpU1kASI. Retrieved 31 March 2017. Missing or empty |title= (help)
7. https://www.mutualart.com/Artist/Kim-Tschang-Yeul/1890EC4BF9901BA7/Biography