WEBZINE ACC

Picasso! Picasso? Picasso!!!

The exhibition hall heated up as intensely as the midsummer sun. After all, it's “Picasso,” the master of modern art.
The master’s works, where his passionate artistic spirit was so fervently expressed throughout his life that the genre of “pottery (ceramics)” almost goes unnoticed, have arrived at the ACC.

This exhibition, prepared by the National Asian Culture Center in collaboration with the National Museum of Modern and Contemporary Art (MMCA), has been unveiled as a gift to many local art enthusiasts. The Lee Kun-hee Collection, donated to the MMCA in 2021, sparked a surge in museum attendance. Among the collection, this touring exhibition features 107 pieces of Picasso ceramics, shedding new light on Pablo Picasso (1881–1973) as a ceramic artist. After last year’s exhibition at the MMCA, this extraordinary showcase returns to “Space 4” at the ACC Creation Hall within the National Asian Culture Center. It’s a truly unparalleled opportunity to fully immerse yourself in the artistic world of “Picasso” right here in Gwangju, without the need to travel to the capital or even to Europe. What more needs to be said? It's “Picasso,” after all.

The 107 ceramic works, each imbued with Picasso’s genius, connect with visitors more intimately thanks to the special presentation in the expansive space. The exhibition is divided into nine themes: “Women,” “Mythology,” “Animals,” “Owls,” “Faces,” “Bullfighting,” “People,” “Still Life and Landscapes,” and “Ceramics and Prints.” As you follow the flow of works within each theme, you can appreciate how deeply and expansively one artist has unleashed new worlds. The pieces, large and small, are meticulously illuminated on white structures reminiscent of a modern temple, captivating visitors with a 360-degree panoramic view. In this expansive exhibition space, you can drift between the works and fully immerse yourself in the grand epic of art called “Picasso.”

Anything in the world can be a canvas.

As you enter the exhibition, the first thing that catches your eye is a charming little owl warmly welcoming you. This playful owl, winking as if to say hello, heightens the anticipation for what’s to come. With a few swift strokes of Picasso’s brush, countless expressions come to life, showing faces that are innocent, sly, or sleepy, all brimming with vibrant energy. Animals were a central theme in Picasso’s body of work. He observed them continuously, even keeping them in his studio, which allowed him to vividly capture their movements and expressions with a single line. Birds, goats, dogs, fish, and even the half-human, half-animal centaur with all these forms blending human and animal characteristics, combining parts and wholes in a uniquely harmonious way. The images painted on the ceramics are not the only remarkable feature. The traditional vertical and horizontal balance of ceramics has disappeared, with handles, spouts, and bases freely transformed according to the intended expression. Twisting, adding, moving, bending, and even flipping, the original forms of the ceramics have vanished, giving way to ingenious new shapes. For Picasso, who pioneered Cubism, ceramics became another three-dimensional canvas and a medium that infinitely amplified his imagination. The forms of animals and human bodies are sometimes combined, and different perspectives are blended together. As you observe the pieces arranged with a sense of rhythm in the exhibition, it feels as though the entire gallery has become Picasso’s vast canvas. The drawings on the ceramics are not just shapes within the ceramics but also extend infinitely outward. Like Michelangelo, who was able to bring out the shapes in marble, Picasso used the medium of ceramics to further express his artistic imagination. The freedom of expression extends not only to form but also to color. Picasso’s innovative use of color, beyond conventional boundaries, easily transcends the limitations of ceramics as a field, making his immense influence on the history of ceramics abundantly clear.

As one carefully examines the works, it’s easy to imagine the movements of Picasso’s hand as he created them. Simple lines reveal mysterious faces that expose the depths of the human soul: lonely faces, greedy faces, regal faces, sorrowful faces, and dejected faces. The scenes of bullfighting, a subject Picasso cherished deeply as a Spaniard, are vividly reconstructed. A still life with a bouquet and a nighttime landscape both unfold as new universes within the small confines of the ceramics. Particularly striking are the pieces under the theme of “Ceramics and Prints,” created in Picasso’s later years during the 1970s, where he applied printmaking techniques to ceramics. Although only a few fine lines are etched onto small, square terracotta tiles, the dynamic movements of dancing figures come to life with remarkable vitality. What more needs to be said? It’s Picasso, after all.

Atelier Madoura and Jacqueline Roque

Picasso first encountered ceramics shortly after moving from his homeland, Spain, to Paris in 1906, through the ceramist Paco Durrio (1868–1940). Durrio collaborated with Paul Gauguin (1848–1903), an artist who had a significant influence on Picasso, and it was through viewing Gauguin’s ceramic works that Picasso became captivated by the world of ceramics. Gauguin’s three-dimensional ceramic pieces, which went beyond his paintings, were enough to open a new artistic realm for Picasso. Picasso’s serious journey into ceramics began in 1946 when he visited the “Atelier Madoura” in Vallauris, a town in the south of France. It was here that he met Jacqueline Roque (1926–1986), a woman who would ignite his artistic passion even further. Picasso left behind over 400 works modeled after Jacqueline, and much like the fiery inspiration he drew from meeting her, the new domain of “ceramics” fueled his artistic spirit. Picasso also made most of his works as editions, so that more people could own them. The 107 pieces in this exhibition are all edition works. The first original was created by Picasso himself, and the subsequent editions were produced in the workshop using the same techniques and materials.

Riding the “Picasso” Ferris Wheel

Simply immersing yourself in the passionate traces left by this master artist fills your heart with a sense of fulfillment. It’s truly “perfect beyond words.” These works are the fervent marks of an artist who tirelessly sought to expand his artistic universe, blurring the boundaries between genres. The ceramic pieces, repeatedly reborn in Picasso’s hands, each radiate their own charm within the spacious exhibition hall, captivating the viewer’s gaze. You encounter faces etched with thousands of expressions and emotions, marvel at the playful depictions of owls and fish, and find yourself stepping into the serene landscapes of a quiet night. It is a time to witness the moments of life shaped by the soul of a single human being. A must-see is the video provided to enhance your understanding of the exhibition. Watching footage of Picasso in his lifetime is like viewing a black-and-white film titled “Picasso,” reaffirming why he is hailed as a genius.
All you need to do is hop on the “Picasso” Ferris Wheel and enjoy the ride. It’s possible because it’s Picasso, and it feels only natural because it’s Picasso. So, immerse yourself in the wonder and savor a truly fulfilling experience.