- 50+ works capturing the essence of folding screens from Joseon Dynasty to modern era.

- Exhibition space re-designed to reduce waste and carbon emissions.

＜The poster of Beyond Folding Screens 2, an art exhibition hosted by Amorepacific Museum of Art＞

The Amorepacific Museum of Art (APMA) will be holding Beyond Folding Screens 2, a special exhibition of traditional art featuring Korean folding screens from the Joseon Dynasty to the modern era. The exhibition will open on January 26th and continue until April 30th.

The exhibition is the second folding screen exhibition to be held after 5 years since Beyond Folding Screens 1 in 2018. It received rave reviews for shedding light on the art of folding screens, a traditional painting style prominent in the Joseon Dynasty. The objective of this exhibition is to appreciate the art-historical value and significance of folding screens created from the Joseon Dynasty through to the modern era, and to help the audience enjoy the various aesthetic senses of traditional Korean art. The exhibition will include approximately 50 works owned by 15 institutions and individuals

The exhibition is divided into two sections according to their use and the party who commissioned the production: folding screens featuring civilian themes and those featuring royal themes. The former offers a glimpse into the free-spirited and unique sense of beauty that has been incorporated in everyday life, whereas the latter exudes the authority and dignity of the Joseon royal families and the solemn aspects of imperial paintings. Those from the modern era are placed in a separate exhibition room. The audience can admire the Korean modern art scene which has seen a transformation while still maintaining the tradition, in a form of the screens.

Included in the exhibition are folding screens that the general public rarely had access to as well as works newly collected by the APMA. Newly unveiled are Chae Yong-sin's Longevity Symbols, and Yi Sang-beom's The Way Home and The Sun, Moon, and Sacred Peaches. Also included are designated cultural properties, such as the Pyeongyangseong Fortress, owned by Songam Art Museum and designated as a national treasure, as well as the Complete Map of the World by Ferdinand Verbiest, Busan Cultural Heritage. In addition, the two folding screens respectively owned by Amorepacific Museum of Art and National Gugak Center, both beautiful in depicting the last royal banquet of the Joseon Dynasty, will also be on display at the exhibition.

The exhibition catalog is also specially designed, with 26 experts in the field of art history participating in offering their insight into the art of folding screens. Included in the catalog are also images and commentary of all exhibited works, as well as newly written articles by researchers from universities and institutions. Combined with the catalog of Beyond Folding Screens 1, there are a total of 43 assertions. The exhibition and catalog together are expected to arouse interest in ancient Korean art among visitors who are unfamiliar with traditional Korean art.

The Amorepacific Museum of Art is also making continuous efforts to improve sustainability when it comes to their exhibitions. The Museum conducted a thorough review of the existing spatial structure and materials in order to reduce waste and carbon emissions generated during the exhibition process. Accordingly, the temporary wooden walls were eliminated and replaced with steel structures and prefabricated frames, which can be reused semi-permanently. This exhibition is designed to minimize the viewing distance for audiences by allowing viewing of works at close range so that people can thoroughly examine the brushwork, colors, and details. A spatial design incorporating a modern atmosphere has been attempted to spotlight the refined sense of beauty found in traditional painting.