27 September 2008 – 11 January 2009

Terence Koh - On Love for eternity

Love for Eternity is a vast exhibition, coving over 1200 m2, devoted to a review of Koh’s main works, from those signed as asianpunkboy, up to the present. The viewer will be enticed to plunge into a succession of rooms holding installations whose objects, lighting and composition generate a sense of fragility and whiteness; or their opposites, such as the Baroque black of certain pieces endowed with a compelling visual force. The installations will provide an essentially sensorial experience, where mysticism meets the underground.

On entering the exhibition, opposite the poster designed for the occasion by the artist, the viewer will walk down a corridor leading to Koh’s first installation, The Whole Family (2003). A number of objects, figures and images set around an all-white room bear witness to the artist’s spatial, subversive and sensorial inquiry.

The next room is the exact opposite – entirely black. It holds an installation of new and existing pieces that share the colour black. Bronzes, black hair drums, lamps made out of secret materials, dark vitrines with music that cannot be heard or is “only for butterflies”, a scorched Pinocchio... In addition, the artist will use this room to house an installation of 28 vitrine towers in dark glass which, alongside the black and brunt-out pieces, will symbolise the destruction caused by the 28 bombs dropped on the city of Guernica during the Spanish Civil War. Here, all Koh’s poetics will revolve around war and destruction, through individual pieces, each with their own identity, that together take on the form of an installation with a whole new meaning.

In the adjoining room, a golden light will fill the entire space, swathing a number of black pieces (GOD, 2007 and MI + T, July 1, 2007, 2007) arranged as a still life where the light and the works conjure the mysticism of religion and human beings’ fleeting existence.

The fourth room will hold a new piece created specifically for the exhibition. A large vitrine, made up of over 300 horizontal units, will fill a large section of the room from wall to wall. The vitrine will be empty for the most part, though some of the sections will contain some white sculptures such as bull’s horns and bullfighter’s spears painted white, representing the essence of Spain’s culture of death and festive spirit. Looking through these vitrines, the public will catch a glimpse of the installation The end of my life as a rabbit in love (2007) where, by way of a funeral celebration in white (bearing in mind that for many cultures white is the colour of mourning), a set of sculpted spheres reference the idea of yin and yang, a play on positives and negatives, the body and its disappearance, or the state of partnership and love.

Address

MUSAC. Museum of Contemporary Art of Castilla y León
Avenida de los Reyes leoneses, 24
24008 León
phone +34 987 09 00 00
http://www.musac.org.es/

Opening Hours

Tuesday - Sunday
11 a.m. - 3 p.m. and 17 p.m. - 8 p.m.
Closed on Monday

Within 10 days
starting exhibitions
ending exhibitions