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toggle navigation f r a n c e s c a c h o - 조 프란체스카 works exhibitions statements bio press contact me f r a n c e s c a c h o 조 프란체스카 tell me more works paintings installations exhibitions forthcoming exhibitions ‘forthcoming performance & exhibition’ – 2018 held at the studio la verrière, paris / cave saint martin, provence past exhibitions ‘festival franco-coreen’ – nov. 2017 held at the montpellier, france link: press article (french) ‘david bowie tribute’ – sept. 2017 held at the motor village, marylebone ‘traces de conversations: connivences d’ici & d’alleurs’ – sept. 2017 held at saint-didier, france link: press article (french) ‘should the world break in ii’ ‘autogestion’ - 2017 held at miró foundation, barcelona link: press article (english) ‘hommage à whanki ii’ - 2014 held at the whanki museum, seoul link: press article (english) the present from the past - 2010 held at korean cultural centre, london statements ‘present from the past’ - 2010 “i think the text is beautiful and moving, the way she combines a description of the new painting with her hope – which i share – that korea can overcome the tragedy of fratricidal war.” guy brett. june - 2010 ‘present from the past’ london-based art critic, writer, and curator. a highly talented artist - 2009 francesca cho is a highly talented artist who has exhibited widely in the uk and abroad, including the republic of korea - her homeland. for past 16 years she has lived and worked in london, where she studied at goldsmiths college and chelsea college of art and design. in arguing that art transcends different religious backgrounds, francesca cho's work deals with universally shared human concepts of hope, healing and spirituality. the basic need for calm and safety is accentuated through form and colour as purveyed in soft contours, subtle lines and bright hues. this is powerfully and effectively juxtaposed against strong lines, swirling motions and dark colours that are also illustrated in the works. contrasting features are strong and persistent elements in francesca cho's work, where movement breaks up calm, darkness offsets brightness and open vistas challenge that which is concealed, leaving the viewer with a strong reaffirmation of the power, energy and strength of the positive, rather than the negative in life. certainly, bright colours appear more vivid next to dark ones, rather than when they stand on their own. in cho's words: "if you have not experienced darkness, how can you know where the light is?" in the same vein, the concepts of inside and outside appear persistently in her paintings as well as in her sculptural work, as seen in the installation titled "an unknown pious dynasty", which was exhibited at marble hill in 2002. four columns partially wrapped in muslin surround an expanse of grass on which candles sit. the stillness and weightiness of the columns are challenged by the delicate muslin fabric and the green turf, which is sprouting to life, forcing the surrounding space to grow and evolve. a feeling of calm is instilled by the presence of the lit candles, by means of their soft lighting and flickering shadows. the fact that we light candles for special occasions, such as birthdays, and when we want to create a special ambience, is another powerful affirmative reference. francesca cho's works exude lasting positivism and enduring faith in the movement of life. in her paintings calm is at the centre of the whirlwind of change, as seen in her work from 2009 titled ‘now i can feel how far you are’ likewise, black is not depicted as an ominous, dispiriting element, but merely as a contrast to the bright and the auspicious. by dr. charlotte horlyck - 2009 lecturer in korean history of art in soas, university of london ‘sacred’ – 2008 “francesca cho’s ‘deep springs of life’ is amazing. i see peace & war and danger & tranquility. it is the sort of painting of which i never tire … uplifting” irene , novas gallery, london – 2008 ‘sacred’ ‘endless possibility’ – 2001 “korean-born artist francesca cho’s quirky paintings seek to provide a little harmony in the world. she replaces trees, people and buildings with symbols - triangles, squares and circles - in an attempt to simplify this complex world. they have the kind of joyous spirit of an early paul klee; their optimism comes from cho’s belief that “deep sadness is ultimately peace and deep misery is ultimately joy” jl, the guardian guide, uk - 2001 ‘endless possibility’ les oeuvres de cho ou l’expression de troubles emotionnels - 2015 la peinture de cho représente une individualité émotionnelle vécue à travers tous les différents aspects de son histoire personnelle et politique. elle utilise des matières naturelles comme par exemple lorsqu’elle travaille avec du papier de riz, des cendres ou encore de la mousseline de coton; ces matériaux sont très fragiles voire vulnérables, mais en même temps ils représentent une existence forte. ils font partie de l'existence humaine et font corps avec une expérience créative et personnelle. cho a commencé à utiliser la cendre dans ses peintures il y a 3 ans. la cendre, produite par la combustion d'anciens biens appartenant à cho comme par exemple de vieilles photos, des lettres, des catalogues, des peintures ou des dessins , des documents juridiques ou encore des documents où figurent le nom et l' adresse de l'artiste. la présence d’histoires inoubliables au cœur de la cendre représente la mémoire de cho faisant maintenant corps et âmes avec ses peintures et ses toiles. la cendre est devenue une substance morale et esthétique dans la peinture qu'elle a produite et cela va bien au-delà : l'idée de cendres transporte son passé potentiel, le savoir et le non-savoir d’événements personnels et historiques. la cendre a transformé les surfaces de ses peintures en une association symbolique des plus fortes. comme son pays d'origine est divisé entre la partie «nord» et la partie «sud», cette division de fait a influencé la culture et la société du pays et a inconsciemment gouverné la vie de cho depuis l'enfance. aujourd’hui, même si elle vit en grande-bretagne, elle est encore fortement affectée par la réalité. récemment remarqué, le processus de création dans le travail de cho permet d’éclairer sous une lumière originale les expériences douloureuses de troubles émotionnels profonds et ce, à travers deux événements artistiques au niveau national où les questions politiques ne peuvent être qu’omniprésentes. elle a travaillé avec l'idée « qu’une profonde tristesse se transforme pour finir en paix et qu’une profonde misère se transforme au final en joie ». dagmar i. glausnitzer - smith (maître de conférences et artiste de scène) (traduit de l’anglais par isabelle blake-james) silence 침묵을 낳는 소리 - 2011 조 프란체스카의 예술적 갈망과 고백 이희영, 미술평론가 나는 2011년 10월 13일 저녁 웨스트민스터의 메이페어(mayfair)도서관 전시실에서 열린 조 프란체스카(cho francesca)의 개인전에서 그의 회화들과 퍼포먼스를 봤다. 수 십 명의 군중과 취재진 그리고 그와 그의 미술을 아끼는 이들의 진지한 시선들이 117년 전에 만든 공간에 교차했다. 미술가는 가는 체구의 절제된 몸짓으로 전시실을 질러 걸으며 낭랑하고 응축된 목소리로 조병화의 시와 왕방연의 시조를 포함읊었다. 그의 음성이 실내를 가득 채우는 동안 그의 동료 다그마(dagmar glausnitzer-smith)는 그와 두 가닥의 끈으로 연결된 채 반대편에서 즉흥적으로 흰 종이에다 소묘를 끄적거렸다. 관중의 집중된 관심과 미술가의 의미심장한 몸짓 그리고 도서관을 끼고 있는 남오들리가(south audley street)의 세련된 정취는 영국에 관심 있는 한국 독자들에게 탐스러운 정보일 테지만 나는 그 전시회에 관한 단 한 줄의 기사도 작성하지 못했다. 네 개의 흰 벽이 제공하는 미술의 완전한 관람 조건이 아닌, 도서관의 기능적 전시 공간에 설치된 그의 회화를 진화하는 현대미술의 한 사례로 소개할 아무런 재간이 내게 없었기 때문이다. 또한 그 사실을 게재했을 때 조 프란체스카 회화의 중요한 특성을 손상시킬 것이라는 염려 때문이었다. 무엇보다 나는 그의 미술을 한국의 독자에게 말할 최소한의 것도 아는 바가 없었다. 희생: 소리와 정적의 경계 그 날 조 프란체스카가 자신의 퍼포먼스에 채용하는 중요 매체는 몸짓과 소리, 이 두 가지에 의존하는 것으로 보였다. 그는 흰 가운을 걸치고 편안한 호흡과 맥박의 속도대로 카펫 위를 꼿꼿한 자세로 천천히 걸으며 등장해, 실내의 한 곳에 멈추어 서서 붉은 색 종이에 쓰인 한국의 근대시를 걸을 때와 같은 호흡으로 읽는 것으로 퍼포먼스를 구성했다. 다소 느린 속도의 걸음과 낭송은 이내 관객(viewer)의 호흡과 맥박을 그것들에 맞추게 했고 12피터의 높은 천정 아래를 가득 채운 열기를 잠잠하게 했다. 멈추어선 그의 자세는 대지를 디뎌선 채 하늘을 향한, 확고한 직립체로 비쳤다. 그래서 한 지점을 장악한 그의 몸은 켜켜이 녹아내려, 산을 이룬 촛농의 삼각형 덩어리로 또는 흡사 여신의 모습으로까지 보였다(1). 은은한 불빛 아래에 흰 직립체에서 발성되는 프란체스카의 모국어는 런던의 늦가을 공기를 호흡하는 그 곳의 모든 이들에게 선언처럼 들렸

URL analysis for francescacho.com

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bbc.co.uk

Whois Information

Whois is a protocol that is access to registering information. You can reach when the website was registered, when it will be expire, what is contact details of the site with the following informations. In a nutshell, it includes these informations;

Domain Name: FRANCESCACHO.COM
Registry Domain ID: 101948418_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.register.com
Registrar URL: http://www.register.com
Updated Date: 2015-07-30T15:35:09Z
Creation Date: 2003-08-12T10:10:41Z
Registry Expiry Date: 2018-08-12T10:10:41Z
Registrar: Register.com, Inc.
Registrar IANA ID: 9
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: +1.8003337680
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: DNS017.B.REGISTER.COM
Name Server: DNS184.A.REGISTER.COM
Name Server: DNS228.C.REGISTER.COM
Name Server: DNS249.D.REGISTER.COM
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of whois database: 2018-03-17T20:58:09Z <<<

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  REGISTRAR Register.com, Inc.

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =francescacho.com

  PORT 43

  TYPE domain

DOMAIN

  NAME francescacho.com

  CHANGED 2015-07-30

  CREATED 2003-08-12

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited

NSERVER

  DNS017.B.REGISTER.COM 216.21.232.17

  DNS184.A.REGISTER.COM 216.21.231.184

  DNS228.C.REGISTER.COM 216.21.235.228

  DNS249.D.REGISTER.COM 216.21.236.249

  REGISTERED yes

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