Ду Ху Са
ドーホー・スー。
서도호

source: etodayru

Один из самых захватывающих современных художников нашего времени, кореец Ду Ху Са ( Do Ho Suh) создал эту большую инсталляцию, которую надо рассматривать вблизи. Стеклянные пластины опираются на тысячи разноцветных миниатюрных пластмассовых фигурок, которые поддерживают стекло руками и головами. Вместе они выдерживают вес посетителя, который ступает на этот пол.
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source: mymodernmet

One of the most exciting contemporary artists of our time, Korean Do Ho Suh, created this large sculptural installation that doesn’t look like much until you come closer. Glass plates rest on thousands of multicolored miniature plastic figures who are crowded together with their heads and arms turned skyward. Together, they are holding the weight of the individual visitor who steps onto the floor.

Floor is one of those installations that’s wonderfully thought-provoking. The figures represent the diverse and anonymous masses of people who support and/or resist the symbolic floor.
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source: phaidon

Yes, we may seem a little obsessed with ‘little men’ at the moment (we wrote about Isaac Cordal’s miniature cement men here) but you know how it is, you wait ages for one then two come along at once, or in Korean artist Do Ho Suh’s case, nearly 2,000.

Floor is currently on show at Lehmann Maupin’s pop-up gallery at the Singapore Tyler Print Institute until February 11 alongside works by other artists from the gallery including conceptual sculptor Teresita Fernández; Ashley Bickerton, one of the original members of the group of artists known as “Neo-Geo” from New York City’s East Village; and fellow Korean artist Lee Bull who works across drawing, performance, sculpture painting and video.

Suh’s work Floor is full of opportunities for visitors to second guess themselves: at first glance Floor looks like any other surface to walk upon, then you spot the little people, then you notice that they are all different and trying to prevent themselves from being crushed. Their sheer number and mass is a big force to contemplate.

Suh’s works with these small figures en-masse speaks about individuality, collective force and his birthplace, Korea. Born in Seoul, South Korea in 1962, Suh was greatly influenced by his father – a professional painter and a master of traditional literature and calligraphy. After studying Oriental Painting at Seoul National University, Suh moved to America to continue his education at Yale University.

Working out of New York has had a great influence on Suh’s work and his perception of the world. “My work started from that slippage or discrepancy, the crack. The difference between my mother tongue and foreign tongue,” he says. “Once you leave your home, it’s quite an unsettling experience, because you don’t feel like you belong anywhere.”

Suh is perhaps best known for his detailed sculptures that play with the idea of scale such as Fallen Star, a house in miniature semi-destroyed by a second house crashing into it and Karma which features legs ‘walking’ through the gallery, crushing the figures of small people underneath.

His site specific works question boundaries of space and identity. Suh has likened his personal experiences of moving from Korea to the USA to his work Staircase III (2010) which is held in the Tate Modern’s permanent collection. “I’m interested in transitional spaces [staircases, bridges, doorways] rather than destinations,” Suh says. “They connect to different spaces, but at the same time they separate the spaces. I truly believe that life is a passageway.”
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source: noticiasvidrado

Na instalação de arte Floor 1997-2000, do sul-coreano Do Ho Suh, 180 mil bonecos apoiam um piso de vidro por onde os visitantes podem andar

A escultura reprenta à força coletiva das massas presentes em uma sociedade

O sul-coreano Do Ho Suh, um dos artistas contemporâneos mais instigantes da atualidade, apresentou na Lehmann Maupin Gallery, em Nova Iorque, a instalação de arte batizada de Floor 1997-2000.

Sua forma escultórica é representada por um piso de vidro apoiado em 180 mil bonecos em miniatura de plástico por onde os visitantes podem andar. O piso é composto por 40 placas de vidro laminado.

Segundo o artista, a instalação faz alusão à força coletiva das massas anônimas presentes em uma sociedade.
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source: wall-mag

Les grandioses installations du Sud-coréen Do Ho Suh sont écrasantes de par leurs dimensions, ainsi que par les messages qu’elles véhiculent: ses rapports d’échelle entre le peuple, réprésenté comme une minuscule fourmilière anonyme, écrasée par ses gigantesques stèles symboliques, exposent l’idée forte d’une humanité croulant sous le poids de son Histoire, de ses mythes et de ses idéaux.
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source: hiroshima-mocajp

Do Ho Suh

1962年韓国、ソウル生まれ、ニューヨーク、ロンドン在住。ソウル国立大学で東洋絵画を学び渡米、ロードアイランド・スクール・オブ・デザインで絵画、イェール大学にて彫刻を学ぶ。サーペンタイン・ギャラリー（ロンドン）、メゾン・エルメス・ジャポン（東京）での個展をはじめ、イスタンブール・ビエンナーレ、リバプール・ビエンナーレ、瀬戸内国際芸術祭など多数の国際展に参加。2001年ヴェネチア・ビエンナーレ韓国館代表、2012年リウム・サムソン美術館（ソウル）で大規模な個展を開催。
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source: creazinait

Do Ho Suh, artista coreano classe 1962, merita senza dubbio di essere annoverato tra gli artisti contemporanei che meglio esprimono lo spirito del nostro tempo. Realizzando installazioni sempre diverse per forma e dimensione, Suh indaga – attentamente e con occhio critico – il rapporto che vi è tra l’individuo e la società di cui fa parte, che lo ingloba e ne plasma l’identità fino quasi ad annullarla : la fragilità del singolo è resa da figure di piccole dimensioni, ammassate tra loro a formare sculture, pavimenti o muri, che da sole si accasciano o spengono su se stesse, ma insieme riescono invece a costruire una forma solida e forte perfettamente in grado di sostenere, come nel caso delle sculture pavimentali, il peso di chi le sovrasta. Insistendo così sui concetti di massa, ripetizione e numero, Suh dà vita a composizioni ordinate e ben ingombranti lo spazio circostante, che esprimono un interessante concetto di omologazione dell’individuo, evidentemente influenzato dalla cultura non occidentale dell’artista.
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source: indio

Do Ho Suh es un artista de Corea del Sur que nos sorprendió recientemente con una magnífica instalación de arte, la cual incluye vidrio y alrededor de 180 mil figuritas de plástico.

Dicha instalación fue nombrada Floor 1997-2000 y se mantendrá en exhibición en la Galería Lehmann Maupin en el Singapore Tyler Print Institute hasta el 11 de febrero.

Si les platicáramos sobre dicha obra de arte quizá no nos lo creerían, pues las 180 mil figuras de plástico sostienen pedazos de vidrio que se convierten en una superficie lo suficientemente fuerte como para aguantar el peso de cualquier persona.