Past events at F1963

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DANIEL BOYD 《Recalcitrant Radiance》 Past
  • Dates2019.12.13 ~ 2020.02.29
  • PlaceKukje Gallery Busan
  • Time10:00 - 18:00 (Every Monday Closed)
  • OrganizerKukje Gallery Busan
  • Ticket priceFree Admission
  • Contact info+82-51-758-2239
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Recalcitrant Radiance


Oscillating for a brief mystical moment, in the form of a wave - her wave -

augments two distant points, a cave and a cave

yamani forged by the kiss of dawar, witness to the archaeologist 

enters a synthesis 

the crystal ball is split.


- Daniel Boyd



​Stemming from the words of the French philosopher Édouard Glissant, “The experience of the abyss is inside and outside of the abyss,” the exhibition comprises of newpaintings that oscillate between the dualities of light and darkness, knowledge and ignorance, information and non-information. The artist, who continuously explores the ways in which we understand the universe, emphasizes the significance of plurality in the collective consciousness of humanity. Hence, he raises awareness to the fact that history is a subjective narrative as he persistently cross-examines Eurocentric thoughts and perspectives. In particular, the artist engages with his Aboriginal and Vanautan heritage in reinterpreting Australian colonial history, often re-appropriating images of icons that played significant roles in the formation of the nation’s history.


The paintings showcased in Recalcitrant Radiance align within the same context of re-examining the normality of historical perspectives. Boyd questions the canonized representation of “beauty” and the authority behind such designation of value throughhis representations of the Pacific Belle. His line drawings that trace the anthropological documentations of sand drawings from Pentecost Island, Vanuatu, visit his personal ancestry as he once again draws on a trans-temporal trajectory of information from an anonymous man on the homeland of his great-grandfather to the anthropologist, and then back to the artist himself. He most vividly taps into his interest in exploring the authorship of a particular landscape and theempirical lens that projects a dominant narrative in the portrait of King Sandy, a prominent Aboriginal figure during the early colonial days of Australia.


Boyd's paintings serve as the threshold between the interior and exterior of the (Platonian) cave, providing a platform for mediating the complexity of relationships that come together to form an understanding of any one object. This is formally facilitated through the clear white dots of glue applied throughout much of the painting’s surface. Each “dot” acts as a “lens” through which the artist views the world; by installing numerous lenses, the artist reads the world as multiple histories as opposed to a singular narrative. Amalgamating the dualities between black and white, darkness and light, the viewer takes on an active role in connecting the domains between thepositive and the negative, and realigning the viewpoints between the past and present.


As such, Boyd’s works cultivate a multiplicity of perspectives and viewpoints as they defer the immediate delivery of a singular meaning. It is up to us, the viewers, to filland enlighten the dark void of the unknown with each of our knowledge and different backgrounds, completing the picture as we enter and exit through disparate vantage points.


About the Artist


Daniel Boyd (b. 1982, born in Cairns, Australia) is based in Sydney and has exhibited his work nationally and internationally since 2005. He has participated in major biennales and exhibitions including All the World's Futures, 56th Venice Biennale, Venice (2015) curated by Okwui Enwezor; Mondialito curated by Hans Ulrich Obrist and Asad Raza at the Boghossian Foundation, Villa Empain, Brussels (2017); A Time for Dreams, Moscow International Biennale for Young Arts, Moscow (2014); The 7th Asia Pacific Triennial of Contemporary Art, Queensland (2012); We Call Them Pirates Out Here, MCA, Sydney (2010); Contemporary Australia: Optimism, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2008); and Culture Warriors: National Indigenous Art Triennial, National Gallery of Australia, Canberra (2007). He was the recipient of the 2014 Bulgari Art Award, and his works are in the collections of the Natural History Museum, London; Kadist Collection, Paris; National Gallery of Australia, Canberra; Tasmanian Museum and Art Gallery, Hobart; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; as well as numerous private collections.









Photo by Ahn, CheonHo

© Kukje Gallery