Wu Guanzhong: Between Black and White

“Were I entrusted to select two Chinese works for an exhibition of international contemporary art, I would choose a jet black lacquer panel and a piece of pristine white Xuan paper.”

For the first time in Korea, this exhibition showcases a fine selection of 17 Wu’s ink and oil paintings from the collection of the Hong Kong Museum of Art. Accompanied by insightful excerpts from the artist’s own writings, we invite you to immerse yourself in the art master’s distinctive chromatic aesthetics and explore the boundless passion and imagination evoked within the interplay between black and white.

Exhibition Highlights

Highlight 1

A 20th-Century Master of Modern Chinese Art with Global Recognition

Wu Guanzhong (1919–2010) is widely regarded as one of the most influential figures in 20th-century Chinese art. Celebrated for his ability to bridge Eastern and Western aesthetics, and having studied in both China and France, Wu was among the first living Chinese artists to be honored with solo exhibition at the British Museum, and was also widely exhibited in France and the United States.

Highlight 2

A Distinctive Visual Language That Resonates with Contemporary Viewers

Wu’s works are noted for their abstract structure, visual dynamism, and lyrical expression. He masterfully combined the emotional depth of traditional Chinese ink painting with Western modernist composition. The exhibition will present some of his most iconic works—Two Swallows, Reminiscences of Jiangnan, and Waterway—to Korean audiences for the first time.

Highlight 3

The First Solo Exhibition in Korea Featuring HKMoA’s Wu Guanzhong Collection

This is the first official solo exhibition of Wu Guanzhong in Korea featuring from a public museum collection which holds the largest and most diverse collection of Wu’s works in the world. It offers a rare opportunity to experience highlights from the HKMoA’s renowned Wu Guanzhong collection—brought to Korea for the first time.

Exhibition Sections

Section 1

 

Wu Guanzhong (1919 – 2010)

Two Swallows

1981

Ink and colour on paper

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2002.0006

Artist statement:

“Stretched across the middle of the painting, the wall dominates the pure white Xuan paper with her majestic presence. Black ink horizontals and verticals apportion the surface. This is a territory which Piet Mondrian (1872 – 1944) explored, but the thrill of watching two swallows alight on an oriental dwelling was something that he had not experienced.”

Wu Guanzhong (1919 – 2010)

Reminiscences of Jiangnan

1996

Ink on paper

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2002.0018

Artist statement:

“Ever since the success of Two Swallows, which showcased the contrasting beauty of horizontal and vertical elements, as well as black and white tones, this artistic vision has been staying with me. From Former Residence of Qiu Jin in 1988 to Reminiscences of Jiangnan in 1996, I have incorporated elements of Two Swallows into my subsequent works, with only a few horizontal lines and black dots remain. It is as if the memories gradually fade away, and the swallows have taken flight — a continuation of the original inspiration. Those abstract geometric forms and those entangled moods have all arisen from interpretations of the realistic forms. Works from different periods reveal what the artist had been preoccupied with all those years. My innermost secrets were exposed to the public.”

Section 2

 

u Guanzhong (1919 – 2010)

An Encounter

1999

Oil on canvas

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2014.0014

Artist statement:

“New buds have just sprouted from willow branches. The leaves are yet to appear. Sparse branches sway in the wind and generally exhibiting a hazy and translucent cool grey tone when viewed from afar. At this time of year, the river is pale green; the distant mountains are verdant; the embankments are wet and raw brown. Their colours are harmonious and subtle, with no dominating tone at all. Jiangnan houses with white walls and black tiles are scattered around the tranquil water town, they stand out from the harmonious colour tones.

‘Jiangnan riverbanks will be green again when the spring breeze comes.’ I must get there before the breeze to observe closely how the Jiangnan riverbanks turn green. Nature’s brushstrokes are delicate and subtle. The hues of the Jiangnan riverbanks change slowly but surely in three days, two days or even day by day. The transformation is imperceptible. Perhaps one week later, people are surprised to find willows flaunting lush green leaves and peach blossoms in bloom. Time just slips away. I have long lost my youth to time. I am just hurrying to catch the fleeting moments of early spring.

 

Waterway

1997

Oil on canvas

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2002.0012

Artist statement:

“My own artistic journey began with the silver-grey tones of Jiangnan region, my hometown that exudes a poetic ambiance. Throughout my life, I have been painting scenes of Jiangnan, with its water towns and endless poetic alleyways.”

“The embedded colourful dots are like pearls and gems in the painting, garments in everyday life.”

Section 3

 

Wu Guanzhong (1919 – 2010)

Bitter Melon Homestead

1998

Oil on canvas

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2002.0013

Artist statement:

“The bitter melon plant bears bitter melon fruits. This is blood. This is destiny. Time and again, halos and wreaths, they are the fruits of nothing but bitterness. Bitter melons are not bitter since, as I have inscribed, I have fully tasted the bitterest of the bitterest. No one has the freedom to choose his fate, just as the bitter melon plant has no choice but to bear bitter melon fruits. In my old age, I did a painting titled Bitter Melon Homestead. Bitterness always haunts me. It is deep in my heart.”

 

Nest

2010

Ink on paper

Collection of Hong Kong Museum of Art

Donated by Mr Wu Guanzhong and his family

FA2010.0005

Artist statement:

“As I transition from figurative to abstract art, black and white become even more vital.”

“Within the realm of black and white, subtle transitions and sudden twists emerge. Dots, lines, and planes intertwine with emotions, engaging in both gentle entanglement and fierce struggle. When observed with a discerning eye, they reveal a diverse array of forms and expressions.”

Section 4

“Wu Guanzhong Art Sponsorship Cross-disciplinary Series:

Wu Guanzhong x Chris Cheung”
 
 

Sentient Pond – Seoul Edition

2025

Interactive immersive installation