With Thoughts on Thickness, the Korean institution aims to create a significant relationship between the Design Week visitor and Korean culture. Between art and design

Korea Craft & Design Foundation, under the patronage of the Ministry of Culture, Sports and Tourism of Korea, presents Thoughts on Thickness: the exhibition set up at the Rossana Orlandi Gallery, aimed at stimulating the visitor's curiosity and reflection on social and philosophical values.

Observation, evolution, change of perspective: under the curatorship of Choi Jooyeon, the exhibition delves into the new Korean production techniques, which work heavily on experimentation thanks to the use of innovative materials or by reinterpreting traditional ones.

Therefore guiding the viewer on a journey to discover Korean creativity, Thoughts on Thickness is organized into three sections: respectively In Variation in Thickness, SOBAK (素朴), MADANG of Coexistence.

A journey that explores Korean culture in its broadest artistic dimension, of which design is also part. Aiming to stimulate a feeling of empathy in each visitor.

Thoughts on Thickness: the three sections, told in detail

Of the three sections into which Thoughts on Thickness is organized, In Variation in Thickness is the first. In this phase the visitor can explore contemporary Korean craftsmanship and, at the same time, the importance recognized to the materials used.

For this thematic area, the eleven artists transform common materials into contemplative works of art, crossing the boundaries of simple practicality. A way of bringing the attention of the observer back to focus on the value of the materials used and the object itself, beyond its practical function.

The second section, Sobak, invites the visitor to experience a moment of contemplation and respect: an opportunity provided by the tea ritual , which is set up at the Rossana Orlandi Gallery to tell the pure beauty of simplicity typical of Korean culture, expressed even just in the passage of time.

The courage to explore the essence of nature, humanity and the objects themselves belongs to the common Korean conscience, which encourages limiting non-essential and merely decorative elements.

Finally, the third section, Madang, talks about coexistence: in this last stretch of the exhibition, the visitor has the opportunity to immerse himself in the garden of the gallery , which, based on the structure of traditional Korean houses, lends itself to being a space where people cangather and communicate.