In 2008, we are pleased to announce the second LIPA (Lumiere International Photography Award), the first biennial Korean international photography award established by Gallery Lumiere, recognized as a systematic and professional gallery in Asia within the international field of photography. With a mission to develop the international photography market and the global art market, Gallery Lumiere selects the award-winning artist amongst many distinguished and creative young artists who passionately engage in their work. The selection undergoes a strict process and through co-working with sponsor companies, we support the winner in the form of a combined provision of scholarship and fellowship that meets global financial criteria. LIPA (Lumiere International Photography Award) aims to promote the award-winning artist to successfully enter the international art scene and to establish oneself as a globally recognized artist in the field of international photography.

The sponsor companies of LIPA (Lumiere International Photography Award) have provided support towards art and culture through global art sponsorship programs, and their support towards LIPA has added a new page in the history of art sponsorship.

As the globally notable awards, established under the initiative of gallerists, there are the ‘National Competition,’ award from Soho Photo Gallery in New York, and an award by Fraser Gallery from Washington. LIPA (Lumiere International Photography Award), which consists of the well-organized patronage system, made possible thorough cooperation with sponsor companies, is distinguished from other awards in terms of its strong financial stability.

The vigorous Mecenat activities of these companies have provided the great assistance to the artists’ performances in the most practical way. As we can see from the history of art patrons, the Medici family’s achievements prove the great influence of sponsors in the contemporary era. The active art patronage system led by the Medici family of Florence, the exceptionally influential and passionate patrons in art, has brought the dramatic cultural expansion in the Renaissance period. Moreover, this effect even brought significant influence on economical and social ripple, which has opened a new chapter in the history of mankind.

In modern society, a number of corporations around the world endeavor to support the growth of art community like the Medici family. For instance, in 2000, a German investment firm built a new office building at Frankfurt Hausen to begin a collection of a number of works by modern photographers. Art Collection Borse - which comprises approximately five hundred pieces of works by forty photographers from both Germany and other countries - is supported by a number of German investment firms, and has been exhibited in this new building. Although Art Collection Borse realistically portrays modern society, the urban experience, endless rhythm of architectural facades, and tranquil natural sceneries, it shows the artists’ critical views on diverse communities in the contemporary world. Every year since 2005, the ‘Deutsche Borse Photography Prize’ sponsors its living artist who is selected without discrimination to nationality. HSBC, the leading global bank, established ‘Fondation HSBC pour la Photographie’ in 1995 to support a variety of sponsoring organizations, promoting art sponsorship around the world. UBS, a notable global financial services firm has been sponsoring the international art fair, Art Basel, through its UBS Art Collection for the past thirteen years. The internationally recognized European bank, Deutsche Bank, known for having the largest collection consisting of over fifty thousand pieces of artworks continues to manage a wide range of collections and accepts the works by young rising artists.

LIPA consists of sponsor companies that actively engage in international business. These corporations have provided support towards art and culture through LIPA, a global art sponsorship program provided by Gallery Lumiere, adding a new page in the history of art sponsorship.

The Second LIPA(Lumiere International Photography Award) presented in 2008 has been made possible with sponsorship from Seoul Metropolitan Office and Chosun Press, Asiana Airlines, Kumho Tire, Kumho Asiana, IWL Partners and Doosan Infracore, and their cooperation with Gallery Lumiere.

The Helsinki school where Ari has been part of is an art institute which offers a platform for talented artists to have an opportunity to impress the international art connoisseurs, and enter the global art market.

The concept of "The Helsinki School" is not defined by a specific discipline, nationality or geographic region. It represents an approach, a way of thinking that has evolved out of a process of teaching at the University of Art and Design, where each generation is given the chance to invent themselves. The school focuses on creativity and provided opportunities and courage for many talented young artists. This is where the Helsinki School has pride.

The Helsinki school, since its establishment 30 years ago, shows a unique approach in how to teach and apply the use of the camera as a conceptual tool. The programs that will support these ideas are constantly being developed with the provision of high technology and essential elements for creativity, hence being noted as one of the highly recognized institutes.

In 2008, the second LIPA’s award-winning artist Ari Kakkinen will have a solo exhibition in Gallery Lumiere Seoul, and in this exhibition Ari Kakkinen presents works that portray places, spaces and even human beings covered in white cloth.

The second LIPA 2008 is awarded to Ari Kakkinen, an innovative artist currently receiving much attention internationally. He was educated and trained in The Helsinki School of Art and Design in Finland, the most prestigious art educational institution which combines the highest technological prowess, visual creativity and scientific technology. On his photographic works, he transforms the color of the objects by covering the actual objects with white cloth. Although many others doubt Ari Kakkinen’s refusal to realistically portray the objects and appreciate the formal properties of them, Andrea Holzherr, an art critic, suggests the true nature and the sense of beauty of objects portrayed in Ari Kakkinen’s works, which are strongly emphasized by his particular working process. Although the superficial characteristics of objects are lost, we should be able to understand the significance of the nature behind the objects and discover specific viewpoints of Ari Kakkinen on the idea of beauty in art.

In Finnish culture whiteness is associated with everyday materials like snow or milk, but also symbolical sphere of purity, innocence, light and eternal life. On top of silencing or nothingness Kakkinen has begun to speak about “becoming” which has, of course, certain traces of religion.

Ari Kakkinen’s ambitious effort is to walk the thin line between conceptual and visual, sensed and acknowledged. To describe this “inadequate yet necessary” artistic act Kakkinen borrows the term sous rature (under erasure) from his favorite philosopher Jacques Derrida. The act of putting under erasure is an act of posing questions about the value and the importance of the things and ideas we are much too common with. The question is about different genres of knowledge, or asking fundamental questions like, what is knowledge.

Please make sure that all images indicate copyright.
The proper form would be ⓒ Ari Kakkinen

ⓒ Ari Kakkinen This Is Where He Stayed # 2 (The Incision), 2005 chromogenic print 125 cm x 150 cm mounted on aluminium and framed

ⓒ Ari Kakkinen No Echo, 2004 chromogenic print 125 cm x 150 cm mounted on aluminium and framed

ⓒ Ari Kakkinen Our Daily Bread, 2004 chromogenic print 125 cm x 150 cm mounted on aluminium and framed

ⓒ Ari Kakkinen Substratum 1&2, 2007 Digital lambdaprint, Diasec Diptych, each 125 cm x 100 cm

ⓒ Ari Kakkinen Our Daily Bread, 2004 chromogenic print 125 cm x 150 cm mounted on aluminium and framed

ⓒ Ari Kakkinen 30.000 Horizontal (memorial for the union of arrogance and war industry #1), 2007 chromogenic print, Diasec 160 cm x 200,5 cm

ⓒ Ari Kakkinen 30.000 Storeroom (memorial for the union of arrogance and war industry #4), 2007 chromogenic print, Diasec 140 cm x178,5 cm

ⓒ Ari Kakkinen Anterograde Amnesia(Dedicated to Linda Andre), 2007 chromogenic print, Diasec 178,5 cm x 139 cm