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2024. 3. 28


[¹Ì¼úÀϹÝ] Korean 'Danseakhwa' rediscovered at Frieze London
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Korean 'dansaekhwa'

rediscovered

at Frieze London

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Korean 'dansaekhwa' rediscovered at Frieze London

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By Kwon Mee-yoo

LONDON ¡ª
Korean modern art has never been at the center of international art scene ¡ª until the "dansaekhwa," or the Korean monochrome movement that began in the 1970s, was rediscovered about 30 years later.

Also known as "tansaekhwa," the movement reflects Korean artists' endless search for neutrality and transcendence through a meditative process. A list of major dansaekhwa artists includes Chung Chang-sup, Chung Sang-hwa, Ha Chong-hyun, Kim Whan-ki, Kwon Young-woo, Lee U-fan, Park Seo-bo and Yun Hyong-keun. Their works were almost forgotten even within Korea, because the now-octogenarian artists were regarded as the doyens of the artistic world ¡ª a synonym for "obsolete."

British artist Millie Brown performs "Rainbow Body," a performance installation where she is surrounded by crystal prisms suspended from the ceiling at Gazelli Art House in London, Oct. 14. / AFP-Yonhap

However, the dusty paintings have been in the spotlight in the last couple of years because the world has started paying attention to how the modern history of Korea shaped and influenced its art. The Frieze Art Fair, one the world's leading contemporary art fairs, took the head in shedding light on the Korean monochrome paintings.


The Frieze London ¡ª on view through Saturday in London's Regent's Park -- mainly featured artworks post 2000, while its spinoff fair, the Frieze Masters, was launched in 2012 to present works made before 2000. The Frieze Masters has become an interesting combination of ancient manuscripts and more-modern works that inspired cutting-edge contemporary art.

Visitors look at Untitled," a dansaekhwa (Korean monochrome painting) by late artist Kwon Young-woo, exhibited at the Frieze Masters in London. / Courtesy of Frieze

Abby Bangser, Frieze Art Fair artistic director for the Americas and Asia, explained how the London-based fair fueled international awareness of dansaekhwa.


"The attention on dansaekhwa truly got started at this fair," Bangser told The Korea Times, Wednesday. "Compared to other art fairs, the Frieze is in the big urban center of London. It offers the opportunity for truly global audiences and for trends to be set from here."

The Frieze Masters' Spotlight section, advised by Clara Kim this year, gave galleries the opportunity to present works by one 20th century artist in an attempt to discover lesser-known artists, who are not necessarily young.

"There are a few interesting trends at the fair and dansaekhwa is one of them," Bangser said. "The dansaekhwa movement is special to this fair as it focuses on revisiting history and bringing it back."

Visitors walk past "Sculpture #1" by Darren Bader on display at the Frieze Art Fair in London. / AFP-Yonhap

Dansaekhwa is featured at a handful of galleries at the fair including the Seoul-based Kukje Gallery and Hakgojae Gallery as well as Blum & Poe, Dominique Levy and Axel Vervoordt.


Kukje Gallery's booth at the Frieze Masters is headlined by the late Kwon Young-woo (1926-2013), who is known for his experiments with "hanji," or Korean traditional paper. Kwon was picked as a highlight of the fourth edition of the Frieze Masters. A preview of Kwon's works was sold out, the gallery official said.

Even though they were produced about 30 years ago or more, his works still seem contemporary. Kwon is one of the first generation post-independence Korean artists whose work is inextricable with the modern history of Korea such as the U.S. military administration after independence, the Korean War (1950-53) and the autocratic military regime in the 1960s.



He majored in Oriental painting at Seoul National University and later painted abstracts, before working on his signature works featuring stacked papers. Kwon put down the brush and held glue and utility knife instead. He pasted "hwaseonji" (a type of Korean traditional paper that is thin, like tissue) layer by layer, cut the stack with a knife and used "meok," or Korean traditional ink, to create unique shapes and patterns, almost three-dimensional.

Because the thin paper is sensitive to temperature and humidity, the artist could not control every aspect of a painting. Kwon defied the categories of Western or Oriental painting, as he sought the fundamentals.

Kwon O-hyup, the artist's eldest son who attended the fair, said he was sorry his father, who died two years ago, was not able to see the soaring of dansaekhwa.

"But I am glad that his works are reevaluated," his son said.

Korean gallery Hakgojae presented another dansaekhwa artist Chung Sang-hwa (1932- ) in the Spotlight section. Chung's work offers a balance of reduction and addition, as the artist repetitively applies paint, and then folds the canvas to rip off paint along the grid. The repetitive, ascetic procedure gives unfathomable depth to Chung's paintings. Hakgojae sold seven of Chung's works within hours for between $500,000 and $1 million, about five times higher than the previous year's price tag, reflecting the recent market craze.

The Frieze attracts many museum directors and curators looking to expand their collection and searching for possible themes for exhibitions. Dansaekhwa surely caught their attention as many pieces have recently entered the top art museums' permanent collections, including those in the Museum of Modern Art and the Guggenheim Museum.

Alexandra Munroe, who organized a retrospective of dansaekhwa artist Lee U-fan at the Guggenheim in 2011, described it as a "perfect storm."

In a recent article, The New Yorker Magazine said the sudden focus on dansaekhwa coincided with a new global focus in the art world.

"Galleries are opening outposts; collectors from emerging economies are increasing their influence; and museums are revising the art-historical narrative to include under-recognized artists and movements," it said. " Tansaekhwa has found itself at the nexus of a number of changes."

In addition to the attention at the Frieze, dansaekhwa continues to charm global art aficionados, with more exhibits scheduled across the globe. Blum & Poe's New York branch will open a Yun Hyong-keun exhibition on Oct. 30, Galerie Perrotin New York will hold a Chung Chang-sup exhibition from Nov. 3-23 and Tina Kim Gallery in New York will present Ha Chong-hyun's solo show from Nov. 6-Dec. 5.

Park Seo-bo will have a solo show at London's mega-gallery White Cube in January 2016, while New York galleries Dominique Levy and Greene Naftali will join hands to mount an exhibition of works by Chung Sang-hwa.

For more information, visit www.frieze.com.

Ãâó: ÄÚ¸®¾ÆŸÀÓÁî
LONDON ¡ª
Korean modern art has never been at the center of international art scene ¡ª until the "dansaekhwa," or the Korean monochrome movement that began in the 1970s, was rediscovered about 30 years later.

Also known as "tansaekhwa," the movement reflects Korean artists' endless search for neutrality and transcendence through a meditative process. A list of major dansaekhwa artists includes Chung Chang-sup, Chung Sang-hwa, Ha Chong-hyun, Kim Whan-ki, Kwon Young-woo, Lee U-fan, Park Seo-bo and Yun Hyong-keun. Their works were almost forgotten even within Korea, because the now-octogenarian artists were regarded as the doyens of the artistic world ¡ª a synonym for "obsolete."

British artist Millie Brown performs "Rainbow Body," a performance installation where she is surrounded by crystal prisms suspended from the ceiling at Gazelli Art House in London, Oct. 14. / AFP-Yonhap

However, the dusty paintings have been in the spotlight in the last couple of years because the world has started paying attention to how the modern history of Korea shaped and influenced its art. The Frieze Art Fair, one the world's leading contemporary art fairs, took the head in shedding light on the Korean monochrome paintings.


The Frieze London ¡ª on view through Saturday in London's Regent's Park -- mainly featured artworks post 2000, while its spinoff fair, the Frieze Masters, was launched in 2012 to present works made before 2000. The Frieze Masters has become an interesting combination of ancient manuscripts and more-modern works that inspired cutting-edge contemporary art.

Visitors look at Untitled," a dansaekhwa (Korean monochrome painting) by late artist Kwon Young-woo, exhibited at the Frieze Masters in London. / Courtesy of Frieze

Abby Bangser, Frieze Art Fair artistic director for the Americas and Asia, explained how the London-based fair fueled international awareness of dansaekhwa.


"The attention on dansaekhwa truly got started at this fair," Bangser told The Korea Times, Wednesday. "Compared to other art fairs, the Frieze is in the big urban center of London. It offers the opportunity for truly global audiences and for trends to be set from here."

The Frieze Masters' Spotlight section, advised by Clara Kim this year, gave galleries the opportunity to present works by one 20th century artist in an attempt to discover lesser-known artists, who are not necessarily young.

"There are a few interesting trends at the fair and dansaekhwa is one of them," Bangser said. "The dansaekhwa movement is special to this fair as it focuses on revisiting history and bringing it back."

Visitors walk past "Sculpture #1" by Darren Bader on display at the Frieze Art Fair in London. / AFP-Yonhap

Dansaekhwa is featured at a handful of galleries at the fair including the Seoul-based Kukje Gallery and Hakgojae Gallery as well as Blum & Poe, Dominique Levy and Axel Vervoordt.


Kukje Gallery's booth at the Frieze Masters is headlined by the late Kwon Young-woo (1926-2013), who is known for his experiments with "hanji," or Korean traditional paper. Kwon was picked as a highlight of the fourth edition of the Frieze Masters. A preview of Kwon's works was sold out, the gallery official said.

Even though they were produced about 30 years ago or more, his works still seem contemporary. Kwon is one of the first generation post-independence Korean artists whose work is inextricable with the modern history of Korea such as the U.S. military administration after independence, the Korean War (1950-53) and the autocratic military regime in the 1960s.



He majored in Oriental painting at Seoul National University and later painted abstracts, before working on his signature works featuring stacked papers. Kwon put down the brush and held glue and utility knife instead. He pasted "hwaseonji" (a type of Korean traditional paper that is thin, like tissue) layer by layer, cut the stack with a knife and used "meok," or Korean traditional ink, to create unique shapes and patterns, almost three-dimensional.

Because the thin paper is sensitive to temperature and humidity, the artist could not control every aspect of a painting. Kwon defied the categories of Western or Oriental painting, as he sought the fundamentals.

Kwon O-hyup, the artist's eldest son who attended the fair, said he was sorry his father, who died two years ago, was not able to see the soaring of dansaekhwa.

"But I am glad that his works are reevaluated," his son said.

Korean gallery Hakgojae presented another dansaekhwa artist Chung Sang-hwa (1932- ) in the Spotlight section. Chung's work offers a balance of reduction and addition, as the artist repetitively applies paint, and then folds the canvas to rip off paint along the grid. The repetitive, ascetic procedure gives unfathomable depth to Chung's paintings. Hakgojae sold seven of Chung's works within hours for between $500,000 and $1 million, about five times higher than the previous year's price tag, reflecting the recent market craze.

The Frieze attracts many museum directors and curators looking to expand their collection and searching for possible themes for exhibitions. Dansaekhwa surely caught their attention as many pieces have recently entered the top art museums' permanent collections, including those in the Museum of Modern Art and the Guggenheim Museum.

Alexandra Munroe, who organized a retrospective of dansaekhwa artist Lee U-fan at the Guggenheim in 2011, described it as a "perfect storm."

In a recent article, The New Yorker Magazine said the sudden focus on dansaekhwa coincided with a new global focus in the art world.

"Galleries are opening outposts; collectors from emerging economies are increasing their influence; and museums are revising the art-historical narrative to include under-recognized artists and movements," it said. " Tansaekhwa has found itself at the nexus of a number of changes."

In addition to the attention at the Frieze, dansaekhwa continues to charm global art aficionados, with more exhibits scheduled across the globe. Blum & Poe's New York branch will open a Yun Hyong-keun exhibition on Oct. 30, Galerie Perrotin New York will hold a Chung Chang-sup exhibition from Nov. 3-23 and Tina Kim Gallery in New York will present Ha Chong-hyun's solo show from Nov. 6-Dec. 5.

Park Seo-bo will have a solo show at London's mega-gallery White Cube in January 2016, while New York galleries Dominique Levy and Greene Naftali will join hands to mount an exhibition of works by Chung Sang-hwa.

For more information, visit www.frieze.com.
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