An upward trend continues
Increasing interest in Korean dansaekhwa sparks spate of show
´Ü»öÈÀÇ °ü½ÉÀÌ °©ÀÚ±â ¼Ú¾Æ ¿À¸£°í ÀÖ´Ù.
the Blum & Poe Gallery¡¯s New York branch launched an exhibition of Yun Hyong-keun (1928-2007) in collaboration with the Estate of Yun Hyong-keun and Seoul¡¯s PKM Gallery. It is his first posthumous solo show in North America. Yun is best known for his ¡°Umber Blue¡± series, which span the border between East Asian ink paintings and Western oil paintings.
¼¿ï PKM°³·¯¸®¿Í À±Çü±Ù Àç´Ü°ú Çù¾÷ÇÏ¿© ù¹ø° À¯ÀÛÀüÀ» ´º¿åÁöÁ¡ÀÎ 'ºê·³¾Ø Æ÷'°¶·¯¸®°¡ Àü½Ã¸¦ °³ÃÖÇÏ°í ÀÖ´Ù. ¼¾çÀÇ À¯È¿Í µ¿¾çÀÇ ¸ÔÀÇ ¹°Áú»çÀÌÀÇ ¿µ¿ªÀ» È®ÀåÇÏ´Â À±Çü±Ù ÀÛ°¡´Â ¾ö¹öºí·ç ½Ã¸®Áî·Î Àß ¾Ë·ÁÁ® ÀÖ´Ù.
Nov 04,2015
|
|
|
Two dansaekhwa paintings, colored black and blue, by Korean artist Chung Chang-sup, are on display at the Paris-based Galerie Perrotin¡¯s booth at the FIAC art fair in Paris on Oct. 25 [MOON SO-YOUNG] |
PARIS - The art world¡¯s surging interest in dansaekhwa, or Korean abstract monochrome paintings, is still going strong.
The ongoing trend was evident at the Foire Internationale d¡¯Art Contemporain (FIAC) art fair that ran from Oct. 21 to 25 in Paris.
At the booth of the Seoul-based Kukje Gallery, viewers stopped to see paintings by dansaekhwa artists such as Lee Ufan, 78, and Kwon Young-woo (1926-2013). The style, characterized by minimal color and unusual texture, began to appear in the mid-1960s.
|
|
|
On the same day, visitors to the Seoul-based Kukje Gallery¡¯s booth at FIAC look at Lee Ufan¡¯s paintings (the two on the left) [MOON SO-YOUNG] |
Another painting by Lee, which consists of only one large dot on a white field, attracted the attention of visitors to the booth of Galerie Kamel Mennour, a Parisian gallery. The artist explained in several press meetings that his paintings represent the tension between the negative and positive space, and between the artificial and the natural.
¡°Lee Ufan was an already established artist before his exhibition at the Chateau de Versailles last year, but he has become more popular among the general public since the show,¡± Kamel Mennour, founder and director of the gallery, told the Korea JoongAng Daily during the fair.
|
|
|
Corresponding to the increasing international interest in dansaekhwa, or Korean monochrome abstract paintings, Blum & Poe Gallery¡¯s New York branch launched an exhibition of Yun Hyong-keun (1928-2007) [BLUM & POE GALLERY] |
Lee was the seventh contemporary artist to be invited to hold a solo show at the historic Baroque palace. His predecessors included Joana Vasconcelos, Takashi Murakami and Jeff Koons.
The Paris-based Galerie Perrotin presented two large dansaekhwa paintings by Chung Chang-sup, and its New York branch opened a solo exhibition of the artist yesterday.
|
|
|
Kukje kicked off a solo show of Kwon Young-woo (1926-2013). [KUKJE GALLERY] |
Regarding the sudden international attention to dansaekhwa, a Sept. 30 article in the New Yorker magazine quoted top art adviser Allan Schwartzman as saying, ¡°I¡¯ve never seen this amount of widening interest in a particular circle of non-contemporary artists, in historical material before.¡± The magazine cited the increasing influence of collectors from emerging economies and attempts by museums to revise the art-historical narrative to include under-recognized artists and movements.
At the same time, several art galleries in Korea and overseas recently kicked off exhibitions featuring dansaekhwa artists. Kukje Gallery on Friday launched a solo exhibition of Kwon, who explored the possibilities of abstract expression with traditional Korean materials such as hanji paper.
Also on Friday, the Blum & Poe Gallery¡¯s New York branch launched an exhibition of Yun Hyong-keun (1928-2007) in collaboration with the Estate of Yun Hyong-keun and Seoul¡¯s PKM Gallery. It is his first posthumous solo show in North America. Yun is best known for his ¡°Umber Blue¡± series, which span the border between East Asian ink paintings and Western oil paintings.
¡°The [dansaekhwa] artists variously soaked canvas, pushed paint, dragged pencils, ripped paper and otherwise manipulated the materials of painting in ways that questioned the terms by which the medium was known,¡± the galley wrote on its website, adding that the style is ¡°quickly becoming the globally recognized face of contemporary Korean art.¡±
BY MOON SO-YOUNG [symoon@joongang.co.kr]
Ãâó: Áß¾ÓÀϺ¸