Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
This double sided catalogue is published in conjunction with the exhibitions held in Paris from April 22nd to June 1st, and London from June 1st to September 23rd, 2017.
'In 1972, Ha Chong-Hyun made a small sculpture, which appears on its own as if anticipating his subsequent work as a painter. It consists of a hemp rope stretched across a wooden box so tightly that a few unraveling strands threaten to break the entire cordage. Extremely effective, the composition is as simple as its material is banal. An image of great tension and resistance, it epitomises the artist’s practice and further announces his Conjunctions, a lifelong series of paintings, which was initiated in 1974 and is still ongoing to this day.'
– Alfred Pacquement, The Serenity of Ha Chon-Hyun’s Gestural Abstraction
Ha Chong-Hyun came to prominence with his Conjunction series in the early 1970s. These early experiments have led him to build his signature style, pushing the paint from the back to the front of hemp cloth. As a leading member of the movement known as Dansaekhwa, or 'monochrome painting,' he has consistently used material experimentation and innovative studio processes to redefine the role of painting, playing a significant role bridging the avant-garde traditions between East and West. Committed to redefining modern art and rejecting mainstream academic trends, Ha developed a process that converted physically demanding studio processes into abstract compositions. In his most recent work, Ha has expanded upon his practice of transforming three-dimensionality into a two dimensional surface by experimenting with new ways to add materiality and a sense of volume to colour.
Essay by Alfred Pacquement.
27 x 28 cm, 10 5/8 x 11 inches
French / English
Edition of 1000
Almine Rech Gallery Editions
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