Yun Hyong-keun (1928-2007) was amongst the leading figures of the Korean Dansaekhwa art movement. Inspired by nature and influenced by the work of the scholar and calligrapher Kim Jeong-hui, Yun's paintings combine a palette of umber–the colour of earth–and ultramarine–the colour of water–to create rectilinear compositions, reminiscent of traditional ink-wash paintings. Diluted with turpentine Yun spread pigment across the canvas, layering it over days, weeks or months to create fields of intense darkness. His paintings embody time through an accumulation of procedures enacted in different encounters with the work in the same space. Each layer of pigment seeps into the fibres at a different rate, resulting in blurred edges along the unmarked expanses of canvas. In the 1990s, these boundaries gradually became more defined, eventually sharpening into hard edges in the final decade of the artist's life.Read More
In recent years Yun's work and his contribution to Dansaekhwa have come under renewed study. His works characterise the elements of tactility, spirituality and performance common to first generation Dansaekwha artists, including Chung Sang-Hwa, Ha Chong-Hyun, Chung Chang-Sup, KIM Whanki and Park Seo-Bo. Emerging from a period of international isolation brought about by the Korean War (1950–1953), their work reflected Korean sentiments and aesthetics via an investigation into flatness, materiality and mediation in art making. Rhythmic actions repeatedly performed on the canvas were intended to build a sense of unity between materials, object and the self. While never a movement in the traditional sense–the activities of those associated with the school of Dansaekhwa were ideologically and practically diverse–the artists' shared a common commitment to the materiality and act of painting. Offering a counterpoint to the Minimalist vocabularies propagated in Western painting of the same time, Yun's monochromatic abstractions resonate both across his own culture and with key artists in the history of American and European abstraction.
Text courtesy Simon Lee Gallery.
Yun Hyong-keun at Palazzo Fortuny, Venice, is the first international retrospective exhibition of the eponymous Korean artist's work since his death in 2007. Curated by Kim Inhye, the retrospective runs throughout the duration of the 58th Venice Biennale, which concludes on 24 November. In this Ocula video, created for Ocula's IGTV, Kim...
'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of...
When Donald Judd asked Yun Hyong-Keun what art is, the latter responded that art is 'artless and bland.' To some viewers of Yun's paintings—which have been associated with Korean Dansaekhwa—these words may serve as curious descriptors of the late artist's striking, monochromatic canvases.
Yun began developing his characteristic, nearly monochromatic, paintings in the late 60's and early 70's by placing canvas on the floor of his studio and adding stripes of umber and/or ultramarine pigment diluted with turpentine that bled across the canvas. (Umber is the color of earth; ultramarine the color of water.)
Comprising a survey of twelve paintings, this exhibition presents a thoughtful overview of Yun Hyong-keun’s (1928 – 2007) quietly compelling work. Yun was a central figure within the Korean group of monochrome painters known as Dansaekhwa that emerged during the mid 1960s. A characteristic shared by the members of this group is a...
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