Dansaekhwa: Korean Monochrome Painting
Dansaekhwa: Korean Monochrome Painting, Poster, 2012, MMCA Art Research Center Collection

Dansaekhwa: Korean Monochrome Painting

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Dansaekhwa: Korean Monochrome Painting was an exhibition held at the National Museum of Contemporary Art (now MMCA) from March 17 to May 13 in 2012. The curator Yoon Jinsup brought together monochromatic paintings with a variety of senses and perspectives from the 1960s through the 2000s and beyond. The participating artists were Quac Insik, Kwon Youngwoo, Kim Guiline, Kim Jangsup, Kim Whanki, Park Seo-Bo, Suh Seungwon, Youn Myeungro, Yun Hyongkeun, Lee Dongyoub, Lee Ufan, Chung Sanghwa, Chung Changsup, Choi Myoungyoung, Choi Byungso, Ha Chonghyun, Hur Hwang, Koh Sankeum, Kim Tschoonsu, Kim Taeho, Kim Taeksang, Nam Tshunmo, Noh Sangkyoon, Moon Beom, Park Kiwon, An Jeongsuk, Lee Kangso, Lee Bae, Lee Inhyeon, Jang Seungtaik, and Cheon Kwangyeop. Perceiving tranquility, white clothes, and the sentiment of “han” (resentment or sorrow) as the “archetype” that forms the core of the collective unconscious of Koreans, Yun Jinseop interpreted the preference for Dansaekhwa (monochrome painting) as the identity of Koreans and curated the exhibition entitled Dansaekhwa: Korean Monochrome Painting. He viewed that the trend of Dansaekhwa was seen already in the 1960s works of Kim Whanki, Quac Insik, and Lee Ufan, but the official beginning of Korean Dansaekhwa originated from Lee Ufan and Yamamoto Takashi from Tokyo Gallery paying attention to Situation by Lee Dongyoub and Variable Consciousness by Hur Hwang, both of which were submitted to the first Independants in 1972. He also divided Dansaekhwa into early monochrome painting which emphasized the repetition of performances and actions in the 1970s, and late monochrome painting, which used various materials in and after the 1980s. This exhibition marked a turning point in the use of the term “Dansaekhwa.” In the 1970s, such paintings were called “monochrome” and later “monotone painting.” However, they came to be written using the proper noun Dansaekhwa. The use of the term Dansaekhwa spread quickly and became common, coinciding with the situation in which monochrome painting attracted international attention.
* Source: MMCA

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