Yun Hyong-keun / Paris
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A contemplative exploration of the work of Yun Hyong-keun, a
renowned Korean abstract painter, during a transformative period in
the early 1980s. 'His brushstrokes bled naturally across the linen
or cotton raw canvas -appearing light brown as its fabric was not
bleached - reminiscent of traditional East Asian calligraphy or ink
and wash paintings.' — The Korea Times From 1980 to 1982, Yun
Hyong-keun resided in Paris, seeking both peace from the violent
political turmoil that exploded in South Korea and a new, artistic
center in which to create work. His brief but illuminating stay in
the city became the locus of his freedom of expression, which had
been subject to political repression he had experienced in his home
country.Yun's signature abstract compositions engage and transcend
Eastern and Western art movements and visual traditions,
establishing him as one of the most significant Korean artists of
the twentieth century. He is the most prominent figure associated
with the Dansaekhwa (monochrome painting) movement, the name given
to a group of influential Korean artists from the 1960s and 1970s.
Using a restricted palette of ultramarine and umber, Yun created
his compositions of monolithic swathes by adding layer upon layer
of paint onto raw canvas or linen, and hanji (Korean mulberry
paper), often applying the next coat before the last one had
dried.Published on the occasion of the artist's exhibition at David
Zwirner, Paris, in 2023, this limited-run cloth-bound catalogue
focuses on his paintings and works on hanji. In an accompanying
text, the art critic Oh Gwangsu considers Yun's work prior to his
move to Paris, particularly the artist’s shift toward his
signature works in the 1970s. The writer Mara Hoberman then
reflects on Yun’s practice and influences upon his arrival in the
European capital, including an examination of his more nuanced
understanding of the color black, which takes on different meanings
in France and Korea.
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