Yun Hyong–keun 楊·亨根 (1928-2007) Dansaekhwa Korean Monochrome Painting South Koreans
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Yun Hyong-keun (1928-2007) was born in Seoul and received his BFA from the School of Fine Arts at Hongik University in 1957. One of the most significant Korean artists of the twentieth century, Hyong-keun became associated with the influential Dansaekhwa (monochromatic painting) movement of Korean artists who experimented with the physical properties of painting and prioritized technique and process in the 1960s. The scarcity of materials following the Korean War (1950-1953) and the country’s relative isolation from the international art world led the artists to construct their own sets of rules and structures in relation to abstraction.
Using a restricted palette of ultramarine and umber, Yun created his distinctive compositions by adding layer upon layer of paint onto raw canvas or linen, often applying the next coat before the last one had dried. He then diluted the pigments with turpentine solvent, allowing them to seep into the fibers of the support, staining it in a similar way to traditional ink on absorbent paper. Working directly on his studio floor, he produced simple arrangements of intensely dark, vertical bands surrounded by untouched areas. The division was softened by the blurred edges caused by the uneven rates of absorption of oil and solvent, and the compositions often developed over several days, even months, with the artist adding further layers or letting the pigments bleed out gradually.
Since 2016, David Zwirner has represented the work of Yun Hyong-keun in New York. The artist’s work has been the subject of solo exhibitions at prominent institutions worldwide, including Total Museum of Contemporary Art, Seoul (1994); Stiftung für konkrete Kunst, Reutlingen, Germany (1997); Musée d’Art moderne et contemporain de Strasbourg (2002); and Art Sonje Museum, Gyeongju, Korea (2002). He has participated in recent group exhibitions held at National Museum of Modern and Contemporary Art, Seoul (2015); Gyeonggi Museum of Modern Art, Korea (2013); and Daegu Art Museum, Daegu, Korea (2011). His work was included in the São Paulo Biennial in 1969 and 1975; the 46th Venice Biennale in 1995; and the Gwangju Biennale in 2000. Other notable solo exhibitions have been held at Inkong Gallery, Daegu, Korea (1986); Gallery Ueda, Tokyo (1990); Gallery Hyundai, Seoul (1996); Blum & Poe, New York; PKM Gallery, Seoul (both 2015); among others. In 2018, the National Museum of Modern and Contemporary Art in Seoul will host a major solo exhibition of the artist’s work.
Yun visited New York in 1974, where he encountered the work of American postwar artists including Mark Rothko, which led him to further explore ways to divide pictorial space. The inherent physicality of his works, in turn, impressed artists such as Donald Judd, who invited Yun to exhibit at his spaces on Spring Street in New York and in Marfa, Texas (Chinati Foundation) during the 1990s in what would be the artist’s first solo presentations in the United States.
Work by the artist is represented in permanent collections internationally, including the Chinati Foundation, Marfa, Texas; Fukuoka Art Museum, Fukuoka, Japan; Leeum, Samsung Museum of Art, Seoul; and National Museum of Modern and Contemporary Art, Korea. The artist has been the recipient of awards including the 5th Korean Fine Art Grand-Prix Exhibition (1978).
楊·亨根（（1928-2007）出生於首爾，於1957年獲得弘益大學美術學院的博士學位。二十世紀韓國最具影響力的藝術家之一，韓承坤與有影響力的丹沙華（單色繪畫）運動，他們在20世紀60年代對繪畫的物理特性進行了實驗，並優先考慮了技術和工藝。朝鮮戰爭（1950-1953）之後的材料稀缺以及國家與國際藝術界的相對孤立，導致藝術家們在抽象的基礎上構建自己的一套規則和結構。
運用受限制的深藍色和棕褐色調色板，通過在未加工的帆布或亞麻上添加層層塗料，創造出獨特的作品，通常在最後一層乾燥之前塗上下一層。然後，他用松節油溶劑稀釋顏料，使其滲入載體的纖維中，以與吸水紙上的傳統墨水相似的方式對其進行染色。直接在他的工作室工作，他製作了一個由未被觸及的區域環繞的強烈黑暗的垂直樂隊的簡單佈置。由於油和溶劑的吸收速率不均勻，造成邊緣模糊，使得分部變軟，組合物經常在幾天甚至幾個月內發展，藝術家進一步添加層或使顏料逐漸滲出。
自2016年以來，David Zwirner代表了尹亨in在紐約的工作。藝術家的作品一直是全球知名機構的個人展覽的主題，包括當代藝術總館，首爾（1994年）; Stiftungfürkonkrete Kunst，德國羅伊特林根（1997）; Muséed'Art moderne et contemporain de Strasbourg（2002）;和韓國慶州的Art Sonje博物館（2002年）。他參加過最近在漢城國立現代美術館舉辦的展覽（2015年）;京畿道韓國現代美術館（2013年）;和韓國大邱的大邱美術館（2011年）。他的作品被列入1969年和1975年的聖保羅雙年展; 1995年的第46屆威尼斯雙年展;和2000年的光州雙年展。其他著名的個展在韓國大邱的Inkong畫廊舉辦（1986）;上田美術館（1990）;畫廊現代，首爾（1996）; Blum＆Poe，紐約;首爾PKM畫廊（2015年）;等等。 2018年，首爾國立現代美術館將舉辦藝術家作品的大型個展。
楊·亨根於1974年訪問紐約，在那裡他遇到了包括馬克羅斯科在內的美國戰後藝術家的作品，這導致他進一步探索分割繪畫空間的方法。反過來，他的作品的內在物質性給唐納德賈德等藝術家留下了深刻的印象，他在20世紀90年代邀請了Yun在紐約春街和德克薩斯州瑪法（中國基金會）的展位上展出他的作品，在美國進行個人演講。
楊·亨根於1974年訪問紐約，在那裡他遇到了包括馬克·羅斯科（Mark Rothko）在內的美國戰後藝術家的作品，這使他進一步探索分割繪畫空間的方法。他的作品的內在物質性反過來給諸如唐納德·賈德（Donald Judd）這樣的藝術家留下了深刻的印象，他在20世紀90年代邀請了Yun在紐約春街和得克薩斯州瑪法（中國基金會）的空間裡展出他的作品，在美國進行個人演講。
藝術家的作品在國際上被永久收藏，其中包括得克薩斯州馬爾法的中國基金會（Chinati Foundation）福岡美術館，日本福岡;首爾三星美術館Leeum，韓國國立現代美術館等。曾獲得過第五屆韓國美術大獎（1978年）等獎項。
Arts & Culture: Part 2 - Art exhibitions in Seoul
That certainly does seem like a very exciting new production, and with the taekwondo, it's something that many audiences may not have experienced.
That's right, it combines a great story with the excitement of martial arts to create an interesting and fun production.
Alright, now on to some ideas for Culture Day?
Well, it seems that the brand new Seoul branch of the Museum of Modern and Contemporary Art was among the top places to visit for Culture Day, boasting an increase of 167 percent compared to the day before.
That is quite impressive indeed.
And since art exhibitions seem like the hot ticket, how about some wonderful and unique art exhibitions that you may not have known about? Let's take a look.
On the rooftop of an art museum under the night sky... a peculiar light can be seen, lit up inside what looks to be a small room.
This is a unique installation titled Disappearing Room.
Visitors can experience what it feels like to disappear, while also enjoying the nighttime scenery.
Visitors can go into the room and really disappear. My intent was to create a slapstick comedy type of experience for visitors to enjoy.
Ten artists have gathered to present unique exhibitions held not inside -- but on top of and around the museum grounds.
And the Disappearing Room is just one part of the exhibition titled 6 - 8 that is currently being held at the Gyeongju branch of Artsonje Center in Gyeongsanbuk-do until March 29th.
The title simply represents the hours that the exhibition can be enjoyed -- from six to eight in the evening.
Also currently on display is the craft exhibition Ohn Ki.
It's a massive collection by over 100 artists and designers, displaying over 360 pieces of artwork, including pieces by master artisan Min Young-ki, whose works have been displayed at the Victoria Albert Museum in England and the Smithsonian Museum in Washington, D.C.
This comprehensive craft exhibition consists of both classic crafts by master artisans and also more contemporary works crafted by modern artists.
The title Ohn Ki depicts the passion of the artist and the perfection of the crafts, which can be experienced at Culture Station Seoul 284 in Jongno-gu, Seoul, until March 9th.
Those are some great ideas for the many fans of art and culture that will be out and about for Korea's second monthly Culture Day tomorrow and of course on the weekend.
And these are just a few of the 1,000 venues that are participating in this month's Culture Day.
So, with the success that this idea seems to be having, do you think the number of participating venues will continue to increase as the year goes on?
Oh, I definitely do see this becoming bigger and bigger.
And take this into consideration -- the months following the year-end holidays, the colder months of January, February and even March are what are considered the slow season for cultural activities.
Yet even at this time, we're seeing a positive reaction from both residents of Korea and participating venues.
This is definitely a great sign of things to come when the culture season really starts picking up as the weather gets warmer.
Alright. Sounds great to me.
Thank you, Tae Ho, and we'll see you again tomorrow.
You're welcome. Have a good afternoon.