Art market Magazine June 2016

 
ART ANALYTICS 
 
Dansaekhwa 
ne day in 1967, Park…
ART ANALYTICS

Dansaekhwa
ne day in 1967, Park Seo-Bo came upon his son trying to copy his older brother's writing. His attempts were a failure, and the characters invariably spilled
over the squares supposed to contain them. Miserable and furious, he scrubbed out the signs. Eureka! "That was resignation!" wrote the painter, who in the midst of a profound spiritual crisis, sought how to express the awakening to resignation and relinquishment of all desire. "That was the moment when I found the way to express this abandonment of desire." The story, one of the incidents marking the birth of Dansaekhwa, comes from an interview with Park Seo-Bo during the exhibition "Dansaekhwa, l’aventure du monochrome en Corée, des années 1970 à nos jours", at the Kerguéhennec estate (From March to June, 2016). Dansaekhwa (meaning "monochrome") made its appearance in the Seventies, standing out from monochrome or minimal Western art through its powerful meditative aspect involving the whole body, which demands great physical and mental concentration. For Olivier Delavallade, one of the exhibition curators, "Dansaekhwa is a temperate Matiérisme." It arose from the originality of painters who, at the end of the Korean War, sought to invent a pictorial language that could express the coun-

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try's tragic situation and the trauma of its division, ever present today. From this, Dansaekhwa has retained a mistrust of modernity. It also draws on a philosophy of nature inherited from the Buddhist and Daoist tradition, which posits a simple and obvious continuity between nature and culture, between man and the world, going far beyond Western thought, which is based on the opposition of these two ideas. Grasping the idea of Dansaekhwa means moving away from our usual tropes. "In the Bible, the act of creation is perceived as an act of separation. In Korea, it is an act of unification," says Olivier Delavallade.

A short history of a rediscovery
So Dansaekhwa was not born yesterday. The first appearance of the movement is usually dated to 1975 at the Tokyo Gallery (Tokyo), with the exhibition entitled "Five Korean Artists, Five Kinds of White", featuring Lee Ufan, Kwon Young-woo, Lee Dong Youb, Heu Hwang, Suh Seung-won and Park Seo-Bo. And yet the movement is still relatively unknown, and its eight principal artists – Chung Chang-Sup, Chung Sang-Hwa, Lee Dong Youb, Park Seo-Bo, Suh Seung-Won, Yun Hyong-Keun, Ha Chong-Hyun and Lee Ufan – only had a hundred or so

88


HD
HKD 2,124,000

>

Chung Sang-Hwa (b. 1932), “Untitled 88-5-26”, acrylic on canvas, 1988, 90.9 x 72.7 cm. Hong Kong, 25 March 2016, K Auction.

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Art Market Magazine June 2016
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