The growing interest in Dansaekhwa

The Nation has an interesting piece by Barry Schwabsky on the recent growth in interest in Dansaekhwa in the States, pointing out that during November New York simultaneously hosted three solo shows by major artists:

As Charlotte Waligòra explains in her essay on Chung Chang-sup for Gallerie Perrotin,

In the 1970s, Chung Chang-Sup founded the Dansaekhwa group with his contemporaries Lee Ufan, Chung Sang-Hwa, Ha Chong-Hyun, Park Seo-Bo, and Yun Hyong-Keun. Also known as “the school of white,” the group’s “meditative” aesthetic is said to have been inspired by the restrained beauty and simple forms of the white porcelain made during the Joseon period (1392-1910), illustrating Korean Confucian ideas.

Schwabsky suggests that one reason for the growth in interest is that there is a ready-made label – Dansaekhwa – which was made more prominent by Joan Kee’s 2013 book Contemporary Korean Art – Tansaekhwa and the Urgency of Method. Perhaps in addition the major exhibition at the National Museum of Contemporary Art’s exhibition Dansaekhwa – Korean Monochrome Painting in 2012 acted as a catalyst. A collateral event at the Venice Biennale this year co-organised by a number of galleries continued the momentum in Europe, following Lee Ufan and Park Seo-bo events in Paris the previous year.

London will have its own Dansaekhwa solo show in January, with White Cube hosting Park Seo-bo, and of course Lee Ufan has been a regular at the Lisson Gallery for a number of years.

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