Yun Hyongkeun and Choi Byungso Explore Abstract Dimensions in Busan Exhibition
Jason Yim / Published December 23, 2024 08:57 PM
Jason Yim
Choi Byungso, Untitled, 2021, Magazine, Ballpoint Pen, Pencil, 18.3 x 25.5cm, Courtesy of Date Gallery
GALLERY DATE in Busan's Haeundae district will host a remarkable two-person exhibition featuring the works of Yun Hyongkeun (1928–2007) and Choi Byungso (b. 1943) from December 23, 2024, to January 31, 2025. Both artists are celebrated for their groundbreaking approaches to abstraction, each forging distinct paths that challenge and redefine traditional concepts of depth, surface, and materiality.
This exhibition underscores the shared elements in the artists’ practices, despite their contrasting styles. Yun Hyongkeun’s large, deliberate brushstrokes on raw linen evoke the passage of time and natural landscapes, while Choi Byungso’s meticulous lines, created with ballpoint pen on newspapers and magazines, reflect a performative and meditative process. Both artists engage with the surface in ways that create an apparent paradox: the illusion of depth without physical depth.
Yun Hyongkeun’s signature works, often described as "heaven and earth gates" (Cheonjimun), consist of deep umber and ultramarine blue brushstrokes that bleed into the canvas. These strokes blend seamlessly with the background, softening boundaries and evoking a sense of gradual immersion. The simplicity and restraint of his compositions mirror the quiet strength of Korean aesthetics, embodying humility and endurance. His work captures the spirit of Korea’s tumultuous 20th century, reflecting themes of resilience and rootedness amidst socio-political upheavals.
Yun Hyongkeun, BURNT UMBER & ULTRAMALINE BLUE, 1999, Oil on Linen, 80.5 x 60.8cm, Courtesy of Date Gallery
In contrast, Choi Byungso’s labor-intensive process transforms everyday materials like newspapers into textured, three-dimensional surfaces. His repeated lines, drawn over text and images, obscure the original content while simultaneously elevating the surface’s tactile quality. His works explore the tension between creation and erasure, as layers of ink build upon each other to form new material identities. This act of drawing and obliteration parallels existential themes of memory, temporality, and transformation.
The exhibition juxtaposes these divergent yet interconnected approaches to abstraction. Yun’s works, with their slow, meditative quality, invite viewers to contemplate the quiet passage of time, while Choi’s dynamic, fast-paced lines convey a sense of urgency and immediacy. Together, their art offers a dialogue on the complexities of time, material, and human emotion.
Choi’s career spans over five decades, beginning in the 1970s as a founding member of the Daegu Contemporary Art Festival. His works have been featured in international exhibitions, including at the São Paulo Biennale and the Solomon R. Guggenheim Museum. Meanwhile, Yun, a pivotal figure in Korean modern art, gained global recognition through exhibitions at the David Zwirner Gallery and retrospectives at institutions like the Fortuny Museum in Venice. His minimalist yet emotionally resonant works continue to inspire contemporary artists and collectors worldwide.
The poster of the exhibition, Courtesy of Date Gallery
The exhibition also highlights the enduring influence of both artists on Korean and global art. Notably, Yun Hyongkeun’s philosophical approach was referenced by BTS member RM in the track “Yun” from his album Indigo, underscoring the ongoing relevance of his ideas in contemporary culture.
This rare opportunity to view the works of Yun Hyongkeun and Choi Byungso together invites audiences to explore the nuances of abstraction and the profound ways in which art can bridge time, culture, and emotion. Through their exploration of surface and depth, these two artists challenge viewers to rethink the boundaries of art and the human experience it encapsulates.
Sayart / Jason Yim, yimjongho1969@gmail.com
Choi Byungso, Untitled, 2021, Magazine, Ballpoint Pen, Pencil, 18.3 x 25.5cm, Courtesy of Date Gallery
GALLERY DATE in Busan's Haeundae district will host a remarkable two-person exhibition featuring the works of Yun Hyongkeun (1928–2007) and Choi Byungso (b. 1943) from December 23, 2024, to January 31, 2025. Both artists are celebrated for their groundbreaking approaches to abstraction, each forging distinct paths that challenge and redefine traditional concepts of depth, surface, and materiality.
This exhibition underscores the shared elements in the artists’ practices, despite their contrasting styles. Yun Hyongkeun’s large, deliberate brushstrokes on raw linen evoke the passage of time and natural landscapes, while Choi Byungso’s meticulous lines, created with ballpoint pen on newspapers and magazines, reflect a performative and meditative process. Both artists engage with the surface in ways that create an apparent paradox: the illusion of depth without physical depth.
Yun Hyongkeun’s signature works, often described as "heaven and earth gates" (Cheonjimun), consist of deep umber and ultramarine blue brushstrokes that bleed into the canvas. These strokes blend seamlessly with the background, softening boundaries and evoking a sense of gradual immersion. The simplicity and restraint of his compositions mirror the quiet strength of Korean aesthetics, embodying humility and endurance. His work captures the spirit of Korea’s tumultuous 20th century, reflecting themes of resilience and rootedness amidst socio-political upheavals.
Yun Hyongkeun, BURNT UMBER & ULTRAMALINE BLUE, 1999, Oil on Linen, 80.5 x 60.8cm, Courtesy of Date Gallery
In contrast, Choi Byungso’s labor-intensive process transforms everyday materials like newspapers into textured, three-dimensional surfaces. His repeated lines, drawn over text and images, obscure the original content while simultaneously elevating the surface’s tactile quality. His works explore the tension between creation and erasure, as layers of ink build upon each other to form new material identities. This act of drawing and obliteration parallels existential themes of memory, temporality, and transformation.
The exhibition juxtaposes these divergent yet interconnected approaches to abstraction. Yun’s works, with their slow, meditative quality, invite viewers to contemplate the quiet passage of time, while Choi’s dynamic, fast-paced lines convey a sense of urgency and immediacy. Together, their art offers a dialogue on the complexities of time, material, and human emotion.
Choi’s career spans over five decades, beginning in the 1970s as a founding member of the Daegu Contemporary Art Festival. His works have been featured in international exhibitions, including at the São Paulo Biennale and the Solomon R. Guggenheim Museum. Meanwhile, Yun, a pivotal figure in Korean modern art, gained global recognition through exhibitions at the David Zwirner Gallery and retrospectives at institutions like the Fortuny Museum in Venice. His minimalist yet emotionally resonant works continue to inspire contemporary artists and collectors worldwide.
The poster of the exhibition, Courtesy of Date Gallery
The exhibition also highlights the enduring influence of both artists on Korean and global art. Notably, Yun Hyongkeun’s philosophical approach was referenced by BTS member RM in the track “Yun” from his album Indigo, underscoring the ongoing relevance of his ideas in contemporary culture.
This rare opportunity to view the works of Yun Hyongkeun and Choi Byungso together invites audiences to explore the nuances of abstraction and the profound ways in which art can bridge time, culture, and emotion. Through their exploration of surface and depth, these two artists challenge viewers to rethink the boundaries of art and the human experience it encapsulates.
