Formerly shunned, geometric abstraction finally receives recognition in Korea

The National Museum of Modern and Contemporary Art in Gwacheon is hosting an exhibition titled "Geometric Abstraction in Korean Art." The exhibit explores the role of the genre in Korean history, specifically its influence on architecture.

″Mountain″ (1970) by Yoo Young-kuk [MMCA]

When discussing 20th-century Korean art, dansaekhwa, or Korean monochrome paintings, take center stage. But in the western world, geometric abstraction was all the rage.

Korea's view on the latter art form, however, was vastly different.

The heavy use of geometry — lines and shapes — and primary colors was not regarded as a serious art form in the country as it was deemed too decorative and without roots in Korea, as opposed to dansaekhwa, which was all about introspection through repetition and finding beauty in restraint: elements valued in Confucianism.

But geometric abstraction did actually play a significant role in Korean history, as shown in the National Museum of Modern and Contemporary Art (MMCA) Gwacheon branch’s latest exhibition, “Geometric Abstraction in Korean Art,” which kicked off last month.

The style was introduced in Korea in the 1920s but evolved throughout the 20th century to form different variations. The exhibit, comprised of 150 works by 47 artists, is divided into chronological sections that finish in the 1970s, making the changes easily noticeable.

“Korean geometric abstract art has actually been deeply involved in the country’s urbanization and industrialization, especially architecture,” the exhibition’s curator Jeon Yu-shin said in a press conference at the museum last month.

The art form contributed to transforming the scope of architecture to focus more on the design, as the main priority was simply on the construction itself up until then.

“The fact that artists and architects started working hand in hand was a meaningful attempt to give architecture artistic value,” Jeon said.

The 300th edition of “Dansung Weekly” from 1929 [MMCA]

Before being used in architecture, geometric abstract art emerged in the 1920s on the covers for weekly movie newsletters. Some had abstract designs that catered well to the younger audience, as shown in the 300th edition of “Dansung Weekly” in 1929, which is adorned with blue and red rectangular and checkered patterns.

The covers had typically been stills from Korean or western movies from that time, but these new designs elicited a sense of being innovative and futuristic.

It was in 1957 that a Bauhaus-inspired collective was born: the Sinjohyeongpa, which translates to neo-formative group. It consisted of painters, designers and architects, and the group’s goal was to apply geometric designs to industrial products that would help the economy recover post-war.

Artists included Byon Yeong-won, Kim Choong-sun, Rhee Sang-wooc and dozens more, before the collective practically disbanded in 1961. Sinjohyeongpa failed to create much of a stir, but their efforts are still worth noting, curator Jeon said.

″Hereditarius No. 2-68″ (1968) by Park Seo-bo [SHIN MIN-HEE]

“69-E8” (1969) by Yun Hyong-keun [MMCA]

But even renowned modern abstract artists who were focused more on dansaekhwa at the time had some pieces that were in the realm of geometric abstract paintings, like Kim Whanki, Yun Hyong-keun, Park Seo-bo and Ha Chong-hyun. Yun’s bright yellow oil painting “69-E8” (1969), which was exhibited at the 10th São Paulo Art Biennial, is being unveiled at the museum for the very first time.

Yoo Young-kuk and Lee Seung-jio, who were already known for their own geometric abstract interpretations, proved that the art form could, in fact, be uniquely Korean.

Yoo went for natural scenery in his paintings, like in “Mountain-Blue” (1994) and “Mountain-Red” (1994), which illustrated the sunlit and cloud-covered mountainside through geometric grids.

“Nucleus G-999” (1970) by Lee Seung-jio [MMCA]

Lee, whose paintings largely depict metal pipes that he refers to as “nucleus,” were about the rapid industrialization of Korean society in the mid- to late-20th century, as shown in “Nucleus G-999” (1970).

The “Nucleus” series was actually inspired by one prominent event that made its mark in history worldwide: Apollo 11’s first-ever moon landing in 1969.

“I was newly awakened to the spaces within the universe by the launch of Apollo 11,” Lee was quoted as saying in the past by the MMCA. “I feel that it is the most appropriate means to express the times I live in as an artist.”

During this time, Korean society had high hopes that the moon landing would bring about the advent of a space age. The three American astronauts who had been on Apollo 11 were even given the Order of Civil Merit by then-President Park Chung Hee during their visit to Korea.

“United Existence 97 Perfume” (1969) by Byon Yeong-won [MMCA]

Byon’s “United Existence 97 Perfume” (1969), a pastel-toned oil painting full of circles of all sizes, was another example that alluded to the development of scientific technology. This piece in particular showed his support of the atomic age, as seen through the assortment of circles, described as “particles.”

Han Mook, who was active in France for more than five decades, also had repeatedly said in past interviews that the moon landing was a major turning point for him and his artistic career. Han, along with his fellow Parisian artists, interpreted the space age through geometric abstract art and op art.

“It truly was a time in which we could see new and innovative designs,” curator Jeon said. And now the public can finally, truly admire a once-shunned art form in Korea.

“Geometric Abstraction in Korean Art” continues until May 19 next year. MMCA Gwacheon is open from 10 a.m. to 6 p.m. every day except Mondays. Admission is 2,000 won ($1.50) for adults.

BY SHIN MIN-HEE [shin.minhee@joongang.co.kr]