February 2025
Ha Chong-Hyun Presents Ha Chong-Hyun 5975 at Art Sonje Center, Seoul, Korea
Ha Chong-Hyun, a key figure in Dansaekhwa movement and pioneer of Korean avant-garde art, presents early works in his solo exhibition Ha Chong-Hyun 5975 at Art Sonje Center in Seoul. This exhibition explores the evolution of his pictorial language in interaction with the socio-historical context of post-war Korea.
The title “5975” refers to the years 1959, when Ha graduated from Hongik University, and 1975, when he began experimenting with his iconic Conjunction series. Dividing this period into four phases chronologically and thematically, the exhibition traces the trajectory of his experimental visual language. The first section presents Ha’s early works influenced by the Informel movement, reflecting the chaos, anxiety, and desolation in the post-war Korea. Notably, the artist reinterpreted Informel by exploring the potential of various materials and expanding the boundaries of painting. The second section showcases works from the late 1960s, a period marked by rapid urbanization and economic growth, during which Ha experimented with geometric abstraction and the fusion of tradition and modernity. Among the works in this section, the Naissance series demonstrates how Ha translated traditional elements such as dancheong patterns, colors, and mat-weaving techniques into contemporary visual language. The third section examines Ha’s experimental endeavors through his involvement with the Korean Avant-Garde Association (AG). This section reveals his use of everyday objects found in the aftermath of the war, such as barbed wire, newspapers, tissue paper, plaster, and springs, into his paintings, symbolizing the social oppression of his time. Finally, the fourth section highlights the beginnings of his Conjunction series, in which he experimented with his trademark process known as bae-ap-bub.
Ha Chong-Hyun’s early works are characterized by an experimental attitude, pushing the limits of paint and refusing to settle into any single approach. His has continued his practice in disappearing traditions, reflections on rapid societal changes, use of everyday materials, and an exploration of materiality that seeks to transcend the flat surface of the canvas. This spirit of experimentation runs through his early work and remains a crucial aspect of his artistic practice to this day. The exhibition continues until April 20.
The title “5975” refers to the years 1959, when Ha graduated from Hongik University, and 1975, when he began experimenting with his iconic Conjunction series. Dividing this period into four phases chronologically and thematically, the exhibition traces the trajectory of his experimental visual language. The first section presents Ha’s early works influenced by the Informel movement, reflecting the chaos, anxiety, and desolation in the post-war Korea. Notably, the artist reinterpreted Informel by exploring the potential of various materials and expanding the boundaries of painting. The second section showcases works from the late 1960s, a period marked by rapid urbanization and economic growth, during which Ha experimented with geometric abstraction and the fusion of tradition and modernity. Among the works in this section, the Naissance series demonstrates how Ha translated traditional elements such as dancheong patterns, colors, and mat-weaving techniques into contemporary visual language. The third section examines Ha’s experimental endeavors through his involvement with the Korean Avant-Garde Association (AG). This section reveals his use of everyday objects found in the aftermath of the war, such as barbed wire, newspapers, tissue paper, plaster, and springs, into his paintings, symbolizing the social oppression of his time. Finally, the fourth section highlights the beginnings of his Conjunction series, in which he experimented with his trademark process known as bae-ap-bub.
Ha Chong-Hyun’s early works are characterized by an experimental attitude, pushing the limits of paint and refusing to settle into any single approach. His has continued his practice in disappearing traditions, reflections on rapid societal changes, use of everyday materials, and an exploration of materiality that seeks to transcend the flat surface of the canvas. This spirit of experimentation runs through his early work and remains a crucial aspect of his artistic practice to this day. The exhibition continues until April 20.
