展名：《自然之色‧韓國單色繪畫：釜山市立美術館典藏展》
The Color of Nature, Monochrome Art in Korea：Collections from the Busan Museum of Art
展期：2010/03/06 - 2010/04/25
展區：北美館3樓Ｂ區
策展人: 釜山市立美術館策展人安圭植
《自然之色‧韓國單色繪畫：釜山市立美術館典藏展》為韓國釜山美術館首度以專題策展型式於台北市立美術館展出其典藏作品，同時也是台韓兩國公立美術館間大規模的美術交流。繼2009年12月北美館以《台灣行旅》為主題策畫之典藏品海外巡迴展，於釜山市立美術館展出六星期，深獲好評後，釜山美術館於2010年初以韓國現代美術自1970年代以降，最具代表性繪畫風格之一「單色繪畫」為主軸，選出典藏品共28位藝術家、30件品，將自3月6日於北美館展出至4月25日止。釜山美術館策展人安圭植、館長曹日相也將先後來台協助佈展事宜，並參與開幕活動，與各界交流分享韓國單色繪畫之美。
釜山美術館在本次展覽中展現其積累多年在「單色繪畫」領域上的學術研究及收藏成果，展品囊括1970年代至21世紀初的韓國單色繪畫畫作，參展藝術家包括金昌烈、李禹煥、朴栖甫、李承祚、金泰浩以及李康昭等共28位。韓國極簡抽象派傾向的單色中性繪畫，自50年代受到西方歐洲抽象畫派的感染影響，當時韓國前衛藝術家進行“非具象”的實驗創作，到70年代單色繪畫畫家們共同排斥「再現」日常生活情狀於畫布上，反而是透過具重複性質的日常行為過程中，探討其精神層面，以自然原始價值為依歸；換言之，即拋棄具體的形象，追求與物質間直接對話的形式來呈現於畫布上，以點、線、面、斜紋肌理以及單色的層次變化，探索創作純粹但富含深刻意涵的幾何圖形構造。
70年代時值韓國國內政治、經濟情勢的緊張與不安，思想的對立與自由的限制，單色畫便是在此紛亂多變的大環境下萌生，這一世代的藝術家純真而理性的以簡約的造型、優雅寧靜的色彩，不拘限於視覺表象，側重的是自然的內在形式，牽引觀者進入一處沉思冥想的空間，但各自又建立屬於自己獨特、清晰的視覺結構。如金昌烈便以“水滴畫家”為人熟知，“單色極線雕” 朴栖甫將畫布與行為、精神與物質相互融溶，李承祚的作品表現出均衡與擴張之力道，依表面物質的構想變化達到中性化的畫家鄭相和、金泰浩、李禹煥則努力由「無為」再出發，呈現其繪畫特質。
韓國單色繪畫的發展歷程，從探索現代主義到建立其視覺語言風格，不但呼應了國際藝術思潮，並融入韓國藝壇的深層脈絡，進而成為韓國藝術本土化的具體象徵，也適時地反映出韓國文化情操與精神特質。策展人安圭植指出：「希望台灣觀眾在欣賞畫作時，細察韓國單色繪畫的漸進過程，進而理解在東、西文化衝突的大時代背景下，韓國現代藝術家如何在貫徹『單色繪畫』的根基下相應發展。」冀望本次的展出，將有助於探討韓國現代藝術的自然原相的繪畫風格。
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Taipei Fine Arts Museum News Release
The Color of Nature, Monochrome Art in Korea：
Collections from the Busan Museum of Art
Exhibition Date: 2010 / 03 / 06 – 2010 / 04 / 25
Exhibition Venue: 3F B Gallery
Curator：Ahn Kyoo-sik, Busan Museum of Art
The exhibition The Color of Nature, Monochrome Art in Korea: Collections from the Busan Museum of Art, is the first time collaboration between Taipei Fine Arts Museum and Busan Museum of Art in the form of exchange theme exhibition on the basis of its own permanent collections. In December of 2009, TFAM organized the exhibition Touring Taiwan, and that was well-approved by the public during the six weeks of display at the Busan Museum of Art (BMA). In the spring of 2010, BMA travels to the TFAM with one of the signature Korean modern arts kind：Monochrome Arts. Total 30 monochromatic paintings of 28 artists will be exhibited from the 6th of March to the 25th of April. The curator, Ahn Kyoo-sik and BMA Director, Cho Il-sang will participate in the press conference and the opening function at TFAM.
The exhibit displays the monochromatic paintings, ranging from 1970 to the present. Artists include many well-known international artists, such as Kim Tschang-yeul who paints beads of water, Lee U-fan who is a theorist of the Mono-Ha school as well as a painter, Park Seo-Bo who paints monochrome lines, Lee Seung-Jio, Kim Tae-ho and Lee Kang-So. The development of Korean monochromatic painting, from its exploration of modernism and the establishment of its own visual language and style, has not only echoed international art trends and deeply penetrated many layers of the Korean art world, but has also become a concrete symbol of localism in Korean art. This exhibition gives us all the opportunity to appreciate the artistic styles and historical background of this highly significant group of Korean artists, while exploring the features of Korean modernist painting and its ties to nature.
Modern Korean artists started reestablishing the world of nature as their primary source of inspiration in the 1970s and their expressive techniques have not been limited to complex imagery, but also emphasize the intrinsic forms of nature. Artists explore geometric compositions with variations in points, lines, planes, patterns, textures and layers of pure color, creating pure geometric forms within a highly significant context of artistic forms. The key period in Korean modern art was from the 1950s to 60s, and from then until the 1970s, Korean avant-garde artists focused on experimental non-representational painting and the excellent works of these prominent artists emerged on the international stage. This generation of artists explored the intrinsic essence and form of nature and compositions with monochromatic paintings. Their works were pure and rational without distracting narratives, and employed simple forms and colors with graceful tranquility to draw viewers into their meditative realms. By projecting their subjective spirits, these artists presented the features of the objective world on enormous canvases with neutral colors so that we may ponder theses objects supported with saturated colors. The monochromatic paintings of these modern Korean artists reflect the characteristics and sentiment of Korea within the context of art trends in a timely fashion.
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