A Group for 2067 (Pacific Flyways) cites Jin-me Yoon’s earlier iconic photo work A Group of Sixty-Seven (1996), which is comprised of two sets of portraits of sixty-seven members of the Korean Canadian community. In the first set, the subjects are standing in front of Lawren Harris’ painting Maligne Lake, Jasper Park (1924), facing outwards, and in the second set, they face Emily Carr’s Old Time Coast Village (1929–30), with their backs to the audience. The title refers to the year 1967, during which the Centennial of Canadian Confederation of 1867 was celebrated, and Canadian immigration restrictions were loosened. The title also references the Group of Seven, whose artistic legacy is the representation of Canada as a series of vast, uninhabited spaces. Yoon’s A Group of Sixty-Seven inserted Korean subjects into these inherited and idealizing narratives, questioning the very terms of inclusion in white-settler Canada.

In A Group for 2067, Yoon replaces the painted backgrounds of Harris and Carr with the greenery of the Maplewood Flats Conservation Area on Tsleil-Waututh lands. Yoon photographs the youth draped in fabric from the saekdong colours—typically seen on traditional Korean garments. In Korea, these colours presented together are associated with children, survival and resilience. Through these portraits of Korean Canadian youth, many of whom are bi-racial, A Group for 2067 renews A Group of Sixty-Seven’s call to create a new inclusive cultural imaginary of the country.

- Diana Freundl, Vancouver Art Gallery