Monoculture and Its Discontents: Report from Kwangju

A r t in A m e r ic a N ovem ber 2000 [ vol. 88, no. 11 ] M eans and Ends by Richard Kalina A tr a v e li n g r e t r o s p e c t i v e tr a c k s S o l L e W itt’s f o r m a l c o n c e r n s f r o m c o n c e p t u a l p r o j e c t s t o v i b r a n t w a ll d r a w in g s 113 Reading Ruskin Writing by Dave Hickey T h is f r e s h a p p r a i s a l o f V ic to r ia n c r i ti c J o h n R u s k in e x a m i n e s h i s c o n t i n u e d i n f lu e n c e o n h o w w e t h i n k a b o u t a r t to d a y 128 R elics o f the M aterial Age by Leah Oilman D a v id B u n n ’s i n s t a l l a t i o n s r e v e a l t h e h a u n t i n g p o e t i c s o f li b r a r y c a r d c a ta lo g u e s . 134 Judy Fox: Figures in Limbo by Carol Diehl A s a t y r a n d f o u r s e v e n - y e a r - o ld g ir ls a r e a m o n g t h e s u b j e c t s o f F o x ’s m y th ic a l ly c h a r g e d s c u l p t u r e s . 140 Ilya Kabakov Flies into His Picture by Amei Wallach T h is p r o lif ic i n s t a l l a t i o n a r t i s t a n d c h r o n i c l e r o f t h e S o v ie t e r a h a s t u r n e d to p a in t in g , w it h a tw is t. 144 Hague’s Tree-Trunk Anatom ies by Robert Taplin A g r o u p o f s e n s u a l a b s t r a c t s c u l p t u r e s b y m a s t e r c a r v e r R a o u l H a g u e w e r e r e c e n t l y s h o w n i n N e w Y o rk 154 Arthur Carles: Colors in Concert by Miriam Seidel T h e p a i n t i n g s o f t h i s e a r l y A m e r ic a n m o d e r n i s t a r e e m e r g in g f r o m d e c a d e s o f n e g l e c t. 158 Report from Kwangju 71 M o n o c u ltu re a n d I ts D is c o n te n ts by Frank Hoffmann Review of Exhibitions 162 N e w Y ork, B a ltim o r e , W a s h in g to n , A tl a n t a , N e w O r le a n s , D e n v e r, O v e r la n d P a r k , S a n t a M o n ic a , S a n F r a n c is c o , P o r tl a n d , L o n d o n , S o u th a m p to n , A m s te r d a m , T o k y o R E P O R T F R O M K W A N G JU M o n o c u ltu re a n d Its D is c o n te n ts Curatorially, this y e a r’s scaled-back Kwangju Biennale offered a resurgence of nationalist identities despite its global theme. BY FRAN K H O FFM A N N I n 1 9 9 5 , t h e K w a n g ju B ie n n a l e h a d a n a u s p i c io u s 1 4 - h o u r f l ig h t to s e e t h e r e t r o ­ b e g in n i n g w it h a s p e c t a c u l a r $ 2 3 -m illio n b u d g e t s p e c t iv e o f v id e o p i o n e e r N a m a n d a r e p o r t e d 1 .6 m illio n v is it o r s [ s e e A t . A , A p r. J u n e P a i k a t t h e G u g g e n h e im ’9 6 ], T h e s e c o n d v e r s i o n in 1 9 9 7 s till a t t r a c t e d o v e r M u s e u m i n N e w Y o rk , d i d n o t 9 0 0 ,0 0 0 v is ito r s o n h a l f t h a t a m o u n t [s e e A i A , J u ly b o t h e r to v is it K w a n g ju , j u s t a n ’9 8 ]. B u t a fe w m o n t h s la te r , a f in a n c i a l c r i s is s w e p t h o u r ’s f l i g h t f r o m t h e c a p i t a l , A s ia , a l m o s t c o m p le te l y f r e e z i n g t h e a r t m a r k e t f o r e v e n t h o u g h t h e B i e n n a l e is tw o y e a r s . N o w t h a t t h e c r a s h s e e m s to b e o v e r, K o re a c l e a r l y t h e l a r g e s t a r t e v e n t in c a n o n c e m o r e a f f o r d to h o l d m e g a s h o w s . A lth o u g h K o re a . T h e c ity ’s p ro v in c ia l lo c a ­ K o r e a n s c o n t in u e to c a ll th i s t h e “IM F a g e ,” a tim e o f ti o n m a y h a v e b e e n a f a c to r , b u t r e g u la to r y p o lic ie s a n d o n g o in g la y o ffs, t h e a r t s c e n e r e m o t e n e s s d o e s n o t s e e m to f in d s it s e l f tr e n d in g u p w a r d a g a in . h a v e h a rm e d o th e r m a m m o th W ith 2 4 6 a r t i s t s f r o m 4 6 c o u n tr ie s g a t h e r e d u n d e r th e b r o a d th e m e “M a n + c u ltu r a l u n d e rta k in g s , s u c h as S p a c e ,” t h e K w a n g ju t h e P u s a n F ilm F e s ti v a l o r la s t B ie n n a le 2 0 0 0 d r e w d im in is h e d , th o u g h s till im p r e s ­ A p r il ’s i n a u g u r a l C h o n ju F ilm siv e , p u b lic r e s p o n s e . I n t h e c o u r s e o f 71 d a y s (M a r. F e s tiv a l, b o th o f w h ic h w e re 2 9 -J u n e 7 ), o v e r 6 1 4 ,0 0 0 v is ito r s w e r e a t t r a c t e d o n a h ig h ly p r a is e d b y th e K o re a n $ 7 .2 m illio n b u d g e t — c o m p a r a b le to t h e $ 8 m illio n in a n d in t e r n a t io n a l p r e s s . c o m b in e d g o v e r n m e n ta l a n d p r i v a t e f u n d in g f o r la s t In a n in te rv ie w , P a ik N ak- y e a r ’s 4 8 t h V e n ic e B i e n n a l e . A s w i t h t h e e a r l i e r c h u n g ( K o r e a ’s p r e e m i n e n t K w a n g ju p r o j e c t s , a h ig h p e r c e n ta g e o f t h e a t t e n d e e s lite r a ry c ritic a n d in te lle c ­ w e r e r e t ir e d p e o p le a n d s c h o o l c h il d r e n b r o u g h t in o n t u a l c e le b rity , a n d J u rg e n b u s t o u r s f i n a n c e d b y v a r io u s g o v e r n m e n t a g e n c ie s . I n a d d i ti o n to t h e m a in e x h ib itio n , s p r e a d th r o u g h ­ View o f Chang T’ae-sik’s Puffed-up, 2000, four-tier pyram idal cage containing clay figures enclosed in m etal cells, 16V! by 9 ’A by 9%feet; from the special exhibition “Human Beings & Gender” a t the Kwangju Biennale 2000. H a b e r m a s ’s p a r t n e r s e v e r a l y e a r s a g o in a n o p e n d is c u s s io n o u t tw o m u l ti s t o r y h a l ls o f t h e B ie n n a l e c e n te r , t h e a b o u t r e u n if ic a tio n in G e r m a n y a n d K o re a ) o ff e re d a g lo b a l a u d ie n c e , o r e v e n t h a t o f n e ig h b o r in g A s ia n e v e n t in c lu d e d f o u r m a jo r “s p e c ia l e x h ib itio n s ” g o o d e x p la n a ti o n f o r K w a n g ju ’s d e s i g n a t i o n a s t h e c o u n tr ie s . f o c u s e d o n h u m a n r i g h ts , n a ti o n a l d iv is io n s, a n d a r t b ie n n ia l s ite : “T h e p u b lic th i n k s t h a t K w a n g ju d e s e r v e d M a n y fo re ig n jo u r n a li s ts h a d d iffic u lty g e ttin g in to th e in t h e A s ia n c o m m u n ity . A m i n o r s p e c i a l e x h ib itio n , s o m e th in g .” A s t h e c a p it a l a n d p o litic a lly re s tiv e c u l­ p re - o p e n in g e v e n t o n M ar. 28, b e c a u s e th e y h a d n o t y e t “F o r e s t o f H u m a n B e in g s & F o r e s t o f P a i n ti n g s ,” c o n ­ tu r a l c e n te r o f C h o lla n a m - d o P ro v in c e , K w a n g ju w a s b e e n is s u e d p r e s s p a s s e s a n d th e g u a r d s c o u ld n o t b e s i s te d o f a tr a d it io n a l c la y w a ll r u n n in g b e tw e e n th e h e a v ily o p p r e s s e d u n d e r t h e m i li ta r y d i c t a t o r P a r k s w a y e d . O n c e a d m i tt e d to th e o p e n in g p r o p e r , c ritic s e x h ib it io n v e n u e s , a lo n g w h ic h h u n d r e d s o f m o s tl y C h u n g H ee, w h o r u le d K o re a b e tw e e n 1961 a n d 1979. w e re a s t o n is h e d b y th e la rg e b lu e a r r o w s p a in te d o n th e In M a y 1980, d u r in g t h e p o litic a l t u r b u le n c e fo llo w in g flo o r th r o u g h o u t th e m a in h a ll a n d b y th e p r e tty g u id e s s t u d e n t a r t i s t s c o u ld b e s e e n p r o d u c in g a r t w o rk . T h r e e m i n u te s a w a y f r o m th e m a in e x h ib itio n h a ll, P a r k ’s a s s a s s i n a ti o n , a b o u t 2 ,0 0 0 c it iz e n s o f a ll a g e s in m in is k irts a n d h ig h h e e ls w h o w e re s ta n d in g e v ery ­ t h e K w a n g ju C ity F o lk M u s e u m h o u s e d “N e w M e d ia w e re s la u g h te r e d b y n a tio n a l s e c u r ity fo r c e s . F o llo w in g w h e r e to d ir e c t p e d e s tr ia n tra ffic . ( T e m p o r a ry w o rk e rs A r t , ” c o m p o s e d c h ie f ly o f v i d e o i n s t a l l a t i o n s t h a t d e m o c r a t i z a t i o n in t h e l a t e 1 9 8 0 s a n d e a r l y ’9 0 s , h ir e d o u t b y a m o d e lin g a g e n c y , th e s e h o s te s s e s g re e te d a t t r a c t e d v e r y li tt le a t t e n t i o n . H e re , a s in t h e o t h e r K o r e a n s a c k n o w le d g e d t h a t it w a s K w a n g ju ’s t u r n to v is ito rs o n e -b y -o n e w ith a 9 0 -d e g re e b o w a n d a frie n d ly B ie n n a l e s e c ti o n s , t h e r e a l s u p e r s t a r s w e r e a b s e n t . h o s t a b ig c u lt u r a l e v e n t s u c h a s t h e B ie n n a le , a n d fe w “p le a s e c o m e in ,” a n d c a u tio n e d th o s e w h o w a n d e re d off N o w o n d e r , th e n , t h a t m a n y o f S e o u l’s a r t i s t s , j o u r ­ s p o k e o u t a b o u t w h a t it m ig h t c o s t. th e b e a te n p a th w ith a c o y “p le a s e th is w a y .”) T h e tr a d e - n a lis ts a n d c ritic s , w h o e a rlie r th is y e a r m a d e a O r ig in a lly p r o m o te d a s a n i n t e r n a t i o n a l a r t e x h i­ b it io n — t h e f i r s t s h o w o f it s s i z e in Yukinori Yanagi: Article 9 , 199i, neon, p la stic boxes, each unit 8 by 44 by 6 inches; from the “Art & Human Rights" exhibition. s h o w e x tr a v a g a n z a s e e m e d c o m p le te ly o u t o f p la c e ev e n to K o re a n o b se rv e rs. A s i a — t h e K w a n g ju B i e n n a l e t h i s I n d e e d , w e r e i t n o t f o r th e la r g e - s c a le p o s t e r s t h a t tim e h a d c e r t a in a s p e c t s o f a K o re a n r e a d “M a n + S p a c e ” in E n g lis h a n d C h in e s e ( m e a n ­ fo lk f e s tiv a l , o n e t h a t a l s o in c l u d e d in g “h u m a n i t y ” i f t h e tw o o r i g i n a l c h a r a c t e r s a r e in te rn a tio n a l p a r tic ip a n ts w ho c o m b in e d ) a n d “W e lc o m e to t h e K w a n g ju B ie n n a l e c o u l d l e n d i t g lo b a l e x p o s u r e a n d 2 0 0 0 ,” t h e o p e n in g c e r e m o n y c o u ld e a s ily h a v e b e e n e n d o rs e m e n t. A s u rfe it o f m a s s- m i s t a k e n f o r t h e r i b b o n - c u tt in g f o r a n e w h ig h w a y . e n t e r t a i n m e n t e v e n ts a c c o m p a n ie d T h e s p e e c h e s s o u n d e d lik e p r o g r e s s r e p o r t s , a n d t h e s h o w . W h ile th e e a r l ie r K w a n g ju C h ’a P o m - s o k , t h e K w a n g ju B i e n n a l e F o u n d a t i o n b ie n n ia ls , s u b title d “B e y o n d th e c h a ir p e r s o n , d e c la r e d t h a t t h e m a i n p u r p o s e o f th e B o r d e r s ” ( 1 9 9 5 ) a n d “U n m a p p in g B ie n n a l e w a s to “s t r e n g t h e n t h e c o m p e t it iv e n e s s o f th e E a r th ” (1 9 9 7 ), a im e d to go o u r n a ti o n a n d t h e [C h o lla] r e g io n .” b e y o n d n a tio n a l a n d g e o g ra p h ic b o u n d a r i e s , c u r a t o r s th i s y e a r w e r e Art & Sex c o n s tr a in e d b y o fte n p ro b le m a tic F o r m a n y v ie w e r s , t h e h ig h l ig h t o f t h e B ie n n a le w a s g e o g r a p h ic c a te g o r ie s . F u r t h e r m o r e , t h e s p e c i a l e x h ib i ti o n “H u m a n B e in g s & G e n d e r ,” a n u n a c c e p ta b ly p o o r s ta n d a r d o f w h ic h f e a t u r e d 16 K o r e a n s a m o n g t h e 3 5 p a r t i c i p a t ­ E n g lis h tr a n s l a t i o n m a r r e d m a n y o f in g a r t i s t s . A m o r e d e s c r i p t i v e t i t l e f o r t h i s s h o w th e c a ta lo g u e te x ts , a n d n o re a l w o u ld h a v e b e e n “A rt, G e n d e r , S e x ,” t h e t h e m e o f a a tt e m p t w a s m a d e to a d d r e s s a s p e c i a l f e a t u r e a r t ic l e a b o u t t h i s s u r v e y in t h e p o p u - A rt in A m erica 71 For many view ers, the highlight of th e Biennale w as the special exhibition “Human Beings & Gender,” w hich explored both the history of sex in Korea and the redefinition of m ale and fem ale roles. d e v e lo p m e n t o f s e x in K o re a .” B e r n a d a c , m e a n w h ile , s o u g h t “to s t r e s s th e q u e s tio n o f id e n tity , o f t h e r e d e f i­ n itio n o f fe m in in e a n d m a s c u lin e ro le s a n d a t t r i b u te s . ” I n s id e t h e c e n te r , o n e r o o m c o n ta i n e d r e p r o d u c ­ ti o n s o f s m a ll e r o tic p a i n ti n g s a n d il lu s tr a ti o n s f ro m E a s t A s ia n d y n a s tic tim e s , a lo n g w ith a lm o s t 100 c la y f ig u rin e s f ro m K o re a n p r e h i s t o r y e n g a g e d in v a r io u s fo r m s o f s e x u a l in te r c o u r s e (n o n e o f w h ic h w e re s h o w n in t h e c a ta lo g u e ) . A lth o u g h i t m a y h a v e b e e n o n ly a f o o t n o te to t h e e x h ib i tio n , t h i s g a ll e r y n ic e ly d e m o n s tr a t e d h o w f a r S o u th K o re a h a s c o m e in th e la s t 10 y e a r s . A d e c a d e ag o , w h e n n u m e r o u s u n m is ta k ­ a b ly p o r n o g r a p h ic im a g e s c r e a t e d b y 1 8 th - c e n tu r y a n d a rt. H o u s e d in t h e c o lo n ia l- p e rio d (1 9 1 0 - 4 5 ) K o r e a n p a in t e r s w e r e “d i s ­ E d u c a ti o n a n d P u b lic R e l a t io n s C e n te r , t h e e x h ib i­ c o v e r e d ” in a J a p a n e s e c o lle c tio n , in d ig n a n t K o r e a n la r K o re a n m o n th ly m a g a z in e ti o n w a s id e n ti f i e d b y w h a t lo o k e d lik e s e v e r a l g ia n t, a r t c ritic s d is m is s e d th e w o rk s a s fo rg e rie s . N o w th e s e c o lo r fu l c o n d o m s w a v in g o n th e b u ild in g to p in p a in t in g s a r e o n d is p la y f o r e v e ry o n e to en jo y . U n til th e p la c e o f t h e n a t i o n a l fla g . S c u lp t u r e s g r o u p e d in t h e 1 9 8 0 s, r e ig n in g n o ti o n s o f C o n f u c ia n p r o p r ie ty e f f e c ­ o p e n s p a c e i n f r o n t o f t h e c e n t e r i n c l u d e d la r g e t i v e ly c e n s o r e d n u d e p a i n t i n g s , e x c e p t f o r t h o s e w o o d e n p h a ll u s e s a n d r e p r e s e n t a t i o n s o f c o p u l a t in g id e a liz e d f ig u re s w h ic h r e p r e s e n te d K o re a ’s a d o p ti o n g e n ita lia t h a t re s e m b le K o re a n s h a m a n is t r itu a l o f th e W e s te r n m y s tiq u e o f th e fe m a le b o d y ’s a r tis ti c p a r a p h e r n a lia . In so m e c a s e s , th e w o rk s w e re b e a u ty . D e s p it e r a m p a n t W e s t e r n iz a ti o n , s ig n if ic a n t “u p d a t e d ” w ith a ll u s io n s to c y b e r s e x (e .g ., c o m p u t e r g a i n s in w o m e n ’s r i g h ts s i n c e t h e 1 9 8 0 s a n d a n o w m ic e a t t a c h e d t o a w o o d e n p h a ll u s ) . A s o n e m i g h t b o o m in g m a r k e t in p o r n o g r a p h i c m o v i e s , o n e s t il l im a g in e , b u s l o a d s o f y o u n g s t e r s o n s c h o o l e x c u r ­ r a r e ly s e e s K o r e a n a r t t h a t e n g a g e s g e n d e r id e n tity , s io n s fo u n d th is a r e a a m e m o ra b le b a c k d ro p fo r h o m o s e x u a lity , tr a n s v e s ti s m o r s e x u a l c o m m e rc e . ta k i n g g r o u p p h o to g r a p h s . P e r h a p s t h i s is w h y f iv e p h o t o m o n t a g e s b y t h e T h e l a r g e s t o u t d o o r w o r k w a s a f o u r - t i e r p y r a m i­ p r o m is in g K o r e a n w o m a n a r t i s t K im C h o n g - s o n w e re Puffed-w p ( 2 0 0 0 ) b y C h a n g T ’a e - s i k , im m e d ia te ly d is p a r a g e d b y tw o m a le K o r e a n a r t c r i t ­ c o n t a i n i n g 3 9 s y m m e t r ic a l ly p o s i t i o n e d a n d r o i d a l ic s (K im C h o n g - g u n a n d K im Y o n g -h o , q u o te d in th e d al cage, c la y m e n , e a c h e n c l o s e d w it h i n a m e t a l c e ll. A ll t h e lo c a l n e w s p a p e r Mudung ilbo ) a s b e in g “j u s t p o r n o ­ ta k e n it a s a s o m e w h a t in te r e s tin g p ie c e r a t h e r f i g u r e s h a v e h o le s w h e r e t h e i r g e n i t a l s s h o u l d b e . g r a p h i c .” B u t t h e s e im a g e s a r e c le a r ly le s s s e x u a lly t h a n y e t a n o th e r ta s te le s s jo k e a b o u t a ta s te le s s C h a n g r e p o r t e d l y i n t e n d e d t h e p ie c e a s a c o m m e n t lo a d e d t h a n m a n y o t h e r p i e c e s i n t h e e x h ib i ti o n . d ic ta to r . o n “t h e p r o c e s s o f u n d e r s t a n d i n g t h e t e a c h i n g s o f S t a n d i n g in f r o n t o f C h o s o n - p e r io d K o r e a n s c r e e n A s u b s t a n t i a l n u m b e r o f w o r k s a t t e m p t e d to b lu r G o d ,” b u t a n t h r o p o l o g i s t J a m e s T h o m a s s e t a p a in tin g s , s o m e o f th e m f r o m t h e f o r m e r ro y a l c o u r t, g e n d e r b o u n d a r i e s a n d p o s i t id e n ti ti e s b e y o n d m a le s l i g h t l y d i f f e r e n t t o n e w h e n h e s u m m e d i t u p in th e a r t i s t p o s e s w i th b a r e b r e a s ts , h a lf d r e s s e d in t r a ­ a n d f e m a le , t h u s s u b v e r t i n g t h e “f a t e ” t h a t F r e u d c o n v e r s a t i o n a s “e e r il y f u t u r i s t i c . . . i d e n t ic a l , c a s ­ d i t i o n a l K o r e a n u n d e r w e a r , w h ile w e a r in g a c o u r t f o u n d in h e r e n t in h u m a n a n a to m y . I n a n o u ts ta n d in g t r a t e d c y b o r g s in c e ll s . I s t h i s w h a t ’s in s t o r e f o r la d y ’s c o if f u r e o r a h o r s e h a i r h a t o n c e r e s e r v e d f o r p h o to m o n ta g e s e r ie s , N e w Y o r k - b a s e d D u tc h a r t i s t th e p o s t-D o lly , g e n e tic a lly e n g in e e r e d T h ird a r i s t o c r a t i c g e n tle m e n . K im is n o t in v o lv e d in a n y la s ­ I n e z v a n L a m s w e e r d e m a n ip u la te s t h e c o n v e n tio n s o f M i lle n n iu m ? ” c iv io u s a c t, n o r is h e r b o d y e v e n e ro tic a lly a p p e a l in g f a s h io n a d v e rtis in g , p a r tic u la r ly th e u s e o f b rig h t C u r a to r s S o C h o n g - g o l ( K o r e a ) a n d M a r ie - L a u r e in t h e s e p h o to s . W h a t lik e ly u p s e t s t h e s e c r i ti c s is s h a d o w le s s lig h tin g . S h e p h o to g r a p h e d v a r i o u s m o d ­ B e r n a d a c ( F r a n c e ) h a d c o m p le m e n ta r y v is io n s . j u s t t h e o p p o s ite : t h e w o r k is n o t s e x y o r e r o ti c i z e d e ls p o s e d in id e n ti c a l p o s itio n s a n d t h e n s p lic e d th e i r A c c o rd in g to S o, “t h e c o r e c o n c e p t o f th i s e x h ib itio n b u t a c t u a lly d e s e x u a liz e d in a w a y t h a t t h r e a t e n s to v a r io u s b o d y p a r t s to g e t h e r u s i n g c o m p u t e r te c h n o l o ­ [w a s ] to r e t r o s p e c t t h e h i s t o r y o f [ th e ] c o n c e p t u a l d e file t h e o b je c tifie d r e p r e s e n ta t io n s o f fe m a le b e a u ty gy. H e r li f e - s iz e 1 9 9 5 s e r ie s o f “m e n ” w it h e c s t a t i c a n d v ir tu e t h a t a d o r n A s ia n a ir ­ f a c ia l e x p r e s s io n s , a d o r n e d w it h lip s tic k a n d lo n g p o l­ lin e flig h t m a g a z in e s . is h e d n a ils , o ff e rs a d is tu r b in g c h a lle n g e to re c e iv e d M u c h le s s c o n tr o v e rs ia l w a s a L e o n a r d ta m p e r s w ith g e n d e r - c o d e d a n a to m ic a l tr a i ts , C u n n ilin g u s in N orth Korea (2 0 0 0 ). T h is w o r k c o n s i s ts e s p e c ia lly h a ir , in o r d e r to c h a ll e n g e o u r v i s u a l p r e ­ o f s e v e n TV m o n ito r s s p r e a d o u t c e n te rf o ld , f o r e x a m p le , is in f a c t a b e a r d e d tr a n s s e x u ­ c o n c e p t io n s . W h a t a t f i r s t a p p e a r s to b e a Playboy D o u b lo n n a g e (M a rcel) b y o n t h e f l o o r , e a c h p la y i n g t h e a l. T h e 1 9 8 8 p h o to s a m e 1 8 -m in u te -lo n g v id e o . T h e Y a s u m a s a M o r im u r a , a n h o m a g e to D u c h a m p , p o s it s ta p e s h o w s a b la c k - a n d -w h ite R ro s e S e la v y a s a p r i m a r y in s p i r a ti o n f o r th e J a p a n e s e p h o to o f th e N o r th K o re a n le a d e r a r t i s t ’s c r o s s - d r e s s i n g s e l f - p o r t r a i t s t h a t s e e k to K im C h o n g -il w ith h is W o r k e r ’s u n d e r m in e t h e c o lo n iz in g g a z e o f W e s te r n v ie w e rs a n d P a r ty m e m b e r s h ip b o o k ra is e d . A e x p o s e s te r e o ty p e s o f g e n d e r, r a c e a n d b e a u ty . m o n o to n o u s v o ic e t h a t th e v ie w ­ A n o th e r “G e n d e r ” s t a n d o u t, S h ir in N e s h a t ’s 1 9 9 8 Turbulent, w o n t h e e r is s u p p o s e d to a s s o c i a te w ith tw o - c h a n n e l v id e o i n s t a l l a t i o n th e le a d e r r e p e a ts a n e n d le s s B ie n n a le ’s g r a n d p rize . (V iew ers m a y h a v e a lr e a d y s e e n a n d e x c e e d i n g l y v u lg a r s p e e c h th i s c o m p e llin g p ie c e in R o m e o r N e w Y ork, o r a t la s t c o n t r a s t i n g im a g in e d s e x p r a c ­ y e a r ’s V en ic e B ie n n a le .) T h e w o rk p ro je c ts a m a le a n d a tic e s S o u th fe m a le s in g e r o n tw o fa c in g w alls. S in g in g a 1 3 th - c e n tu ­ K o re a . H ad th is in s ta lla tio n r y lo v e s o n g , t h e m a n p e r f o r m s f ir s t , to e n th u s ia s t ic in N o rth and a N o rth K o re a n a p p la u s e fr o m a n all-m a le a u d ie n c e . T h e w o m a n h a s n o a r t i s t r a t h e r t h a n f r o m a S o u th a u d ie n c e , b u t s in g s , c rie s a n d s tu m b le s in t u r n w h ile h e co m e fro m N ovember 2000 n o t i o n s o f m a s c u l i n e “n a t u r a l n e s s . ” S im ila rly , Z o e v id e o in s ta lla tio n b y C h a n g Y onghye, 72 P artial view o f Kim Sang-ok’s Intentional Truth Pretending Coincidence, 2000, wood, silver-painted computer mice, approx. 26 fe e t high. K o re a n ( a n e a r im p o s s ib ility s t a n d s s i le n t. A f te r w a r d s , s h e r e m a in s a l o n e in t h e u n d e r c u r r e n t p o litic a l c o n d i­ d a r k — a p o w e r f u l sy m b o l o f w o m e n s t r u g g lin g to b e ti o n s ) , v ie w e rs h e a r d in a s o c ie ty w h e re th e y a r e d e n ie d a p u b lic role. m ig h t h a v e Art & Politics w h ic h d ra w s fro m G e rm a n T h e s p e c ia l e x h ib itio n “A r t & H u m a n R ig h ts ,” o r g a ­ E x p re s s io n is m n iz e d b y th e J a p a n e s e c u r a to r H a riu Ic h iro , c a m e A m e r ic a n p o litic a l m u r a ls . H e r and L a tin f i r s t in t h e m a in e x h ib itio n h a ll. T h is b e in g t h e 2 0 th n e w e r w o r k in “A r t & H u m a n a n n i v e r s a r y o f th e K w a n g ju M a s s a c r e , H a r iu c o m m it­ R i g h t s , ” d o n e i n t h e s t y le o f te d h a lf o f th e s h o w to K w a n g ju a n d th e K o re a n J a p a n e s e fo lk p a in t in g a n d e x p e r ie n c e a n d th e o th e r h a lf to L a tin A m e ric a , m e d ie v a l Y am ato -e p a in tin g , E u r o p e , C h in a , J a p a n a n d S o u th e a s t A s ia . T h e s a r c a s t ic a ll y e x p o s e s J a p a n e s e B i e n n a l e ’s m o s t m o r a ll y d e m a n d i n g s e g m e n t, t h e m ilita r is m a n d w a r c rim e s . e x h i b i ti o n i n t r o d u c e d v ie w e r s t o K w a n g ju ’s b lo o d y p a s t w ith a h e a v y c o n c e n t r a ti o n o n M in ju n g a r t — a T h e in s ta lla tio n Don’t Forget (1 9 9 9 -2 0 0 0 ) b y J a p a n e s e a r t is t f ig u r a tiv e , r h e t o r i c a l “P e o p le ’s A r t ” m o v e m e n t t h a t O k a b e M a s a o d i s p l a y e d f r o t- e v o lv e d in t h e 1 9 8 0 s. ta g e s in s id e a n d o u ts id e a la rg e H a r i u ’s s h o w s t r e s s e d J a p a n ’s h is to r i c c u lp a b ility c ir c u la r p a n e l s u s p e n d e d m id ­ f o r c o lo n iz in g K o re a f o r 3 5 y e a r s . H a riu is a lo n g tim e g a ll e r y . T h e c o m m e m o r a ti v e a c t iv is t w h o c a m e o f a g e in th e m id s t o f J a p a n ’s p o s t ­ ru b b in g s c a m e fro m v a rio u s w a r m o d e r n iz a tio n a n d W e s te rn iz a tio n , w h e n th e s o u r c e s : f ro m p la q u e s m e m o ri­ n a t i o n ’s w a r t i m e a g g r e s s i o n a n d c r i m e s a g a i n s t a li z in g P a r i s ia n J e w s k ille d in h u m a n ity w e re a d a m a n tly d e n ie d . H e w a s la te r th e H o lo c a u s t, f ro m re lie fs p o r ­ s tr o n g ly in f lu e n c e d b y J o s e p h B e u y s ’s c o n c e p t o f “a r t tr a y in g th e r u i n s o f H iro s h im a , a n d f r o m K w a n g ju M a s s a c r e Yun Sok-nam’s installation Flowered Shoes, 2000, acrylic balls, aluminum, wood, approx. 1 by 14s/ by 23 feet; from the “Korea/Oceania” section o f the main exhibition. g ra v e in s c r ip tio n s a n d m e ta l r e p r o d u c ti o n s o f l e t te r s f r o m t h e v ic t im s . H u n g lik e A n e x c e p t i o n t o t h e s h o w ’s t i g h t f o c u s , W a n g a e r o g r a m s , t h e f r o tta g e s g u id e d v ie w e r s t h r o u g h a n Q in g s o n g ’s la r g e s ilv e r- f o lio p r i n t s r e p r e s e n t w h a t e n d le s s Y in-Y ang s p ir a l o f b la c k a n d w h ite , p o s tiv e a n d h a s a p tly b e c o m e k n o w n — in th e p a r la n c e o f n e g a tiv e , v ic tim a n d a g g re s so r. H a r iu in c l u d e d m a n y K o r e a n a r t i s t s , r e p r e s e n ti n g C h in e s e a r t is t L i X ia n tin g a n d M OM A c u r a to r B a r b a r a L o n d o n — a s “g a u d y a r t . ” W a n g c r i t i q u e s m o s t o f t h e s ty li s ti c s c h o o l s o f M in ju n g a r t . B u t in m a i n l a n d C h i n e s e c o n s u m e r c u l t u r e v ia c o l o r f u l t o d a y ’s e n v ir o n m e n t , t h e w o r k s o f p a i n t e r s lik e H o n g p o p - a r t p h o t o m o n t a g e s : a C h in e s e J e s u s h a n g in g S o n g - d a m o r S in H a k - c h ’ol, w h o w e r e j a i l e d o n ly a o n a c r o s s m a d e o f C o c a -C o la c a n s , a n A s i a n m a n f e w y e a r s a g o f o r t h e p o li ti c a l c o n t e n t o f t h e i r w o r k s , w it h a M c D o n a ld ’s lo g o o n h i s c h e s t s i t t i n g in t h e n o w s e e m to la c k p o w e r. In a n o t- s o - im p r e s s iv e l o t u s p o s i t i o n a t o p a g i a n t c a b b a g e f l o w e r in f u l l v id e o i n s t a l l a t i o n , H o n g , m a s t e r o f t h e p o l i t i c a l b lo o m . B y p u t t i n g t h e s a m e f a c e o n v a r i o u s b o d ie s , w o o d c u t , t h r e w s o m e r e c e n t p h o t o s o f K w a n g ju u s u a lly in p r o v o c a tiv e s u r r o u n d in g s , th e a r t i s t s t r e e t life a n d h ip - h o p c u l t u r e to g e t h e r w i th a c o lle c ­ d e lib e ra te ly e ff e c ts a s e r ia liz e d m o n o to n y in h is tio n o f h is a n d o th e r M in ju n g a r t i s t s ’ w o rk s to w o rk , t h u s d r a m a t i z i n g h o w p e o p le e v e r y w h e r e a r e illu s tra te th e so c ia l c h a n g e s t h a t h a v e c o m e a b o u t g o in g t h r o u g h id e n t i c a l c o n s u m e r e x p e r i e n c e s . in th e l a s t 2 0 y e a r s . S o m e w h a t m o r e m y s te r i o u s w a s S in ’s c o lla g e lik e p a in t in g t h a t d e p ic t s K o r e a n f a r m ­ e r s d re d g in g th e fie ld s o f w e a p o n s , c ig a r e tte s , C o c a - C o la b o tt le s , e tc . ( i c o n s o f t h e A m e r i c a n m ili­ ta r y a n d c o m m e rc ia l p r e s e n c e ) b e fo re th e y c a n b e g in p la n t in g . T h e w o r k ’s f r a m i n g im a g e s o f p e a c h tr e e b r a n c h e s a n d th e n o r th e r n P a e k tu - s a n ( th e K o r e a n e q u i v a l e n t o f M t. F u ji ) a r e B u d d h i s t a n d n a ti o n a l i s t a ll u s i o n s to a n a ti v is t p a r a d i s e . I n 1 9 8 9 , th e S o u th K o re a n g o v e rn m e n t d e s tro y e d th e f ir s t Yasumasa Morimura’s Doublonnage (Marcel), 1988, photo on the cover o f the Korean m agazine art, April 2000, original prin t 60 by 48 inches; in “Human Beings & Gender. ” ( 1 9 8 7 ) v e r s io n o f t h i s w o r k a n d p u t S in H a k - c h ’o l o n tr i a l , a l l e g in g h i s u t o p i a n s c e n e to b e C o m m u n is t p r o p a g a n d a t h a t id e a l iz e d N o r th K o re a . I n 1 9 9 3 , h e r e p a i n t e d t h e v a n is h e d p ic tu r e . T h is y e a r ’s B ie n n a l e f e a t u r e d a c o lo r p o s t e r o f t h e a r t i s t ’s o r i g in a l w o rk , b y e v e r y o n e f o r e v e r y o n e .” S o it w a s n o c o in c id e n c e c r o s s e d o u t w ith a g ia n t X in r e d s p r a y - p a i n t. D o e s t h a t t h e f i r s t w o r k o n d i s p l a y , Y u k in o r i Y a n a g i ’s S in ’s g e s t u r e m a r k t h e f i n a l b u r i a l o f t h e M in ju n g Article 9 ( 1 9 9 4 ) , s e e m s to c o n v e y a s e n s e m o v e m e n t, o r is i t a l a s t p r o t e s t a g a i n s t o n g o in g o f t h e c u r a t o r ’s p e r s o n a l c o n flic t. I n it, r e d n e o n s n ip ­ p e t s f r o m A r t i c l e 9 o f J a p a n ’s c o n s t i t u t i o n a r e c e n s o r s h ip ? T h e ti tl e M odem Korean History— the N ational Security Law ( 2 0 0 0 ) s u g g e s ts t h e la t te r . s c a t t e r e d a b o u t t h e flo o r, f l a s h in g o n a n d o f f e v e r y H o w e v e r, e v e n w h ile S in a n d o t h e r s c o n ti n u e to p a y in s ta ll a t io n fe w m i n u te s . A r tic le 9 is a f o r m a l “R e n u n c ia t io n o f a r e s id u a l p e n a lt y f o r h a v in g b e e n a c tiv e ly in v o lv e d W a r ,” d r a f t e d b y t h e U .S . o c c u p a t i o n f o r c e s , w h i c h in t h e m o v e m e n t, K o r e a n s g e n e r a lly b e lie v e t h a t t h e f o r b id s th e e s t a b li s h m e n t o f a J a p a n e s e a r m y — a p r o ­ M in ju n g e r a h a s b e e n la id to r e s t. h ib i ti o n t h a t , c r i t i c s o f p o s t w a r p o l ic ie s c la im , h a s “A rt & H u m a n R ig h ts ” w a s ti e d to g e t h e r e ffe c tiv e ly b e e n c ir c u m v e n te d b y v a r i o u s J a p a n e s e a d m i n is tr a ­ b y i t s w e ll- d e lin e a te d th e m e . T h e to p i c e n a b le d H a riu ti o n s in t h e e n s u in g y e a r s . to ju x t a p o s e a d r a m a t ic b la c k - a n d - w h ite to r t u r e c o l­ T o m i y a m a T a e k o , o n e o f J a p a n ’s f e w p o li ti c a ll y la g e b y C h e n C h ie h - J e n o f T a iw a n ( w h o w a s a w a r d e d e n g a g e d a r t is t s , is a n im p o r t a n t in f lu e n c e o n M in ju n g t h e B ie n n a l e ’s s p e c i a l p r i z e ) w ith t h e 1 9 9 0 a n ti w a r a r t in K o re a ( e s p e c ia lly f o r 0 Y u n a n d o th e r le a d in g m ix e d - m e d iu m e a r ly f ig u r e s ) . H a r iu g a v e h e r a n e n ti r e r o o m to d is ­ s e v e r a l 1 9 7 4 p a i n t i n g s a n d c o lla g e s b y L e o n G o lu b p la y h e r 1 9 8 0 K w a n g ju M a s s a c r e w o o d c u t s e r i e s , a n d N a n c y S p e r o d e a lin g w i th U .S. tr o o p s in V ie tn a m . Maikafer Jlieg b y A n s e lm K iefer, p lu s Kim Ho-sok: Kwangju Democratization Movement (detail), 1997 , watercolor, 70 Vs by 74 Vs inches; in the “Korea/Oceania” section. A rt in A m erica 73 S o n g -d a m ’s w o r k w a s s e e n in a A s p a r t o f h is S p e c ia l C o m e r p ro je c t, a r t is t ic d ir e c ­ w a ll- s iz e d i n s ta l la t io n o f 108 to r O h K w an g su in s ta lle d o n th e e d g e o f th e s q u a r e p a in tin g s re fe re n c in g K o r e a /O c e a n ia s e c ti o n a r o o m fille d w ith la r g e - sc a le , Butterfly Dream , a a b s t r a c t l y p a t t e r n e d b r u s h p a in t in g s b y S u h S e -o k . th e fam o u s s h o r t m e d ita tiv e te x t o n th e I n t e n d e d to m o d u la te b e tw e e n c u r a t o r i a l a r e a s a n d tie n a tu r e o f r e a lity a n d su b je c tiv ity t h e s h o w ’s c o m p o n e n ts to g e t h e r , O h ’s fiv e in te r v e n ­ b y C h u a n g ts e ( C h in a , th ir d c e n ­ tio n s (o n e fo r e a c h g e o g ra p h ic a l s e c tio n ) fe a tu re d t u r y B .C .). S ty lis tic a lly , h o w e v e r, w o rk b y a to ta l o f n in e in t e r n a t io n a l a r t is t s in a w id e th e s e p a in tin g s , e a c h d e p ic tin g v a r ie ty o f m e d iu m s . A ll five w e r e p a n n e d in th e K o re a n a K w a n g ju M a s s a c r e v ic tim , p r e s s f o r ta k in g u p to o m u c h s p a c e o r f o r v io la tin g th e seem a m b ie n c e o f th e s e c t io n s th e y b o r d e r e d . c lo s e r to 1960s A ndy W a rh o l. L e s s e x p lic itly id e o lo g i­ c a l, B y ro n Installation view o f P atricia Piccinini’s Truck Babies, 1999, fiberglass, automotive finish, electric lights, approx. 4 f e e t high; p a rt o f the “Korea/Oceania” section. seco n d - O h is e sp e c ially u n p o p u la r a m o n g po litic a lly e n g a g e d a r t is ts fr o m K w an g ju a n d th e C h o lla p ro v in c e s . I n la te g e n e r a tio n K o re a n -A m e ric a n 1998, th e b ie n n ia l o v e rs ig h t c o m m itte e d r o p p e d th e le ft­ a r t i s t , p la y f u lly c o n t e s t s a ll o f is t a r t c r itic C h ’o e M in a s p la n n e d a rtis tic d ir e c to r a n d t h e p r e m is e s o f W e s t e r n m o d ­ r e p l a c e d h im w it h O h . T h is a c ti o n , a lo n g w it h O h ’s e r n i s t a r t b y ju m p in g b a c k a n d a p p o in tm e n t a s th e n e w d ir e c to r o f th e N a tio n a l f o r th b e tw e e n p a in tin g , c o n c e p ­ M u s e u m o f C o n te m p o r a r y A rt, le d to h a r s h c r i tic is m tu a l and fr o m s e v e ra l a r t is t s ’ g ro u p s . T h e y p u b licly a c c u s e d h im a rt, a b s tra c tio n r e a lis m . I n a d d it io n , w o rk s like o f h a v in g w o rk e d w ith th e fo r m e r d ic ta to r s h ip to h e lp M ute (E very K orean Word I Know), 20 0 0 , w ith its w ry ti tu la r s h u t d o w n th e a c tiv itie s o f M in ju n g a r tis ts a n d th e p r o ­ c o m m e n ta r y o n is s u e s o f e th n ic in f lu e n tia l c ritic a n d p r o f e s s o r o f a r t w ith m e m b e rs h ip d e m o c r a c y m o v e m e n t d u r in g th e 1980s, w h e n h e w a s a n THE MAIN EXHIBITION: Korea/Oceania id e n tity , e p ito m iz e K im H o n g -h e e ’s c u r a t o r i a l id e a l b y o n s e v e ra l k e y g o v e rn m e n t c u ltu r a l c o m m itte e s . O h h a s u s in g m in im a l f o r m s to c o n v e y m a x im a l s o c ia l c o n te n t. d is m is s e d th e s e a c c u s a tio n s , c a llin g th e m g ro u n d le s s . T h is y e a r ’s p r i n c ip a l e x h ib itio n , d e s ig n e d to m o s t t h o r ­ Shoes ( 2 0 0 0 ) w a s t h e c e n t r a l u n if y in g p ie c e o f t h e North America o u g h ly e m b o d y t h e B ie n n a le ’s h u m a n is tic th e m e , w a s K o re a n p o r tio n o f th e s h o w . L ik e s o m a n y a r t is t s o n c e T h e N o r th A m e ric a s e c tio n w a s th i s B ie n n a l e ’s m o s t d iv id e d in t o fiv e g e o g r a p h ic z o n e s ( K o r e a / O c e a n ia , in v o lv e d in t h e p o litic a l a r t m o v e m e n t o f th e 1 9 8 0 s, Y u n d i s t i n c t i v e c u r a t o r i a l f lo p . C o m m is s io n e r T h o m a s N o r th A m e r ic a , A s ia , C e n t r a l a n d S o u t h A m e r ic a , h a s n o w s h i f te d h e r a t t e n ti o n to o th e r c o n c e r n s — in F in k e l p e a r l o f P .S . 1 in N e w Y o rk d e c i d e d to ta i lo r th i s E u ro p e /A ff ic a ), w ith a n e c le c tic S p e c ia l C o m e r c u r a t ­ th i s c a s e , to f e m in is t a r t . H e r p in k p e ta l- s h a p e d b o a t s e c t io n to t h e u n iq u e c o n te x t o f th e K w a n g ju e d b y th e e v e n t’s a r tis ti c d ir e c to r , O h K w a n g su . I n lig h t fille d w ith s h in y p in k a c ry lic b e a d s flo a ts o n a c u r r e n t B ie n n a le , w h e r e m o s t o f th e v is ito r s w o u ld b e r e t ir e d o f s u c h g e o g r a p h ic a m b itio n , it is s u r p r is in g t h a t th e o f b lu is h , g r e e n is h a n d w h ite b e a d s . Kkotsin, flo w e ry p e o p le , s c h o o l c h il d r e n o r f a m ilie s m a k in g w e e k e n d K o r e a / O c e a n ia s e c t i o n w a s r e d u c e d , in e f f e c t, t o a w h ite w o o d e n s h o e s , c r o s s th e b o a t in a n u n in t e r r u p t­ j a u n t s to e n jo y t h e liv e p o p c o n c e r t s , d a n c e p e r f o r ­ S o u th K o r e a /A u str a lia s e c tio n . O f th e 13 a r t is t s r e p r e ­ e d lin e fr o m b o w to s t e m , s p illin g o u t o v e r th e rim a n d m a n c e s a n d p o e tr y r e a d in g s a s s o c ia te d w ith th e s e n te d , n in e w e r e K o r e a n b y b ir th o r h e r ita g e a n d f o u r in to t h e s h in y o c e a n . T h e tr a d i ti o n a l s h o e s t h u s se rv e fe s tiv a l. H e to ld t h i s in te rv ie w e r : “A m illio n p e o p le a r e w e r e r e s i d e n t s o f A u s tra lia . a s a m e t a p h o r f o r th e to il a n d h a r d s h ip o f m a n y fe m a le g o in g to s e e t h e s h o w , a n d 9 7 0 ,0 0 0 o f th e m a r e n o t liv es: t h e i r g h o s tly f o o t s te p s le a d in to th e s e a , w h e r e f r o m th e a r t w o rld . S o I w a n te d to d o s o m e th in g fo r th e r e is n o th in g b u t u n fu lfille d d e s ire . t h e 9 7 0 ,0 0 0 p e o p l e . . . . I t ’s v e r y s ite - s p e c if ic . I w o u ld T h e c o m m is s io n e r f o r th i s s e c tio n , K im H o n g -h e e , p re v io u s ly c u r a te d t h e w e ll-re c e iv e d “P a tjis [ P a n ts] o n Y u n S o k - n a m ’s b o a t i n s t a l l a t i o n t i t l e d Flowered n o t d o th i s s h o w in V e n ic e o r in S y d n e y .” B u t P a r a d e , ” a f e m in i s t a r t e x h i b i ti o n a t t h e S e o u l A r ts T h e fe w A u s tr a lia n w o rk s in th e s e c tio n w e re u n n e c ­ C e n te r in 1 9 99, a n d a ls o e d it e d a r e s p e c te d b o o k o n e s s a r i l y is o l a t e d in a s e p a r a t e r o o m a w a y f r o m t h e F in k e l p e a r l m a y h a v e o v e r r e a c te d w h e n h e d e c id e d K o r e a n f e m in is t a r t . B u t s h e f a c e d s o m e e x c e p tio n a l K o r e a n e x h ib its . H e re P a t r ic ia P ic c in in i’s in s ta l la t io n t h a t t h e b ig , d r a m a ti c in s ta ll a t io n s s o c o m m o n th e s e p ro b le m s in K w angju. I n m id -J a n u a r y m o s t o f th e in v it­ s to o d o u t th a n k s to t h e c h a r m o f its s a tire . T w o c u te d a y s in o th e r in t e r n a t i o n a l b ie n n ia ls w o u ld n o t e d K o r e a n a r t i s t s p u b lic ly t h r e a t e n e d to b o y c o t t th e b o y -b lu e a n d g ir l-p in k B ie n n a le to p r o t e s t in e ffe c tiv e m a n a g e m e n t a n d u n e q u a l f o o t - h i g h f i b e r g la s s m o d e l s o f s e m i t r a c t o r c a b s — tr e a tm e n t o f lo c a l a n d f o r e ig n p a r ti c i p a n ts . T h e y h a d e v o k e d t h e r e l a t io n s h ip b e tw e e n le a r n e d t h a t K o re a n a r t is t s w o u ld re c e iv e o n ly $4,400, n a t u r e , a rtific ia lity a n d c o n s u m p ­ h a l f t h e a m o u n t g iv e n t o f o r e i g n p a r t i c i p a n t s . tio n . O n a v id e o b e h in d th e m , a F o rtu n a te ly , p riv a te fu n d in g w a s th e n s e c u r e d to m a k e J a p a n e s e te e n a g e g irl in v ite d y o u u p th e d iffe re n c e , a n d th e s e a r t is t s g o t b a c k o n b o a rd . t o “b e c o m e t h e t r u c k t h a t y o u K im c le a r ly t r ie d v e ry h a r d to p r e s e n t a s h o w t h a t Truck B abies ( 1 9 9 9 ) — 4- s e e m e d like th e e m b o d im e n t o f th e t h r o u g h i n c l u s i o n o f e x a m p l e s o f M in ju n g a r t . S h e v ir tu a l g e n e ra tio n , a cyborg. in v ite d s o m e le a d in g f o r m e r m o v e m e n t a r t is t s to c o m ­ T h e K o re a /O c e a n ia s e c tio n a s a m e m o r a t e t h e 1 9 8 0 m a s s a c r e a n d to e x a m i n e t h e w h o le s u f f e r e d fr o m to o m a n y c h a n g e s th i s r e g io n h a s g o n e th r o u g h in t h e s u b s e ­ c o m p r o m is e s . D id h u m a n - r i g h t s q u e n t tw o d e c a d e s . S h e e v e n s u b t i t l e d h e r s e c t io n a r t re a lly b e lo n g in th i s s h o w w h e n “C o n te m p o r a r y P o li ti c a l A r t a n d N e w I d e n t it y .” B u t t h e B ie n n a l e a l s o h a d a n e n t i r e h a l f o f w h a t o n e s a w w a s o ld w o r k b y e s t a b l i s h e d s p e c ia l e x h ib itio n d e v o te d to th e a r t is t s o r c o lo rle s s r e h a s h e s o f 1 9 8 0 s im a g e s . K im H o- to p ic ? A n d w h e r e w e re t h e m a n y s o k , f o r e x a m p le , p r o d u c e d a la r g e w a t e r c o lo r a b o u t im p o r ta n t y o u n g a r t is ts w h o h a v e th e K w a n g ju U p ris in g th a t , 2 0 y e a r s a f t e r t h e in c id e n t, p o w e re d th e S o u th K o re a n a r t s e e m s lik e a n a f t e r t h o u g h t, a s im p le p ie c e o f h is to r y s c e n e o v e r t h e l a s t tw o o r t h r e e p a in t in g . N o t s u r p r i s in g ly , t h e a r t i s t w a s g iv e n th e y e a rs , in c lu d in g s u c h b rillia n t B ie n n a l e ’s “A rt R e p o r t e r s ’ P r i z e ”— a p u r e ly p o litic a l f e m a le p r a c t i t i o n e r s a s I u m a n d d e s ig n a tio n la c k in g a n y s o u n d e s th e t ic logic, b u t o n e L e e B u i (K o re a ’s r e p r e s e n ta tiv e a t w h ic h is s u r e to la n d h is w o rk in t h e n e x t e d it io n o f t h e la s t V e n ic e B ie n n a le )— a r t is ts K o re a n s c h o o l te x tb o o k s . w h o m K m h a s w ise ly s h o w n in h e r N ovember 2000 a p p e a l to t h e K w a n g ju a u d ie n c e . S o m e v i s it o r s , in f a c t, fe lt b e tr a y e d b y h is c h o ic e . a d m ir e .” E e rily a ttr a c tiv e , s h e w o u ld r e f le c t K w a n g ju ’s p o li tic a l le g a c y , p a r ti c u la r l y T h e r e c e n t m e ta m o r p h o s is o f f o r m e r a c tiv is t H o n g 74 K im , a e a r lie r ex h ib itio n s? Rachelle Viader Knowles: We Are Not Who We Were, 1999, wall-size video projection; in the “North Am erica” section. r e d u c t i o n i s m a t o d d s w ith t h e i n t e r n a t i o n a l i s m s o c h a r a c t e r i s ti c o f to d a y ’s a rt. M o re t h a n h a l f o f th e N o rth A m e r ic a n a r t is t s w e re w o m e n , a n d s e v e r a l u s e d g e n d e r a s a m a j o r th e m e . J u l ie H e f f e r n a n ’s b a r o q u e l y p a i n t e d m y t h ic s c e n e s o f te n in c lu d e s ty liz e d d e p ic tio n s o f h e r s e l f in v u ln e r a ­ b le , g ir li s h p o s e s . T h e p a i n t e r S u - e n W o n g , m uch c o n c e r n e d w ith t h e a w k w a rd p a s s a g e fr o m c h ild h o o d to a d u lth o o d , a ls o p o r tr a y s h e r s e lf a s a te e n a g e r w ith a g ir lish a ttitu d e , f r e q u e n tly tr y in g to e m u la te o b je c ts o f th e m a le g a z e s o a s to r e v e a l s o c ia l a n d s e x u a l s te r e o ­ The North American section included little other than self-portraits th a t w ere intended to juxtapose “Am erican individualism ” w ith w hat th e curator perceives as “group orientation” among Koreans. ty p e s p r o je c te d o n to A s ia n w o m e n . I n h e r in s ta lla tio n , R a c h e lle V ia d e r K n o w le s a p p e a r e d a s a v id e o p ro je c ­ tio n , h o v e rin g a c r o s s f ro m t h e im a g e o f a m a n o n th e o th e r s id e o f t h e ro o m . I n a h ig h ly p o litic iz e d v a r ia tio n o n s e lf-d e p ic tio n , th e E llen H a rv e y p la y s w ith , in h e r w o rd s , “th e c o n v e n ­ tio n o f th e s e lf-e x p re s s iv e s e lf - p o r tr a it” ( t h e c a ta lo g u e L ig o n a d d r e s s s o m e o f th e s a m e id e n tity is s u e s a s th e in c lu d e s a b r ie f a r t i s t ’s s t a t e m e n t o r c r i tic ’s p ro file f o r g ro u p s h o ts o f N ikki L e e . B u t t h e y d o s o c o u n t e r in tu ­ I See Myself in You, itiv e ly — u s i n g a s in g le h u m a n b o d y to r e p r e s e n t th e s h e in v ite d s o m e f r ie n d s to d r e s s a n d p o s e to m a t c h c o lle c tiv e “b o d y ” o f g a y b la c k m a le a r t is t s , o n e o f th e h e r c h ild h o o d s n a p s h o ts . H a rv e y t h e n p h o to g r a p h e d m o s t u n d e r r e p r e s e n te d g r o u p s in m o d e m a r t. e v e ry p a r t ic i p a n t) . F o r h e r s e r ie s Su-en Wong: Yellow Painting with Girl in Boxing Gloves (detail), 1999, acrylic and pencil on linen, 65 by 70 inches. Works this page in the “North America” section. p h o to - b a s e d w o rk s o f L y le A s h t o n H a r ris a n d G le n n th e s e s u rro g a te s a n d m a d e p a in tin g s b a s e d o n th e F in a lly , M ic h a e l D a v is ’s a n d S u s a n n a C o ffe y ’s oil- P o la r o id s , e v e n tu a lly p u tt in g th e d e p ic tio n s to g e t h e r a s o n - c a n v a s s e l f - p o r tr a i ts a r e s t u n n in g l y u n f l a t te r in g , p a ir s to e v o k e “a r c h e t y p e s o f fe m a le r e p r e s e n ta ti o n : a n d c le a rly in te n d e d to re v e r s e c e r t a i n a s p e c t s o f tr a d i­ t h e g ir l in n a tu r e , t h e c h ild w ith h e r a n im a l, e tc .” tio n a l s e lf - p o r tr a itu r e b y d e p ic tin g a v u ln e ra b le , S o m e o f th e B ie n n a le ’s s t a f f m e m b e r s a n d s e v e r a l a m b ig u o u s l y g e n d e r e d s e lf. S o m e e s t h e t i c p l e a s u r e K o re a n jo u r n a li s t s w e re u p s e t to s e e N ik k i S. L e e m a k e c o m e s in , h o w e v e r , t h r o u g h t h e a r t i s t s ’ p o w e r fu lly h e r K w a n g ju d e b u t in t h e N o r th A m e ric a s e c tio n , g iv en e x p r e s s io n is tic p a in t in g te c h n iq u e . h e r K o r e a n c it iz e n s h ip a n d la c k o f p e r m a n e n t r e s i ­ d e n c e in th e U n ite d S ta te s . (G o in g b y th e b o o k , B y ro n Asia K m s h o u ld h a v e a p p e a r e d in th e N o r th A m e ric a s e c ­ T h e A s ia s e c tio n , c u r a t e d b y T a n i A r a ta fr o m J a p a n , tio n , n o t th e K o re a /O c e a n ia s e c tio n .) L ee a lm o s t w a s m ix e d in c o n te n t . T a n i r e c r u it e d n u m e r o u s m a jo r a lw a y s p h o to g r a p h s h e r s e lf a s a m e m b e r o f so m e U.S. f ig u re s o f th e A s ia n a v a n t- g a r d e (W e n d a G u , M a s o c ia l g ro u p , in d ir e c t c o n tr a s t to F in k e lp e a r l’s fo c u s L i u m in g , C h e n S h u n - C h u , N it i W a t t u y a , S u b o d h o n A m e ric a n in d iv id u a lis m . A n d th e c u ltu ra lly m a r g in ­ G u p ta , N a lin i M a la n i a n d o th e r s ) , a s w e ll a s a r t i s t s a l s u b g r o u p s s h e e n te r s ( w h e t h e r H is p a n ic “g a n g s te r ,” f r o m c o u n t r i e s lik e M o n g o lia ( S e r e e t e r D a g v a d o r j) p o o r w h ite o r N e w Y ork p u n k ) n ic e ly a c c o m m o d a te h e r a n d B u r m a ( P o P o ) t h a t a r e r a r e ly r e p r e s e n t e d a t w ith in th e i r r a n k s . Y et, in its d is a v o w a l o f p u r e e s th e ti- in te r n a tio n a l a r t sh o w s. B u t th e a r r a n g e m e n t w as c is m a n d v is u a l id e a liz a tio n , L e e ’s w o r k s e e m s m o re c lu tt e r e d , a n d th e r e w a s h a r d ly a n y d e te c ta b le s t r a t e ­ A m e r ic a n t h a n K o r e a n . H e r o v e r s iz e d p s e u d o - s n a p - g y — o t h e r t h a n t h a t o f h a v in g o n e o r tw o a r t i s t s s h o ts in c lu d e th e d a te m a r k e r, s o a s to s im u la te r e p r e s e n t e a c h c o u n tr y . W o rk s w e r e p r e s e n t e d a s if d o c u m e n t a r y p h o to s . T h e im a g e s c o n v i n c e th r o u g h A s ia w e r e o n e la r g e u n if ie d s t a t e — B u r m a n e x t to iro n y . A s L e e e x p la in s : “G o o d d o c u m e n ta tio n o f a s im ­ J a p a n n e x t to M o n g o lia — t h u s c o n v e y in g n o s e n s e o f u la t io n d o e s , in f a c t, m a k e th e s im u la tio n m o r e r e a l.” d is ti n c t c u lt u r a l id e n t itie s . Michael Davis: Wigman, 1999, oil on canvas, 28 by 22 inches. T h e e n t ir e N o r th A m e r ic a s h o w ( w h ic h c o n c e n t r a t­ e d o n t h e U .S. a n d C a n a d a , s in c e M exico w a s c o v e re d in th e C e n tr a l & S o u th A m e ric a s e c tio n ) in c lu d e d little o th e r t h a n s e lf- p o r tr a its a n d m u ltip le m ir ro r s r e f le c tin g b a c k t h e s e s e lf - p o r tr a it s . F in k e lp e a r l, w h o a im e d to ju x t a p o s e “A m e r ic a n in d iv id u a lis m ” w ith w h a t h e p e r ­ c e iv e s a s “g r o u p o r i e n t a t i o n ” a m o n g K o r e a n s , s u p p l e m e n t e d t h e p i c t u r e s w it h tr a v e l- g u i d e q u o te s p o s te d o n th e g a lle ry w a lls to i l lu s tr a t e c la s h e s b e tw e e n K o re a n a n d U .S. m o r e s . T h e p ro b le m w ith th is a p p r o a c h is, o f c o u rs e , t h a t its n a r r o w E a s t- W e s t d u a l­ is m r e lie s o n s o c ia l a n d c u lt u r a l s te r e o ty p e s , a Ellen Harvey: I See Myself in You (detail), 1999-2000, oil on plywood, six panels, each 39 by 33 inches. A rt in Am erica 75 o f la r g e w o rk s m a d e fr o m c o r r u g a te d p h o to ­ p r i n t s t r i p s o f 1 6 th - a n d 1 7 t h - c e n t u r y S p a n is h m a p s o f L a ti n A m e ric a . I n t h e i r e la s ti c it y , t h e a c c o r d i o n s t r i p s b e li e t h e s e e m in g fix ity a n d o b je c tiv ity o f c a r t o g r a ­ p h y , re v e a lin g it a s o n e m o r e in s tr u m e n t o f c o lo n ia l d o m in a tio n . J a a r , ty p ic a lly e m p h a ­ s i z in g a h u m a n i t a r i a n t h e m e , o f f e r e d a s o a p to b e s o ld f o r th e b e n e f it o f s o m e 2-3 m illio n f a m in e v ic tim s in N o rth K o rea. Europe/Africa Encompassing 246 artists from 46 countries, the Biennale dem onstrated th a t it is impossible to satisfy local, national and international exp ectation s all at th e sam e tim e. R e n e B lo c k , w e ll - k n o w n d i r e c t o r o f t h e K u n s th a lle M u s e u m F r id e r ic ia n u m K a s s e l, w a s th e c o m m is s io n e r o f th e “E u ra ff ic a ” s e c ­ tio n , an u n w ie ld y and d e s a v a n t- g a r d e s , 1 9 1 0 -1 9 7 0 ” a t t h e C e n tr e P o m p id o u a d m in is tra tiv e d esig n a tio n . W h e n c o n fro n te d in 1 9 8 8 a n d “J a p a n e s e A r t a f t e r 1945: S c r e a m a g a in s t w ith th e vexing ta s k o f re p r e s e n tin g a reg io n t h e S k y ” a t t h e G u g g e n h e im S o H o in 1 9 94, th e K o r e a n o f 92 c o u n tr ie s th r o u g h th e w o rk o f o n ly 20 p u b lic is s till r a t h e r u n in f o r m e d a b o u t t h e m o v e m e n t. a r tis ts , B lock f o u n d a r a t h e r u n o rth o d o x so lu ­ T h i s is d u e m o s t l y t o t h e b i t t e r r e s e n t m e n t o v e r tion: h e c h o o s e to in v ite a r t is ts fro m c o u n tr ie s J a p a n ’s c o l o n iz a ti o n o f K o re a . (U n til r e c e n t ly , th e r e t h a t c o n s titu te th e g e o g ra p h ic a l a n d ( a t le a s t w e r e s t a te - i m p o s e d b a n s o n im p o r tin g a n y J a p a n e s e in th e E u ro p e a n c a s e ) c u ltu r a l p e rip h e rie s o f c u lt u r a l p r o d u c t s , in c lu d in g a r t w o rk s a n d film s , in to t h e s e tw o c o n t i n e n t s — n o r t h e r n E u r o p e t h e c o u n tr y .) A rt b u f f s in J a p a n , o n t h e o th e r h a n d , ( S c a n d i n a v ia ) a n d s o u t h e r n A fric a . I n th e have y e a r 2000, “p e r ip h e r y is n o lo n g e r p e rip h e ry T a n s a e k h w a p a in t in g , a n d J a p a n e s e a r t m a g a z in e s e x h ib itio n s fe a tu rin g h a v e k e p t th e ir r e a d e r s a b r e a s t o f r e c e n t d e v e lo p ­ m e n t s in t h e K o re a n a r t s c e n e . A rtis ts s u c h a s P a k So-bo, w h o u s e s a n ecriture te c h ­ n iq u e in h is d r a w in g s t h a t fill e n ti r e m u l b e r r y - p a p e r B lo ck a g a in p ro v e d t h a t h e h a s a w o n d e r- s h e e ts , s e e k to e x p r e s s E a s t e r n e s th e t ic c o n c e r n s b y fill e y e fo r s p o ttin g risin g y o u n g a r t is t s a n d w o rk in g m a in ly w i th b la c k a n d a c h r o m a t ic to n e s — a a r t tr e n d s . H is w a s t h e o n ly s e c tio n d e v o te d r e d u c e d p a le tte t h a t r e la te s to tr a d itio n a l K o re a n b r u s h a lm o s t e x clu siv ely to w o rk s m a d e d u r in g th e p a in tin g a n d so m e ty p e s o f K o re a n p o ttery . In d e e d , fro m la s t tw o o r th r e e y e a rs . H e a ls o s h o w e d a n th e 1 9 7 0 s on , m a n y K o re a n a n d J a p a n e s e a r ti s t s tr ie d to ab ility to e n g a g e a ll s o r ts o f v is ito rs th r o u g h c o u n te r p u r e W e s te r n fo rm a lism w ith a g r e a te r e m p h a ­ a p la y fu l c u r a to r ia l in s ta lla tio n . Y o u n g s te r s s i s o n t r a d i t i o n a l A s i a n s p ir it u a li ty . T h e c e le b r a te d a n d e l d e r l y v i s i t o r s a l i k e c o u l d b e s e e n e n jo y i n g P o , f o r e x a m p le , is w e ll k n o w n in h is o w n c o u n tr y f o r R o m u a ld H a z o u m e ’s A f r i c a n m a s k s m a d e o f p la s ti c p a in t in g s in s id e b o t t l e s a n d f o r “t e x t u r e p a i n t i n g s ” ju g s , a n a v y h a t a n d a n iro n , o r a b s o r b e d in e x p e rie n c in g f o r t h e b lin d . B u t h e r e h e w a s r e p r e s e n te d b y a b e d - v id e o in s ta lla tio n s s u c h a s E ija -L iisa A h tila’s c e n te r e d in s t a l la t io n , r e m in i s c e n t o f R a u s c h e n b e r g , K o re a n m a k in g h is c a s e b y leaving o u t a r t w o rk s fro m Ita ly a n d G erm an y . A r tis ts , to o , s u f f e r e d f r o m a c a te g o r ic a l b lu r r in g . P o fo llo w e d a n d c e n te r n o lo n g e r c e n te r ,” a r g u e d B lock, tr a d itio n a l c e n te r s o f c u ltu re s u c h a s F ra n c e , Nikki S. Lee: The Ohio Project (7), 1999, Fujiflex print, 28 by 21 / inches fram ed; in the “North America ” section. M o n o h a th r o u g h p r e s ti g i o u s s h o w s s u c h a s “J a p o n p ro b le m a tic If 6 Was 9 — a DVD w o r k in w h ic h s ix s c r e e n s in a r o w s h o w w h ile t h e c a ta lo g u e n o te s t h a t th e a r t i s t is e s p e c ia lly “d o c u m e n t a r i e s ” o f t h e d a ily h a b it s , a n d s e x u a l f a n ­ in f l u e n c e d b y N a m J u n e P a ik , w i th w h o m h e s h a r e s ta s ie s , o f s e v e ra l F in n is h te e n a g e girls. a n i n t e r e s t in te c h n o lo g y a n d B u d d h is t th o u g h t. T h is c u r a t o r i a l a p p r o a c h r a i s e s s o m e c o m p e llin g is s u e s . I n Japan and South Korea B u rm a , w h e r e k n o w le d g e a b o u t m o d e r n is m r e m a i n s “T h e F a c e t o f K o r e a n & J a p a n e s e C o n te m p o r a r y A r t” fra g m e n te d a n d w h e re m a in s tre a m a r t p ro d u c tio n a p e a r e d a t t h e K w a n g ju C it y A r t M u s e u m , a 1 0 - c a t e r s t o W e s t e r n t o u r i s t s , is s u c h a c o n c e p t u a l m in u t e b u s r id e a w a y f r o m t h e m a in e x h ib itio n h a lls i n s t a l l a t i o n e s s e n t i a l l y “i n t e r n a t i o n a l ” ( i .e ., N e w in C h u n g o e P a r k . C u r a te d b y Y u n C h in - s o p , t h e s p e ­ Y o r k i s h ) o r “ B u r m e s e ”— o r b o t h ? A n d h o w a r e c ia l e x h ib itio n w a s e s s e n ti a l ly a s u r v e y o f J a p a n e s e r e g io n a l a r t i s t s b e s t r e p r e s e n te d in h u g e m u lt in a t io n ­ M o n o h a p a i n t i n g ( i n c l u d i n g fiv e p o s t - M o n o h a a l e x h ib itio n s ? U n f o r tu n a te ly , d a z e d v ie w e r s h a d little p a in t e r s ) a n d it s K o r e a n c o ro lla r y , T a n s a e k h w a . B o th c h a n c e to m e d i ta t e o n s u c h q u e s ti o n s a s th e y m a d e m o v e m e n ts b e g a n in t h e la t e 1 9 6 0 s. A c r iti q u e o f t h e t h e i r w a y th r o u g h t h e s e c ti o n ’s c a m i v a l e s q u e , q u a s i- W e s t e r n o b j e c t i f i c a t i o n o f t h e s e l f a n d t h e O th e r , h o m o g e n e o u s p r e s e n ta ti o n . M o n o h a ( l it e r a ll y “ s c h o o l o f t h i n g s ”) r e f le c t e d t h e Central & South America b y H e id e g g e r a n d th e J a p a n e s e t h i n k e r N is h id a c h a lle n g e to m o d e m e s t h e ti c s a n d r a t io n a li s m p o s e d T h e h ig h ly s u c c e s s f u l C e n tr a l & S o u th A m e ric a s e c tio n K ita ro . T h e J a p a n e s e m o v e m e n t’s le a d in g e a r ly th e o ­ ( a ls o e n c o m p a s s in g M ex ico ) b r o u g h t a r e p r e s e n ta tiv e r i s t w a s t h e K o r e a n - b o r n a r t i s t L e e U fa n . M o n o h a , s e le c tio n o f L a tin A m e ric a n a r t w o rk to K o re a f o r th e c o n c e r n e d p r im a r ily w ith m a t e r ia ls - b a s e d s c u lp tu r e , f i r s t tim e . P a r t ic i p a n ts in c lu d e d m a n y in t e r n a tio n a lly r e p r e s e n te d a n a t iv is t r e s p o n s e to M in im a lism a n d , a t a c t iv e ( b u t , in K o r e a , li tt le - k n o w n ) a r t i s t s s u c h a s t h e tim e , w e n t h a n d in h a n d w i th le f t-w in g p o litic a l M ig u e l A n g e l R io s , T a n i a B r u g u e r a , T u n g a , J u a n a c ti o n a n d s t u d e n t p r o t e s ts . A ris in g s lig h tly la t e r in M a n u e l E c h a v a r r i a a n d A lf r e d o J a a r . M u c h o f t h e K o re a , a s im ila r ( th o u g h m o re g ra p h ic s -o r ie n te d ) w o rk , c h o s e n b y th e N e w Y o rk -b a s e d c u r a t o r a n d a r t r e s p o n s e w a s d e s i g n a t e d T a n s a e k h w a ( lite r a lly “o n e - c ritic Y u Y e o n K im , a d d r e s s e d th e re g io n ’s p o s tc o lo n ia l c o lo r p a i n t i n g ”) ; b u t, in t h e f a c e o f a r u lin g c o n d itio n . R io s, f o r e x a m p le, w h o r e s id e s in N e w Y ork d ic ta to r s h ip , it e s c h e w e d a n y d ir e c t p o litic a l a g e n d a . like m a n y o th e r a r t is t s in th i s sh o w , p r e s e n te d a s e r ie s A lth o u g h W e s t e r n e r s h a v e b e e n w e ll e x p o s e d to Kim Tschang-yeul: Recurrence (detail), 1993, ink, oil on linen, 118 by 77 inches; in the special exhibition “The Facet o f Korean & Japanese Contemporary Art.” A rt in A m erica 77 K o re a n m in im a list K m T s c h a n g -y e u l, fo r e x a m p le , h e r e w ith tr a d itio n a l E a s t A s ia n a n d K o re a n e le m e n ts s u c h o ffe re d a 1993 s e r ie s o f larg e, m e d ita tiv e p a in tin g s s h o w ­ a s a n e c d o t a l h u m o r a n d s tr o n g lin e a rity , a p p e a r e d in s h a k e o ff lo c a l, r e g io n a l a n d n a ti o n a l p o l it ic a l p r e s ­ in g w a te r d r o p s b e a d e d o v e r C h in e s e c h a r a c t e r s — a t h e e a r l y '6 0 s . O n ly to w a r d t h e e n d o f t h a t d e c a d e , s u r e s t h a t d e m a n d e d to o m a n y c o m p r o m i s e s a n d i m p r e s s i v e . ) Y e t o r g a n i z e r s w e r e s t i l l n o t a b le to su b ltle a s s e r tio n , p e r h a p s , o f th e u litim a te s u p e r io rity o f u n d e r t h e in f lu e n c e o f th e C u ltu ra l R e v o lu tio n in C h in a i n t e r f e r e d to o o f t e n w ith t h e w o r k o f t h e c u r a t o r s . n a tu r e o v e r e v e n th e m o s t re f in e d fo r m s o f c u ltu re . In a n d o f N o rth K o re a ’s o w n n a ti o n a lis tic chuch’e (s e lf- A m o n g o th e r th in g s , th i s le d to t h e in c l u s i o n o f s o m e a d d itio n , T a n s a e k h w a p a i n te r s o fte n stro v e to fin d th e ir r e l ia n c e ) d o c tr in e , d id s t u d i o p r a c t ic e b e g in to fu lly I e s s - t h a n - c o n v in c in g w o rk s o f a r t a n d t h e e x c lu s io n o w n d is tin c tiv e m a te r ia ls a n d m e th o d s. H a C h o n g -h y o n , m a t c h s o c ia l- u t il it a r i a n th e o r y , a s a r t b e c a m e p u r e ly o f s u c h im p o r t a n t K o r e a n in s ta ll a t io n a r t i s t s a s C h o fo r o n e , p u s h e d th ic k ly m ix e d a c h r o m a tic p ig m e n ts in to “u s e f u l” in th e p r o p a g a n d i s t s s e n s e . T h e s h o w in c lu d ­ D u c k - h y u n ( w h o p a r t i c i p a t e d in t h e K u r im V illa g e th e c a n v a s fr o m its b a c k sid e , t h u s allo w in g th e c a n v a s e d a v e ry r e p r e s e n ta tiv e b o d y o f a g it-p ro p w o rk s d a tin g P ro je c t, j u s t a n h o u r ’s d riv e fr o m K w a n g ju ). a n e q u a l ro le w it h t h e c o lo r s ( in th e lo n g - e s ta b lis h e d f r o m t h e e a r l y '7 0 s t o t h e p r e s e n t . R e g r e tt a b ly f o r T h e K o r e a /O c e a n ia s e c tio n , t h e N o r th A m e ric a s e c ­ m a n n e r o f A s ia n b r u s h p a in tin g ) w h ile a ls o c r e a tin g a n s o m e , n o d o u b t, th e r e w e re n o p o r t r a it s o f t h e N o r th ti o n , t h e C la y W a ll a n d t h e e a r l y b o y c o tt t h r e a t b y a llo v e r co v e ra g e o f th e s u r fa c e ( a s is th e u s u a l W e s te rn K o re a n le a d e r s K m Il-s o n g a n d h is s o n K im C ho n g -il, K o r e a n a r t i s t s d e m o n s tr a t e d t h a t it is im p o s s ib le to a p p ro a ch ). w h o h av e b e co m e th e p r e d o m in a n t s u b je c ts o f th e s a ti s f y t h e e x p e c ta tio n s o f lo c a l, n a t io n a l a n d in t e r n a ­ c o u n tr y ’s p o litic a l a r t , n o w a g e n r e o f i t s o w n . M a n y t i o n a l a r t i s t s a n d a u d i e n c e s a ll a t t h e s a m e tim e . The “ Other” Korea v is ito r s m a y h a v e b e e n e q u a lly s u r p r i s e d b y t h e s u r ­ Q u e s tio n a b le d e a ls h a d to b e m a d e — a s in th e N o r th A lso lo c a t e d a t t h e K w a n g ju C ity A rt M u s e u m , “T h e v iv al, in a n a t t e n u a t e d f a s h io n , o f I m p r e s s io n is t a n d K o re a n e x h ib itio n , w h e re th e u s u a l s h o r t a r t i s t s ’ b io g r a p h ie s w e re c e n s o r e d o u t o f t h e c a ta lo g u e . P a s t & P r e s e n t o f F in e A r t in N o r t h K o re a ,” e n c o m ­ P o s t- Im p r e s s io n is t sty le s. A t le a s t h a lf th e w o rk s p r o ­ p a s s in g 4 4 in d iv id u a l a r t i s t s a n d g r o u p s , m a r k e d th e d u c e d in th e N o r th a r e w h a t S o u th K o r e a n s jo k in g ly F in a lly , a lth o u g h th e b r o a d th e m e “M a n + S p a c e ” “o ffic ia l” d e b u t o f N o r th K o re a n a r t in S o u th K o re a a n d c la s s if y a s “b a r b e r s h o p p a i n t i n g ”— s h in y , c o lo r f u l s e r v e d w e ll to j u s ti f y t h e d is p la y o f a ll th e s e a r t w o rk s t h e f i r s t - e v e r d i r e c t lo a n o f N o r t h K o r e a n w o r k s to la n d s c a p e s o r k its c h y r e p r o d u c tio n s o f W e s te rn w o rk s u n d e r o n e ro o f, f o r m o s t v is ito r s it w a s s o m e th in g o f a S o u th K o r e a . ( E a r l i e r e x h ib i ti o n s o f N o r t h K o r e a n o f a r t (in c lu d in g , in th i s s h o w , a s t it c h e d w o rk , a t t h e 1997 B ie n n a le a n d e ls e w h e r e , r e lie d e x c lu ­ 1999, fr o m th e M a n s u d a e w o r k s h o p ) . M om Lisa , s tr u g g le to f in d a n y m e a n in g in t h e p h r a s e . I t s im p ly p ro v id e d a b a s i s f o r d iv id in g u p t h e a r t b y tr a d it io n a l siv ely o n p riv a te c o lle c tio n s.) C u r a to r s Y u C h a e -g il a n d g e o g r a p h i c r e g i o n s , w h ic h f l ie s i n t h e f a c e o f t h e K im C h ’a n - d o n g b o r r o w e d o v e r h a l f th e p ie c e s o n d is ­ How Global, How Good? p la y f r o m t h e N o r t h K o r e a n M a n s u d a e A r t S tu d i o . T h e p la n n e r s o f th i s y e a r ’s B ie n n a le tr ie d to r e s p o n d s h o w s . T h e B ie n n a l e 2 0 0 0 o r g a n i z e r s ’ a m b i ti o n to G iv en th e r e c o r d o f o v e r s e n sitiv ity ( a n d p o litic a l c e n ­ t o c r i t i c i s m le v e le d a t t h e tw o e a r l i e r f e s t i v a l s b y h a v e a p ie c e f r o m e v e r y c o m e r o f t h e g lo b e r e s u lt e d in c u r a t o r i a l a p p r o a c h e s o f t h e tw o e a r l i e r K w a n g ju s o r s h ip ) o n th e p a r t o f b o t h K o re a s, Y u a n d K im w e re in c l u d i n g m a n y m o r e w o r k s f r o m K o r e a a n d o t h e r a k in d o f s to r e r o o m f o r th e a v a n t- g a r d e — s till a v a n t- a b le to s e c u r e a n im p re s s iv e a r r a y o f w o rk s — n o t o n ly A s ia n c o u n tr ie s , t h u s h o p in g to e s t a b li s h th e g a r d e , b u t a ls o j u s t a s to re ro o m . p a in tin g s , d ra w in g s a n d p r i n ts r e p r e s e n ti n g n e a r ly a ll K w a n g ju B ie n n a le a s t h e m o s t i m p o r t a n t m e g a s h o w m a jo r d e v e lo p m e n ts o f a r t in N o r th K o re a s in c e th e in A s ia . la te 1 9 4 0 s, b u t a ls o s c u lp tu r e s a n d n e e d le w o rk . C o n te m p o ra ry A rt in B r is b a n e a n d th e A s ia n A rt (W ith th e A s ia P a c ific T rie n n ia l o f T h r o u g h th e la te 1 9 5 0 s, N o rth K o re a n a r t is t s c o n ti n ­ T r ie n n a le in F u k u o k a b o th w e ll e s t a b l is h e d , a n d w ith u e d u s in g J a p a n e s e sty les a n d te c h n iq u e s le a rn e d th e S h a n g h a i B ie n n a le a b o u t to go tr u ly in t e r n a t io n a l d u r in g th e c o lo n ia l p e rio d . S o c ia lis t R e a lism , in f le c te d f o r th e f i r s t tim e th i s fall, c o m p e titio n f o r t h i s ti tl e is □ The Kwangju Biennale 2000 was on view in Kwangju, South Korea, Mar. 29-June 7,2000. A u th o r : Frank Hoffmann is finishing a Ph.D. degree at Harvard University and teaches Korean studies at the Intercultural Institute of California in San Francisco. A rt in A m erica 79