“great” society, since the early days of the Cold War in the United States. The “contemporary” is, in other words, one of the spoils gained at the end of the Cold War. Where this War has not yet ended (as in North Korea), one cannot fully imagine the network logic of contemporary art. The impact of the SCCA network The historical significance of the SCCA network can be discussed using the old Marxist relation of material “base” – the institutional and administrative structures established by these institutions in Eastern Europe
acknowledge that sometimes even a conventional or humble memorial object can bring into being political acts at the intersection of activism and care. The Korean Statue for Peace is an interesting example of the aesthetically familiar made new and strange politically—by anonymous acts of care. The first statue by Kim Seo-kyung and Kim Eun-sung [ Fig. 7.3 ] was made on the occasion of the 1,000th occurrence of the so-called Wednesday Demonstration, a weekly protest demanding an apology by the Japanese government, and public
bell hooks observes, ‘Our living depends on our ability to conceptualize alternatives … Theorizing about this experience aesthetically, critically is an agenda for radical cultural practice.’2 It is the role of art in conceptualising alternatives, and theorising about community and culture, that is our focus in this chapter. To explore this, we present case studies of key artists in the region who have taken on this task. The artists selected are Kimsooja from South Korea; Alfredo and Isabel Aquilizan from the Philippines; and Oscar Ho and John Young, both from Hong
make-up. IV Hot lady in a cold [war] zone Shortly after gracing the cover of the initial issue of Playboy , Marilyn Monroe was again in the headlines because of her marriage to all-time-famous baseball star Joe DiMaggio. In a blaze of publicity, they honeymooned in Japan. Monroe was invited to perform for the troops now guarding the frontiers of the Free World against the Red Peril on the 49 th parallel in a divided Korea, a military front opened up in the so-called Cold War. When Monroe arrived, the war itself was
relationship of regionalism and cosmopolitanism in art, its representation and its constant circulation. And you’ve actually just come back from Korea, because you are arranging the next loan, that of Yuk Suknam’s Mother III , for the second series in the Portraits of the World exhibition. Can you tell us a little bit more about that choice, knowing also that the US is the country with the second largest Korean population living outside Korea? Robyn Asleson: Yes, and many live in the area around Washington. The confrontation of regionalism and cosmopolitanism is
struggle. The effects of colonialism continued to be felt: in the need to construct a sense of national identity out of what was often a collection of communities arbitrarily combined by colonial governments; in the need to heal the wounds of conflict; and in the need to establish sustained economic and political infrastructure. In the decades following the end of the second world war and, with it, the effective end of colonial rule, several of the nations in this region experienced internal conflict and/or wars with neighbours or with western nations. Korea, Vietnam
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.
standing in the door of the plane armed with a samurai sword ( Figure 48 ). However, the public did not see the remaining hostages, and they also missed the most curious part of the hijacking somewhat later: because the hostage-takers had demanded that they be allowed to continue their flight to Communist North Korea, the Japanese authorities disguised Seoul airport in South Korea as North Korean and re-routed the plane there. 68 ‘Only a few minutes after landing did the kidnappers realise that they were in South Korea,’ writes Vowinckel, ‘supposedly because they
16 ( 1 ): 6–10 . MacWhirter , Peter. 2001 . ‘Contemporary Printmaking in Korea’. Contemporary Impressions 9 ( 1 ): 12–15 . Tang , Xiaobing. 2015 . ‘Where to Look for Art in Contemporary