Seongnam Project, Seongnam Modernism leaflet, 1998, Image provided by Artist
Seongnam Project
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
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Art Space Pool
A non-profit exhibition space that opened in April 1999 in Gwanhun-dong, Jongno-gu, Seoul. The first director, Lee Youngwook, borrowed the name of the organization from the title of a poem written by Kim Su-young (1921–1968). The space was established to develop a democratic, alternative art culture, and it is seen as a major venue for the practice of, and discourse on, post-minjung art. The organization consisted of a director; a board of artists, curators, and critics; and a secretariat. Beginning with Seeping In-Chung Seoyoung and Choi Jeonghwa, the inaugural double exhibition which lasted from April 2 to 13, 1999, the exhibition space has held exhibitions for artists such as Koh Seungwook, Chang Younghae, Im Heung-soon, and Bahc Yiso. In addition to exhibitions, the space seeks to establish critical discourse on contemporary art trends through the operation of academies, symposiums, and workshops. In 2004, Art Space Pool became the first Korean non-profit exhibition space to become an art firm. It moved to Gugi-dong, Seoul in 2006.
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Post-Minjung art
A Korean artistic movement characterized by participation, which emerged following the decline of Minjung Art in the 1980s. The term and concept were particularly discussed in light of the attempts toward a critical restoration of Minjung Art during the late 1990s. Notable examples of the exponents of this concern include; Art groups such as the Seongnam Project, flyingCity, and Mixrice; and artists such as Park Chan-kyong, Cho Seub, Koh Seungwook, and Lim Minouk. These Post-Minjung artists criticized the theory-based reconstruction of political meaning within artistic production, use of class-based perspectives, and the Modernist anti-dialectic abandonment that characterized Minjung art. The movement adopted the pluralist rhetoric of the Western art community that was developed after the 1960s concerning conceptual art, site-specificity and institutional critique, identity politics, and installation practice. Post-Minjung artists also speculated on the use of new modes of realism that responded to the changed social, political, and economic conditions of Korea after the 1990s. Due to the influence of these artists, there has been substantial debate on whether all participatory art in 21st century Korea should be directly linked to the tradition of Minjung Art.
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Seoul in Media
Seoul in Media was a special exhibition series held three times by the Seoul Museum of Art from 1996 through 1999 at the Memorial Hall for the 600th Anniversary of the Capital Seoul (present-day Gyeonghuigung Palace site). The first edition Seoul in Media: 1988–2002, which was held from October 7 through 20, 1996, was intended to reflect and discover new images of Seoul during the period from the Seoul Olympics to the 2002 Korea-Japan World Cup. A total of twenty-seven Korean artists, including Hong Suncheol, Kim Jangsup, and Lee Kangwoo, exhibited their works in various forms such as video, photography, animation, and installation works. Some of these works were screened on more than a dozen of large electronic news boards throughout Seoul. From October 16 through November 4, 1998, Seoul in Media: Food, Clothing, Shelter was held. The invited curator Lee Youngchul organized an exhibition that allowed open interpretations by using an unrestrained space design. Lee’s curation was favorably received. The four teams and fifty-four artists who gathered under the theme of “everydayness” used a wide variety of media and included many emerging artists, such as Kim Sora, Yang Haegue, Ham Yangah, Lim Minouk, and Jeong Hyeseung. The 1999 exhibition Seoul in Media: Lumia of Century was held from October 15 through November 3. With thirty-three artists participating, this edition consisted exclusively of media art based on the theme of “light,” including video, computer, photography, laser, and hologram. The exhibition space was designed by Min Sohn-joo, who was also a participating artist, and she created a space where visitors could interact with the displayed works. The Seoul in Media exhibition series in the second half of the 1990s exerted influence upon changes in the Korean art scene by providing a model for exhibition planning and curatorial rules, raising interest in media art, and serving as a platform for emerging artists. Since 2000, the Seoul in Media has been held every two years in the format of an expanded international biennale Media City Seoul (renamed Seoul Mediacity Biennale in 2014).
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Public art
A genre of art that is exhibited or installed in communal “public” spaces such as parks, city squares and public buildings. Korean public art includes sculptures and memorials in public spaces commissioned through government or corporate financing as well as urban environmental pieces commissioned according to the 1980s Percent for Art Scheme. By the 2000s, the discourse surrounding large public art projects began to place greater emphasis on participation and communication with the local community. This led to several nationally celebrated projects. Key examples include the Anyang Public Art Project, which began in 2005, and the Maeulmisul Art Project of the Ministry of Culture, Sports, and Tourism, which began in 2009 and is still ongoing as of 2018.
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