Min Joung-Ki

The top right corner shows the valley and water running from the upper side of the mountain; the left side expresses a scene where water falling from the high Bibong Peak joins with the stream, in magnification.

Choi Min-Hwa

The painting materializes the lyrics of a hymn in the scriptures of Cheondogyo, a religion based on the Donghak movement. The work references research on Oh Yoon’s woodcut prints, which was one of the studies to explore traditional formalism, one of the main interests of Minjung art in the 1980s.

Mahardika Yudha

The video Sunrise Jive is considered to be important as it presents well issues connected to the socio-political history of Indonesia. The music in the Sunrise Jive is a memory of the times when military ruled.

Yoneda Tomoko

We frail humans were witness to a horror that could not have been foreseen even with all of our knowledge and imagination, and to the existence of a phenomenon so immense that individuals were powerless to resist it.

Choi Gene-uk

Around the time of the Inter-Korean Summit, the kinds of ‘art’ presented to the South Korean public were benign travel sketches by a few painters. The painters depicted the people or landscape of North Korea as “peaceful scenery of a foreign country” as if they were camels along the Silk Route. But there is something “impure” in the paintings, different from other ideologically “pure” paintings produced by other artists around the time.

Trailer Project
Trailer Project

YOUNG-HAE CHANG HEAVY INDUSTRIES: MAKING SENSE WHEN THERE'S YOU, NONSENSE, AND LONELINESS / IS DOKDO OUR LAND?