Art that embraces the village and its residents
Kim Hae-gon on the Maeulmisul Art Project supporting regional renewal
More from this Issue
Three Korean artists at the 8th Asia Pacific Triennial of Contemporary Art
Yeon Shim Chung on artists Choi Jeong-Hwa, Haegue Yang, and Siren eun young jung
Ecology and new border paradigms: The Real DMZ Project 2015
Lee Sun Young on practices that shed light on the division and possibilities for reunification of North and South Korea
We are Korean: Cultural agency is power
David Pledger looks at the role of arts and culture in globalising national economies and contrasts Korean and Australian strategic thinking
Art museums rule: State support for grand visions
Kim Inhye on Seoul’s evolving infrastructure of museums, independent artists’ spaces and residency programs
Korean heat at the Asia Pacific Triennial of Contemporary Art, Brisbane
Alison Carroll on the legacy of the Asia Pacific Triennial as the place to see Korean art in Australia
Filling the holes of history with the present: Cho Duck Hyun, Noh Suntag and Jo Haejun
Jung Hyun on three Korean artists who deal with history in strikingly different ways
Video and performance art in Korea: A force majeure
Yoo Jin Sang on the evolving forms of performative practice in contemporary Korean art
The world of Dansaekhwa: Spirit, tactility and performance
Yoon Jin Sup, the acknowledged authority on the 20th-century movement of Dansaekhwa, traces its resurgence today as an expression of the enduring presence of ancient culture in this outwardly most material of societies