Video and performance art in Korea: A force majeure
Yoo Jin Sang on the evolving forms of performative practice in contemporary Korean art
More from this Issue
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
Are we engaged or just hanging out? Korea–Australia arts exchange
Sarah Bond on the act of giving and taking as cultural exchange
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
Art–science convergence: High-tech/media/robotics/post-human
Hye Jin Mun on the intersection between the arts and sciences in Korean art
The public good of private museums in Korea
Chang Seung-yeon on the the conspicuous activity of the private art museum run by corporations and individuals
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
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
