What is Korean art history

What is Korean art history? Does it exist? If it exists, what is it? Eventually, these questions are like who am I. This question may be answered by the statement such as "I is another." by Rimbaud. It could make the subjectivity escape from the closed circuit in a spin as we are looking for the authority of its identification in the relation with outside of Korea. Originally, there can be nothing to exist independently because the subject can be proved by the prior condition which include the others. Ego seems to be recognised by us, but actually it is the reflective image of the mirror and the result of identifying with one's own specular image. Ego is the product of the paradox as the Ego is alienated from the symbolic determination of being.

This can be an accessible path for discussing identification into all areas that Identification is not originated inside but made by the relation between inside and outside. Therefore, we could say that the cultural identification of a country is made in the mixed situation between the era and social background rather than originally existed and not the fixed aim but the fluid process. This cultural identification can be consist of other things like the paradox of Ego. It could be the area to contact with the other cultures and also is the mixed spaces to be mingled with different symbols. These complicated and vague symbols are interchanged beyond the simple communication between one and another. Culture is a provisional meaning structure to be made by adopting and translating each symbol or historising and reading these newly. It occupies a position in the specific time and space. This position can be decided by different levels of power structure formed by the symbols and so the culture can mean a wide range of political struggle.

The culture in the specific country and era is different from another because of the various power structure which decide the position. Thorough the tumultuous Korean modern history, especially, Korea would make an unique history of contemporary art owing to the lower political position in the international relationship. It was great power for Korean art and Korean artist had followed or imitated the other's authorities or couldn't disregard them at least. In the first half of the twentieth century, Japan or Europe affected Korean art and then It just changed to the others like America. Therefore, Korean art was made differently from the western modernism art history which used the other's to divert or develop their style and Japanese art history which regarded western art but neglected other asian art.

To discuss about the identification of Korean art started late in 1970 as Korean art want to make sure differences from around world. From that time to these days, many critics and artists have tried to make own Korean art theories and works. Even though it hasn't been easy to solve the problem of the identification, they have made various ways to rebuilt and make up of Korean art. Thorough the process, Korean art has changed so fast and the most affective factor was Post-modernism in the development of the situation, because Korea is one of the neighbors which these discourse such as postcolonialism, multiculturalism, glocalism, and nomadism are related to. Therefore, internationalism and identity, universality and particularity haven't been thought of as opposite to each other, but as two sides of the same coin. It has been based on the discourse to translate and adopt other cultures more actively without a guilty conscience as knowing the others is not losing but finding identity and also mean not a vertical encounter but a horizontal contact with the others. The diversity and hybrid have affected Korean art and artists as various styles and mediums. In addition, as the internet made Korean art connect to global art over the world, there have being made progressive alternations.

This tendency has been shown to concern about young artists since the beginning of 21centuty. Why Is Korean young artists's movement noticeable? The young Korean artist have unique ideas and attitude about creating and are getting used to new cultures and medium. There might be different reasons to explain this situation. Firstly, as modern life has expend to the world, internationalization of art market happened and it is needed to discover new artworks as commercial purposes. Also many other countries have showed an interest in young artists, but this recent concern has supposed to be affected by young British artists as well. It is well-known as a good example that every single element such as artists, collectors, critics, and British government around British art got ready well and promoted an explosive ascending current in 1990s.

During these changes, there has been changed a style of art from national to individual to deal with their theme as the world has globalized. It is a natural phenomenon, so it couldn't be a problem. However, some young Korean artists prefer to follow the popular currencies like hypo-realism, neo-pop for selling their works. This trend makes people worry about Korean art and do people discuss again what Korean art is.

Korean art history has progressed to find its identity thorough the relation with the others and. If this progress is the identification, is there any point on it? What does it have the meaning to Korean? I suggest the answer from Franz Fanon. He mentioned the culture of a country is conceptual reference to find the member's existences. It should be made to keep themselves up in the community. Therefore, Korean art history is made by Korean as well as being made to be existed ourselves.

Identification is not only the aim but also the factor of existence. Consequently, we don't give up to find ourselves even though we never can see the real ourselves except the reflective image of the mirror. The way to escape from this dilemma is to accept that knowing the others is not losing but finding identity. The cultural identification should be found from the space of 'entre'. We will see ourselves and the others there, not just ourselves or themselves.

05/04/2009