How to produce a discourse between art and society in our times?
This is one of the main questions of my curatorial practice.
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Entries by Yun In Kim
The between tradition and contemporary or past and adventure, there is no real opposition, and that what we called cultural heritage, it isn’t limited to relics of the past. Although it is based on the traditional significance, at the same time it has the existing state oneself nowadays.
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Cultural diversity has become a universal concept and it is frequently used in contemporary art and culture. However, it is doubtful whether there exists the orientation of diversity in the cultural policy between mainstream and fringe. We couldn’t help considering this problem reflecting on Screen Quota System and Cinematheque Operation System in Korea.
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Today’s art has become by degrees subjective with cultural diversity, on the other hand art makes convocations by itself. They are sometimes collected under the authority of notion of exhibition, sometimes represent by themselves on the artistic cooperation like a case of Koo and Harvey’s Collaborations.
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In Singapore Art Museum at what was called the The Korean Contemporary Show, it requires consideration in relation to development of Korean contemporary painting from modernism to now. Also it represents these questions: how do they maintain their cultural identity? and how it can be transmitted to the next generation?
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Cultural identity and representation, this subject comes from the question about how to interpret national specificity in contemporary art. I would like to consider this subject from two major angles such as historical context and current state of cultural identity focused on the case of Korean Contemporary art.
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