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November, 1999 November December, 1999 December toggle button for the quick banner area toggle button for the quick banner area Features Features Contemporary art and Feminism Essays Essays 1960–1969: Avant-garde Activities and Development of the Art System Following the periods of the Korean Empire (1897–1910) and Japanese occupation (1910–1945), the 1960s marked a period of renewed modernization in Korean art history, and much of what we see in Korean art today was shaped during this period. Having experienced the historical events of the April 19 Revolution and the May 16 Military Coup, which opened the door to the 1960s, many Koreans aspired to liberalism and democracy under the nationalistic economic system advocating anti-communist ideology, and even in their nationalism assumed a Western-oriented attitude. The sense of resistance to the establishment and the will to establish a new system by the youth, who were leading forces of the revolution, were manifested in art through avant-garde artists’ challenges to the National Art Exhibition (Daehanminguk misul jeollamhoe, also known as Gukjeon) and academicism and attempts to innovate traditional painting.  Moreover, following from the desire for internationalization spreading throughout society, artists’ participation in overseas biennials became more frequent, and the number of people exploring art that modernizes tradition also increased. In addition, with the acceleration of industrialization and urbanization, consumption-oriented popular culture became reflected in art works, and art based on reproduction technologies such as prints and photography developed. The growth of the industrial design field was encouraged with the goal of “art exports,” and modern buildings transformed the environment of large cities, including the capital, Seoul. Furthermore, the activities of art critics in the art world became professionalized. The National Museum of Modern Art, Korea (now MMCA)  opened its doors in Gyeongbokgung Palace in 1969, and art exchanges with Japan resumed in 1968 following the normalization of diplomatic relations between Korea and Japan in 1965. The 1960s in Korean art was a time when many historical moments that formed the origins of contemporary art were born through the fierce activities of the avant-garde.    Art Informel Abstraction: Avant-garde Strategy for Reform The anti-National Art Exhibition movement began in 1957 with the simultaneous launch of oppositional, non-governmental groups such as the Creative Arts Association [Changjak misul hyeophoe], the Modern Art Association [Modeon ateu hyeophoe], the Neoplastics [Sinjohyeongpa], Hyundae Fine Artists Association [Hyeondae misulga hyeophoe], and the opening of the Contemporary Art Exhibit (1957), a public exhibition hosted by Chosun Ilbo newspaper. The movement started gaining momentum in 1960, when the April 19 Revolution broke out, artists belonging to these groups formed the Contemporary Fine Artists Alliance [Hyeondae misulga yeonhap] and demanded from the government the democratization of art and the reform of the National Art Exhibition. Their activities centered around the Contemporary Art Exhibit, which lasted until 1969, and took a confrontational stance against the forces that dominated the National Art Exhibition, while at the same time contributing to the rising influence of abstract art in the art world. By the 1960s, the Korean art world embodied multiple dichotomies  of National Art Exhibitions vs. oppositional private exhibitions, and figuration vs. abstraction. Among abstract art, what was called Art Informel, an atypical abstract style based on the artist’s forceful bodily gestures, attained the status of the contemporary avant-garde. Young artists, mainly belonging to the Hyundae Fine Artists Association, used Art Informel abstract painting as a means to express the post-war human experience, and this also influenced sculpture. By the late 1950s, the metal sculptures at the National Art Exhibitions, the Contemporary Art Exhibit, and regular exhibitions by artist groups such as the Won-hyung Club or the Nakwoo Sculptors Society started to take on a tendency toward Art Informel abstraction. Meanwhile, some artists in Eastern painting circles also tried to use abstraction as the most globally contemporary art form to newly interpret traditional art. To this end, they established new organizations such as the Paek Yang Painting Association and Mook Lim-Hoe in the late 1950s and early 1960s, modernized Eastern painting through bold formal experiments, and actively participated in international exhibitions, demonstrating their will to join the global art world.       The Search for an Art that is Korean yet Global As the Park Chung-hee administration’s ruling strategy emphasizing national culture penetrated the consciousness of many Koreans, such climate also affected the art scene, where works featuring traditional objects or architecture were often exhibited at the National Art Exhibitions, and there were increased attempts to shape traditions related to folklore and shamanism into modern forms. It became popular among artists to visit museums and temples or collect folk paintings, white porcelain, and antique furniture. At the same time, the overseas expansion of Korean artists also began in earnest, and artists’ studying abroad and short-term stays in France or the U.S., and participation in overseas biennales such as the Biennale de Paris, the São Paulo Art Biennial, and the International Festival of Painting Cagnes-sur-Mer became more frequent. Participation in international exhibitions was a rare opportunity to get in touch with the latest contemporary art trends and gauge the level of the internationalization of Korean art. However, these exhibitions also led to factionalism of the Korean art scene, as many competed to take advantage of such opportunities, the formation of forces and factions in the art world led to quite a few detrimental effects.    Meanwhile, the Americanization of culture, a major phenomenon in Korean society in the 1950s, continued into the 1960s. In 1961, the Choon Choo Fine Arts Association, the Korean headquarters of the U.S. - supported Congress for Cultural Freedom, was launched; The institution hosted Invitation Exhibition of Congress for Cultural Freedom and related discussions in art until 1966. During this period, as the global Cold War system became solidified, centered on the U.S., and the division of North and South Korea had been completed, cooperation between South Korea, U.S., and Japan in the areas of defense and the economy became essential. And as an effect of this, diplomatic relations between South Korea and Japan were normalized in 1965, and even within the art world, exchanges with Japan officially resumed in 1968. From then on, the United States and Japan, along with France, became major countries with great influence on contemporary Korean artworks and the production of its discourse. Geometric Abstraction and Anti-Art: The Rise of Another Avant-Garde  Since the mid-1960s, new avant-garde art trends appeared one after another in Korea to replace Art Informel abstraction, which had become established as the dominant trend in the Korean art world throughout the first half of the 1960s. First, in a situation where industrialization and urbanization caused by accelerated modernization were clearly transforming the surrounding environment, geometric abstraction, which was popular around the world throughout the late 20th century, also appeared in Korea under the name of Op Art, among others. The flat canvas, clear geometric forms, bright colors, and impersonal expression of geometric abstract painting had the characteristic of a cold abstraction that could compete with the hot abstraction of Art Informel, and became a very suitable means for new artists of the time to challenge the established abstract art. The geometric abstract style was embraced througth the Korean art world, including the applied arts, from the 1960s to the early 1970s, and members of the Korean Avant Garde Association (AG), an organization formed in 1969, stimulated the pursuit of avant-garde art that could actively participate in a reality dominated by mechanical civilization.  Also, around the late 1960s, art that claimed to be the descendant of Western anti-art of the early twentieth century made its debut in Korea. These were works with a Neo-Dada tendency created by members of artists belonging to several new groups established since 1962, namely the Zero Group and the Sinjeon Group, which organized the Union Exhibition of Korean Young Artists (1967), and AG and The Fourth Group, which became active since 1969 and 1970, respectively. This art, referred to by various names, such as objet art, action painting, environmental art, and happening, was embraced by the art world as yet another avant-garde with innovation and contemporaneity comparable to geometric abstraction. It had the character of breaking down the concept of genres of established paintings and sculptures and became the forerunner of installation and performance art that would appear later. In addition, as artists actively introduced popular culture in their work, their works became key examples in art history where boundaries between art and daily life were blurred. At the same time, the participation of female artists in objet art and happenings became noticeable, showing the conditions of Korea at the time, in which the role of ordinary citizens and women was increasing even within the military-led, male-dominated social atmosphere.  Photography, Printmaking, Design, and Architecture: The Expansion of the Domain of Fine Arts and the Advancement of the Applied Arts In 1960s Korea, art based on reproduction techniques, such as printmaking and photography, was quickly institutionalized as fine art. Korea Prints Association [Hanguk panhwa hyeophoe], formed in 1958, was active in holding individual and group exhibitions of its member artists, participating in international print biennials. Furthermore, printmaker Lee Hangsung organized an exhibition summarizing the history of printmaking, Contemporary Printing Arts Exhibition for Decade (1969). In the field of photography, Salon Ars was founded in 1960 with the late 1950s photography group Shinseonhoe as its predecessor and explored the issues of  the formative nature of photography that is based on realism, which in turn led to the formation of Modern Photography Society [Hyeongdae sajin yeonguhoe] in 1961 and the launch of the photography research bulletin Sa-an (Alternative views) in 1964. Meanwhile, during this period, the rapid advance of the applied arts, which, like fine arts, aspired towards modernization and internationalization, was prominent. Among the applied arts, whereas tradition-oriented crafts were mainly presented at the National Art Exhibition, remaining in the domain of fine arts, the commercial art design during the Japanese occupation developed into industrial design in the 1960s, receiving the full support of the government with “art export” as its goal. At the same time, led by leading architects Kim Chung-up and Kim Swoogeun, modern buildings were built one after another, changing the urbanscapes of Korean cities including Seoul. However, the fact that Kim Chung-up, who criticized the urban planning policy of the Park Chung-hee regime at the time, was excluded from the state architecture construction project and even exiled abroad, was an incident that revealed the dark side of the political system of the developmental dictatorship.  The Origins of Contemporary Korean Art in the 1960s In the history of Korean art, the 1960s was an era in which the various elements of society, involved in the formation of modernity, formed dynamic relationships with each other, and the activities of the avant-garde unfolded intensly within such contexts. The ten-year cry of the avant-gardists for the improvement of problems of the established art world had already seen some improvements, starting with the division of figurative and abstract sections at the National Art Exhibition in 1962, the addition of the photography section in 1964, and the opening of the National Museum of Modern Art, Korea (now MMCA) within Gyeongbokgung Palace in 1969. Furthermore, avant-garde art groups were established nationwide, including the founding of Art Group Hyuk in Busan and Epoch in Gwangju in 1963, contributing to the development of the local and regional art scenes. Also, members of the Korea Art Critics Association [Hanguk misul pyeongnonga hyeophoe], launched in 1956, contributed to the development of art criticism by way of extensively engaging in art criticism in the 1960s. As these historical moments constitute the genesis of contemporary art in many ways, the 1960s played a significant role in the history of Korean art. 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Contact Information of Personal Information Protection Officer Personal Information Protection head Officer of ‘MMCA Research Lab’ (mmcaresearch.kr): Sujong Song, Head of Dept. of Museum Policy & Research Telephone: +82-2-3701-9640 Email: mmcaresearchlab@korea.kr Adress: Department of Museum Policy & Research of MMCA, 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul, 03062, Korea Personal Information Protection Officer of ‘‘MMCA Research Lab’(mmcaresearch.kr): Yejin Kim, Curator, Dept. of Museum Policy & Research Telephone: +82-2-3701-9638 Email: mmcaresearchlab@korea.kr Adress: Department of Museum Policy & Research of MMCA, 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul, 03062, Korea 10. This Privacy Policy is applied from August 1, 2022. I agree with the privacy policy of the MMCA’s Research Lab website Terms and Conditions of Use Terms and Conditions of Use National Museum of Modern and Contemporary Art, Korea (hereinafter referred to as the “MMCA”) provides www.mmcaresearch.kr and its subdomains (including websites accessed through mobile devices as well as downloadable mobile applications) and application program interfaces ("APIs") (collectively, the "Website") in support of the MMCA's mission to collect, preserve, study, exhibit, and encourage appreciation for and advance knowledge of works of art. By subscribing to Website, users agree to the following terms and conditions that can be amended by MMCA at any time: It is recommended that you visit this page occasionally to review the current terms and conditions. 1. Usage Contract 1.1 This Terms and Conditions of Use shall be approved by the user subscribing his/her personal information in the form provided by MMCA on the member information screen. 1.2 MMCA shall cancel the subscription under any of the following conditions. 1.2.1 When applied using another person's name 1.2.2 When an applicant has written false information on the application form 1.2.3 Obstructing others’ usage of the services of this site or peculating the information provided 1.2.4 Acting to be forbidden by the law or this agreement using this site 1.2.5 Unfulfilling membership conditions designated by this site 1.3. MMCA can reserve to completing this usage contract until the following terms are resolved. 1.3.1 When there is not enough capacity for related services 1.3.2 When there are technical issues 1.4 Application to usage of this site with agreeing to the agreement is assumed as you agree for MMCA to collect and use your membership information. 2. Withdrawal of Membership 2.1 The member may request MMCA to be withdrawn from membership at any time through related menu in Website, in which case MMCA will process the request immediately by related law. 2.2 When the member terminates the contract, integrated posts registered in the individual account among the articles that member has created are deleted, and the service must be logged will not be available anymore. 2.3 MMCA may terminate or suspend membership, if any member conducts one of the following activities, 2.3.1 If provide false information of the membership application 2.3.2 If related to criminal activities 2.3.3 If another person's ID or password is misused 2.3.4 If interfere with the operation of MMCA’s service 2.3.5 If apply for the purposes of undermining public order and morals of the society 2.3.6 If defame or otherwise bringing harm to others 3. Copyright and Proprietary Rights Text, images, audio, and other information such as data, software, documentation, and contents on the website (collectively, “Materials”) contained in multimedia files and clips used on the website are copyrighted or owned by the MMCA or its licensors (individuals, organizations, corporation). 4. Trademarks Trademarks, service marks, and logos displayed on Website (collectively, the "Trademarks") are registered and/or unregistered Trademarks of MMCA or exhibition participating organizations. Trademarks of third parties may also be displayed on Website. Nothing contained on Website shall be construed as granting, by implication, estoppel, or otherwise, a license or right to use Trademarks displayed on Website without the express written permission of the MMCA or any third party to own Trademarks displayed on Website. Unauthorized use of Trademarks or other Materials is strictly prohibited, except as otherwise authorized in these Terms and Conditions. 5. Authorized Uses Materials for authorized use fall into two categories - Materials identified as Public Domain - Materials MMCA considered to be under copyright or other restrictions 5.1 Materials identified as Public Domain By giving up the rights to Materials identified as Public Domain, MMCA allows free use of such Materials for any purpose, including commercial and noncommercial use, without permission from MMCA. These open access to Materials is provided under a Creative Commons Zero (CC0) license. 5.2 Materials the MMCA considered to be under copyright or other restrictions Materials considered by MMCA to be copyrighted or otherwise restricted may be used only for noncommercial, educational, or personal purposes use, or for fair use as defined in the Copyright Act of the Republic of Korea. Users may download these files for their own use, subject to additional conditions or restrictions that may apply to the individual files or programs. However, the user shall cite the author and source of the Materials as they would quote from any work, and the citations shall include the URL "www.watchandchill.kr" but shall not cite the Materials in a way that suggests the user’s endorsement or legal use of the Materials. Whether accessed directly from Website or via other sites or mechanisms, users shall agree to restrict the use of such files to non-commercial, educational, personal or fair use by downloading, printing, or using materials and not to infringe on the ownership of MMCA or other parties. Users may not remove any copyright, trademark, or other proprietary notices, including attribution information, credits, and copyright notices that have been placed on or near the Materials by MMCA. Downloading, printing, copying, distributing or using Materials for commercial purposes, including commercial publication or personal gain, is expressly prohibited. Unless the material is identified as a Public Domain, all rights not expressly granted here by MMCA are specific and fully reserved. MMCA does not guarantee that use of any Materials displayed on the Websites will not infringe the rights of third parties which are not owned nor affiliated with MMCA. For instance, some works may be copyrighted by the author or heirs who own rights in the work or may contain third-party trademarks or publicity rights. Captions may provide more information about the status of the work's rights. The work in which such rights are specified shall not be used arbitrarily in any form. Users shall not copy or download this work without prior permission from the holder of the underlying rights. 6. Security By creating an account and password on Website, users agree to maintain the confidentiality of their login credentials and are responsible for restricting access to personal computers and mobile devices. Users agree to use Website only for lawful purposes and does not engage in any activity that compromises the security of the website or damages Website and its content. 7. User-Generated Content By posting contents including comments, photos, reviews, and links to external sites on Website and using message services, users agree to comply with all requirements and procedures for posting and messaging, avoid using abusive and offensive language, refrain from posting commercial content and political commenting, and do not infringe on third parties’ rights, including privacy, copyright, trademarks, etc. MMCA do not support comments or recommendations posted by users or third parties. MMCA requires users to obtain all necessary rights or permission to use the author's works, copyrighted stories, or news articles written by others before posting or distributing content on Website. It is strictly prohibited to publish or transmit illegal, threatening, or infringing materials that may constitute an act that may be considered a criminal offence, create civil liability, violate privacy or publicity, or otherwise violate the law. MMCA holds the right to inspect, monitor, review, edit, remove, reject, or delete content for any reason, but it is not mandatory. The repeated intruder's access and account will be terminated in due course. MMCA does not guarantee that the use of Materials on Website does not violate the rights of third parties, and is not liable for errors, defamation, insults, omissions, falsehood, obscenity, pornography danger, or inaccuracies contained in information on such locations of Website. Note: MMCA can stop some part of Website at any time. Comments shall not be deleted when requested by the user. By submitting comments, users acknowledge that they will be posted on the Internet. The user grants MMCA the right to quote the comments from any media that is currently known and will be created in the future. By posting or distributing information or materials on Website, users explicitly relinquish ownership of the comments, and such information or materials are freely copied and distributed by others without users’ permissions. 8. Personal Information Protection (Privacy Policy) MMCA is committed to protecting the personal information of Website subscribers and visitors in accordance with relevant laws and regulations. All information collected from users regarding the use of Website apply to the privacy policy of MMCA. Website is not specifically for children and MMCA do not actively request information from children. Children under the age of 14 must obtain permission from their legal representatives before submitting personal identification or other content to the website. 9. Links MMCA has not reviewed all sites or pages linked to Website and is not responsible for the content or privacy policies of any other site or page which Website links or is linked to. MMCA provides these links as a convenience, and links to pages off-site or to other sites are at the user’s own risk. Links do not imply endorsement or affiliation with the sites linked by MMCA. 10. Disclaimer of Warranties Not limited to the foregoing, Material on Website is provided just as it is without any express or implied warranties of any kind, either implied warranties of merchantability, suitability for a particular use, copyright ownership, non-infringement, or other proprietary rights of third parties. MMCA may update, change, or delete content at any time. MMCA shall make reasonable and continuous efforts to modify and update Website, but does not guarantee that Website will provide continuous, fast, safe, or error-free services, nor shall it be liable for any damage or loss caused by users or third parties, including content inaccuracies or unavailability of Website. MMCA are not liable for viruses that may infect users’ computer equipment or other property by using Website or downloading data from Website, and do not compensate for such damage. MMCA may, at its discretion, suspend or delete Website, or sections or Materials within Website at any time. 11. Limitations of Liabilities The affiliates, trustees, directors, executives, employees, or agents of MMCA or MMCA shall not be liable for direct, indirect, incidental, punitive, special or consequential damages arising out of or in connection with the use of Website or Materials. 12. Copyright Act MMCA is doing its best to comply with the Korean Copyright Act and related laws (hereinafter referred to as the “Copyright Act, etc.”), and requires all users of Website to comply with these laws. Owners of works who believe their rights have been infringed under the Copyright Act, etc. may report a claim of infringement under the Copyright Act, etc. Copyright owners of all content shall contact MMCA immediately upon determining that infringement has occurred, to report concerns about copyright infringement to MMCA. If such notice is provided by email, please address info@mmcaresearch.kr 13. Indemnity The user agrees to indemnify, defend, and hold MMCA and its respective supervisors, trustees, officers, agents, and employees harmless from all claims, causes, allegations, costs, expenses, fees, judgments, liabilities, losses, and damages arising from or relating to your use of or operation of Website or any of Materials. 14. Entire Agreement Terms and Conditions of Use constitute the entire agreement on user access to Website, along with all notices on Website and the instruction of Privacy Policy. If a provision of the Terms and Conditions of Use or Privacy Policy is deemed illegal, invalid, or unenforceable, the provision may be separated from the rest and does not affect the validity and enforceability of the remaining terms and conditions. If MMCA fails to enforce the provision in any case, it shall not be construed as a waiver of that provision. 15. Applicable Law and Jurisdiction Terms and Conditions of Use and any amendments made hereunder shall be governed and construed in accordance with the laws of the Republic of Korea. Any dispute arising in connection with Terms and Conditions of Use shall be filed with the Seoul Central District Court in Seoul, South Korea, and the parties shall waive their right to appeal to the jurisdiction of the court. 16. Effects and Modification of Terms and Conditions Terms and Conditions of Use takes effect from Aug 1, 2022. and shall apply when the user subscribes to a membership simultaneously. Terms and Conditions may be modified without notice. Such modification shall be informed on the site or via e-mail to members, upon which the effect will take place immediately. If members do not agree to the revised agreement, they may cancel their membership registration (Withdrawal). Their continuous usage of the membership will be considered as their agreement to the revision. I agree with the Terms and Conditions of Use for the MMCA’s Research Lab website cancellation submissionenen1729208701https://mmcaresearch.kr

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