Naebang Kasa, Songs of the Inner Chamber, is a literary genre that takes its name from the strict separation of male and female in Korea during the Joseon Dynasty (1392–1897). Men could go as they pleased and occupied the outer realm while women were confined to the inner chambers.
Let's talk about SEX 1
No, not the kind that you are thinking of. I mean yes, that one is important too and maybe i'll talk about it for a bit later. I am talking about the ontological division that divides human kinds into 2 categories: female and male. And if you are not an ostrich you have probably realized that historically the former has been subservient to the latter.
This is a enormously vast topic that at it's best turns out to be gallantry and at it worst if had produced all kinds of systemic abuse and inequality towards women (and men). The core goals of my work is to go to the roots of the reasons why society imposes certain rules that disadvantage and sanctions (by law or not) the diminishment of the female condition. The fight for the attainment of full citizenship and property rights or the punishment of adultery of raped women might sound like a thing of the past (though they are not), but wage gaps for equal work, punished sexual liberty, sexual harassment are far to often a reality for women all over the world. Once I find the root I find a way to make them come to the surface, expose their arbitrary and obsolete nature.
The specific goal of my artistic residency in South Korea is to study the contemporary status of gender equality in East Asia, and more specifically in my host country. I'm interested in understanding the situation from an historical perspective: the origin myths, the laws, the conflicts, the cultural exchanges, the moral and normative philosophies (including religion). I'm interested in observing how these manifest in relations between different genders (hetero-normative or not). Even though I'm concentrating on the diverse group of identities we call women, I'm also observing the development of masculinities that are disruptive or presently in crisis.
Before we delve into the actual topics of what my images will be about there are a few things to take into account regarding the history of the unbalance between genders in South Korea. Before Korea was broken into two and people roamed freely through the peninsula Shamanism was prevalent and its relevant because it continues to have an effect on how people see life. The lunar calendar, some of the folkloric dances and even the origin myth of the Korean people come from this prehistoric belief system.
From this early moment there was a clear separation of roles, not only in the everyday social life but also from the cosmology that coloured their views. I have to notice that from the start and specially in the start and in the contemporary world the ideas that justify and promote inequality are incredibly similar: a delusion of superiority of man and an insurance of women as property.
The Korean origin myth proclaim that men come from the Heavenly king, while women descend from a bear. In order for this sow (female bear) to become the paradox that they are, being all delicate and refined and being a troglodyte beast at the same time (notice the sarcasm), she had to spend 5 days in a cave eating garlic. These kind of ideas resonate through different eras and philosophies. Women are second to be created and in some way they come from or are perfection by the intervention of men (Adam's rib, Pygmalion). Taoism, confirms this notion that men are the heavenly, the precise, dry, light, the convex. On the other hand women were bounded to earth, to procreation, the represented the damp, the dark, the undefined and the concave.
Until the second Joseon Era (dynasty) which ends in the 19th century cultural influences in Asia move mostly from west to east, that is China was the example to follow. The "Chinese" ethical and philosophical system Confucianism plays a predominant role in the creation of norms, morals and identities since the 4th century BCE. This system is based on 5 different books that regulate every human activity from everyday life to art and ethics. The Book of Rites provided a guide on gender relations and roles based on two binary concepts: inner and outer realms and Yin and Yang, both presented as complementing polarities. Originally both Yin and Yang represented equals but New Confucian reinterpretations go the extra mile to make the Yin (the female side) less valuable and relevant than the male side. A nefarious way of justifying the unbalance of power that kept women from the public realm and secluded into the inner chambers.
To be continued...
The Exhibition... Flash, Images left behind. 남겨진 이미지들
Hey, hello again... how have you been since you last read me? I hope peaceful...
So one of the perks of this residency is staying in something that is a kind of a living contemporary art museum. You live where are is created and presented. There is a central space that works as a formal gallery and then you have the living quarters that are combined with the studios. So my room is inside my studio (In case I wasn't workaholic enough).
The exhibition was organized and mounted by the 3 women (go girl power) and man that run the MMCA Goyang Residency: Seung-Hyun Choi (Manager) , Minji Kim (Program coordinator), Jiwon Kim (Stagiaire) and Mr. Mok (equipment and installation supervisor). All of them so far have been really kind, effective and best of all very good at what they do. All of them did a great job putting the exhibit together.
All the foreign artist could present one or two pieces at the main gallery. We were also invited to open our studios to visitors so we could show more work and explain our process. Since it hasn't been long that I'm in South Korea I opted to show previously completed projects that would relate to my work at this program.
What has been great about staying here is the fact that everyday I get to have conversations with people from other cultures, not only other nationalities but other artistic cultures. That means different points of view on what art creation and delivery is. For me contemporary work has been daunting, even in the cases when I don't like it. But here it's not about liking or not; it's about understanding and appreciating the value of oeuvres that might be completely outside your aesthetic scope.
Here's a bit of what I've seen (I'll explain to the best of my ability):
Musquiqui Chihying: Artist from Taiwanese origin, currently based in Berlin. I've had some of the deepest conversations about art with him since I got to Korea. He reached me the concept of Post-internet work (I'm still not sure I know what that is). The work that he presented at the exhibit deals with the relationship between mass media and individuals, their power struggle and the distortion of reality and daily life. His piece was a small video recreating a moment during the 1936 Olympic games in which Leni Riefenstahl filmed the podium ceremony of Sohn Kee-chung, a South Korean athlete that protested the occupation of Japan of his country by blocking the Japanese flag in his uniform. Sohn refused to remain passive and his protest was unknowingly enabled by Riefenstahl. Chihying's work also deals with post-colonial and immigration issues.
Eva Kietzman: Eva from Berlin has a great heart. She's one of those people that you look at and you know she's a good person (and smart). Her work deals with the staging of public space and the image production of cities. An example we see in her work is the transformation of wastelands into condos and living spaces. In order for those spaces to be attractive a process of changing perceptions have to happen through a physical but also a perceptual transformation. She usually works in tandem with artist Petra Kübert.
Marilyn Schneider: Marilyn from Sydney loves cats as much as they love her. Her work imitates the manufacturing methods of high capitalism , such as laser cutting or digital printing. The isolation and decontextualization of these objects take a new meaning and a critical point of view on the deceitful and seductive character of this processes and the resulting objects.
Daniel Stempfer: Austrian artist and curator that deals with temporary phenomena and their traces and the narratives that stem from this relationship. For our exhibition he presented the work Noon made out of slinkies. This works illustrates concerns that are well know to sculpture such as the elastic properties of the material and gravity. It also intends to create something complex with the less material as possible (including the title of the piece). The gradation of colour of the slinkies stands for a palette that can be used to produce endless variations of colour. Oh! and he closed the night with a great DJ performance.
Takayuki Yamamoto: Takayuki is a very down-to-earth and generous artist. His work is at the same time critical and humorous. The projects I liked the most from what I have seen is his work with children. Work that consider the particular perspective of children is relatively new and relatively rare (seriously done). the video he presents in the exhibition is a series of testimonials of children that describe their idea of hell. Each kid was recorded in standing in front of a paper sculpture representing their vision of the Inferno done by them with the help of an adult. The testimonials are often whimsical and at the time they perspire a critical view of their and our reality.
So that's it for this time folks. In future blog entries I'll talk about the talented Korean artists I'm meeting.
Have a great time and don't forget to get lost =)
저는 다미안 (I am Damian), who am I?
It seems like a blog entry per week is not enough. A part of my brain says: #holiday, #fun, #tourism and #sleepmore. But the other part of my brain, the one that doesn't take a break tells me I'm on a mission and every second counts... ok, every minute.
Time expands and contracts perceptibly depending on the activity of the day. Exploring and getting to know people are my favourite activities right now. While retouching has become a drag since my good equipment is still in Montreal.
The last 2 weeks have been an exercise on opening up and taking the least space possible. Let's say that at this point I have exactly the opposite philosophy than a certain candidate for the US presidency. I came here to make a project about Korean women and gender equality, and if there's something I've learn from Canadians (or should I say the best Canadians) is not to shove my cultural imperatives and jugements on other peoples. So even though I've been working with gender equality for quite a while, it is time to empty my cup and let these new experiences fill it.
Of course there's a lot of reading involved and there will be some encounters with local specialists. But the worst I could do is use my art to do some "westerner mansplaining". I want to hear the grievances of the locals and then transform them into poetic images. I have, as much as the language allows, conversing with the dancers that I will work with to be able to draw a reality to represent from them. I have to say that this would not be possible without the help of my friend Sejin who has been organizing, translating and contacting people on my behalf (we do love her).
These past weeks have been about recreating a process that I know by heart in a place that is completely unfamiliar to me. Fortunately my commitment to my work has been stronger than any doubts I could have about my capabilities to get things done. Must say that the generosity of Korean people has been a great help to that regard.
I've been roaming the city in look of the locations that can reflect each of the concepts. So far I've found a strangely compelling landfill, a shallow river and and a haunted forest. I think the thing that has me the most excited is the costumes.
In order for you to understand where I'm going to do I have to explain that the traditional Korean garb is called a "hanbok". It is usually very colourful, there are different versions depending on gender and age. The women's "hanbok' is really stunning (see first blog post). You can recognize it easily by the high waisted ample skirt that shortens the upper body. The top consists of a little light ornamented jacket. The modern versions have been simplified and seem to have less fabric and be less restrictive. the materials are usually silk or linen.
For this project I want to make reference to these garments. Its a way of bringing tradition to the mind of the public. Nonetheless I don't want it to be literal, so I have been thinking of was of deconstructing the "hanbok". Asking around I found out that there is a flea market in a zone called Dongmyo. I was able to buy incredible linen pieces which according to people are either underwear or funerary garb. This amazing discovery was followed by another fortunate encounter with a women that makes a casual version of the "hanbok" in Gwangjang Market. I asked her to make a skirt for me. Probably there will more orders coming.
With all this going on it is hard to believe that I have had time to ponder about my own identity. But the question is so present, all the time. Korea has giving me the humbling opportunity to know what it feels to be a visible minority (albeit I'm still white-ish). You can't hide here. You can't disappear. For the most part I've ceased to be Damian and I have become 다미안, the same way I became Demian or Damien when I moved to Canada. Studies show that personality is not a fixed trait it is in great part situations that determine how you are.
You might think that by becoming these 4 or 5 different people I'm diluting myself. But what if putting yourself in such diverse situations makes you be everyone, understand everybody's motivations, pains and joys? This would be an affirmation of humanity. Yo could love and forgive yourself as you do with your best friend; or empathize wit others as you understand yourself. If that is the case I want to live ten thousand lives. Mind, body and Seoul.
P.S.: If you haven't seen it there's amazing video created by the multifaceted artist Matthew Richardson and directed by yours truly. You should watch it now and add to the 50 K views it has already =)
My teacher is delicious and the acceptance of discomfort.
One can easily get lost in any city but most dangerously one can also get lost in translation. Even worst one can get lost in him or herself, in a feeling that just won't go away.
I tried to come to Korea with no expectations of what this experience was going to be and so far that has makes things easier. On the other hand, the expectations of who I am supposed to be and what I am suppose to accomplished me followed me closely, traveling in my luggage and now lurking in my room ready to attack in my sleep. Sounds dramatic, I know. Welcome to an artist's head.
So in this last weeks the most important things I've had to overcome and lear is to stop fearing getting lost, in any of the instances above mentioned. This falls into the idea of discomfort, which is summed up by that mild fear, that acid anxiety in the bottom of your stomach or that self awareness that informs you of how ridiculous and funny you must look when you say the wrong thing in Korean.
What I've put to the test is the idea that my willingness to accept and deal with discomfort is directly related to the gratification I can get. And gratification is sweet and informative and stimulating. So at the end discomfort can also become all these things as well.
This last week has been intensely gratifying. The best part has been the people that I've had the chance to meet. Koreans have been incredibly kind and very willing to help out. Here at the residency I have daily contact with talented artist that expand my mind in many ways.
Last Monday I was invited by my friend SeJin to a contact improvisation jam that she organized. SeJin is my first Korean friend. She's a facilitator of movement techniques that have a meditation-therapeutic result, such as Qigong or contact improv. The latter is an interaction between a few people that have to react to the touch and movements of the others with awareness and thoughtfulness. Think of it as a conversation through dance.
Here is were I met 5 of my next collaborators: A-Reum, So Young, Kyong Sun Seo, Haein and Jungmin (all women except for Jungmin). It was a wonderful and unexpected experience. Every one of them had a very unique way of expressing themselves, from the lyrical to the very contemporary; from traditional Korean dance to the integration of minimal and daily movements. ; from wildly spirited to contemplative.
A few days ago I also met Sanghun. A wonderful dancer that works with one of my favourite choreographers, Sidi Larbi Cherkaoui. He showed me a video of one of his solos and it was like someone had just grabbed my heart and made it pump blood through my body. (You can take a look https://vimeo.com/145407787 Minute 1:58.
There was so much more in this week that I wanted to share. Some of those topics merit a post of their own because they are so complex: the abondance of plastic surgery, LGBT rights, food, the search for costumes and materials, the upcoming exhibition.
So for today I will finish with this:
1.- Dance is a wonderful and universal language. No words are needed.
2.- Tame your discomfort, allow yourself to be vulnerable, it is all worth it. You'll be better and happier for it.
3.- If you are not willing to say my teacher is delicious by mistake, you might never learn anything new.
Until very soon.