Shin Chunghoon
1990-1999: Korean Contemporary Art in Globalization
Entering the 1990s, Korean society was marked by a palpable sense of anticipation. With the restoration of procedural democracy, including direct presidential elections, and an economic boom, Korea seemed on the verge of achieving developed country status. The momentum toward openness and global integration had already gained traction following the 1988 Seoul Olympics. Against the backdrop of overlapping expectations for democratization, development, and globalization, Korean art underwent significant transformations. The “Cold War” tension between Modernism and Minjung art began to ease, giving way to a more sensuous artistic expression that embraced "new generation" and "technology" as its guiding principles. The dissolution of boundaries and hierarchies across genres and media paved the way for the emergence of video, performance, and installation art. Simultaneously, Korean contemporary art gained international recognition as it entered the global circuit of biennials. While these changes led many to perceive the Korean art scene of the 1990s as a radical departure from the past or an achievement of "contemporaneity," the decade also laid bare the inadequacies of Korean modernization, evidenced by events such as the collapse of the Seongsudaegyo Bridge and the Sampoong Department Store, as well as the IMF-led neoliberal restructuring following the financial crisis of 1997. Amidst the disillusionment stemming from initial expectations, "postmodern" Korean art sought to reclaim the reflexivity of modernism through a renewed interest in "conceptual art." Additionally, there was an effort to restore the critical nature of Minjung art through considerations about the public role of art. Furthermore, the art world grappled with weighing the risks and seeking responses to the increased international visibility of Korean art.
Easing the “Cold War” divide in Korean art
Against the backdrop of a swiftly transforming political landscape, the 1990s witnessed a notable departure from the Cold War structure that had long defined Korean art through the dichotomy of Modernism and Minjung art. The emergence of Minjung art in the 1980s had been a response to the escalating aspirations for democratization, challenging the dominance of Korean modernist art perceived as overly reliant on foreign influences and seemingly disconnected from societal realities. However, as formal democratization took root and income levels rose in the 1990s, the urgency of the Minjung movement waned. Previously accepted representations and reductive approaches to reality, once tolerated, became less viable, making the continuation of Minjung art increasingly challenging. The exhibition of “15 Years of Korean Minjoong Arts: 1980-1994" (1994) symbolized both institutional approval and the historical conclusion of Minjung art. In a way, Korean art had oscillated between the axes of modernism and realism, navigating the possibilities and limitations of each. The new generation of artists found themselves in a different landscape. They were not constrained to choose between delving into the aesthetic depth of their medium and aligning with revolutionary ideals. Instead, in contrast to the prior structure, they either resisted both, sought a middle ground, or ventured to create an entirely new sphere external to it.
Popular Culture and Technology
In the early 1990s, the art world shifted its primary focus to popular culture and technology. While interest in these domains had already surfaced in the late 1960s with the incorporation of Pop art, Op art, Kinetic art, Happenings, and Environmental art into Korean art, the reception was tempered by suspicions of mere imitation of international trends, given the nascent stages of urbanization and industrialization at the time. However, in the 1990s, with the onset of a new societal era marked by terms such as "mass consumer society," "post-Fordism," and "information society," the interest became more compelling as it was perceived as self-generated. For subsequent generations of artists and critics, popular culture and technology ceased to be viewed merely as tools of deception and exploitation. Even within the Minjung art circle, they were seen as avenues for the rejuvenation of Minjung art, which was experiencing a crisis. By embracing the visual and technological elements of mass media, artists aimed to renew "communication" and "criticism" surrounding the new reality, employing mediums such as video, animation, film, and publishing.
However, the enthusiasm for popular culture and technology found a more vibrant expression beyond the realm of Minjung art. Various endeavors, labeled as "new generation," "mixed media," and "postmodern," transcended the confines of genre and media. They seamlessly navigated between photography, video, installation, and performance, seemingly liberated from historical obligations. Instead of shouldering the weight of both modernism and Minjung art, these initiatives, almost in a mocking tone, encouraged a sensory indulgence, an embrace of the everyday, artistic professionalism, and a relaxed attitude toward art. Some artists opted for unconventional exhibition venues like downtown clubs or rock cafes, diverging from the traditional museum or gallery settings. They even ventured into the realms of film art or the design industry. For those who came of age during the industrialization period of the 1960s and 1970s, internalizing the impact of popular and material culture, the new cultural and technological landscape resulting from the acceleration of capitalism became a playground of sorts. The buoyant atmosphere of the early to mid-1990s further bolstered the legitimacy of their spirited and carefree approach to art.
Globalization of Korean Art—Challenges and Prospects
The decline of Modernism and Minjung art in the 1990s was closely linked to an expanding openness and integration with the global artistic landscape. Notably, internal critique of Minjung art surfaced with overseas exhibitions like "Minjung Art: A New Cultural Movement from Korea" (1988) and "Across the Pacific: Contemporary Korean and Korean-American Art" (1993), and the significance of a "new generation" of artists gained early affirmation from foreign curators. Thus, globalization profoundly influenced the unfolding terrain of domestic "post" art. The emergence of “conceptual” artworks by artists returning to Korea in the 1990s after international experiences showcased an "austere" visual approach, intellectual depth, reflexive attitudes toward art, and subtle rhetoric. These “conceptual” works constituted another axis of the art of the 1990s, serving as a counterbalance to the distinctive artistic atmosphere often termed “sensualism.” Foremost among the events solidifying globalization's impact was the inclusion of Korean art in the global biennial circuit. In 1995, the establishment of the Gwangju Biennale and the installation of the Korean Pavilion at the Venice Biennale marked significant milestones. Subsequent overseas exhibitions and awards for Korean artists further heightened international visibility, sparking celebratory discussions on contemporaneity and the surpassing of long-standing developmental expectations. However, the escalating global attention came with a caveat: the demand for exoticism tended to confine Korean art within the categories of "tradition" or the "periphery," potentially alienating local audiences. The debate on how to navigate these dynamics took precedence over discussions between modernism and Minjung art, taking center stage in critical discourse within art magazines. The negotiation of the rules of this international art world’s "game" became a central concern, shaping the trajectory of Korean art at the turns of the new millennium.
The Restructuring of the Art World: Alternative Spaces and Public Art
The Korean financial crisis of 1997 marked a turning point, abruptly halting the promising beginning of the 1990s. The crisis reverberated through the Korean art world, resulting in the closure of many institutions and a reduction in funding. Nevertheless, the late 1990s witnessed the emergence of alternative venues such as Project Space SARUBIA, Alternative Space LOOP, Art Space Pool, and Ssamzie Space, which played a crucial role in reshaping the Korean art landscape. Furthermore, the return of artists who had studied and lived abroad injected a fresh vitality to Korean art, bringing diverse interests and novel approaches to the forefront. Meanwhile, amidst challenges like unemployment, evictions, homelessness, and community collapse, there arose a compelling need for a more direct intervention of art in Korean society. The stringent neoliberal restructuring underscored the imperative for heightened public critical awareness, bringing renewed attention to the public role of art. This prompted a shift in public art practice away from market-driven logic, signaling a transformative trajectory in the art scene as the new millennium approached.
Easing the “Cold War” divide in Korean art
Against the backdrop of a swiftly transforming political landscape, the 1990s witnessed a notable departure from the Cold War structure that had long defined Korean art through the dichotomy of Modernism and Minjung art. The emergence of Minjung art in the 1980s had been a response to the escalating aspirations for democratization, challenging the dominance of Korean modernist art perceived as overly reliant on foreign influences and seemingly disconnected from societal realities. However, as formal democratization took root and income levels rose in the 1990s, the urgency of the Minjung movement waned. Previously accepted representations and reductive approaches to reality, once tolerated, became less viable, making the continuation of Minjung art increasingly challenging. The exhibition of “15 Years of Korean Minjoong Arts: 1980-1994" (1994) symbolized both institutional approval and the historical conclusion of Minjung art. In a way, Korean art had oscillated between the axes of modernism and realism, navigating the possibilities and limitations of each. The new generation of artists found themselves in a different landscape. They were not constrained to choose between delving into the aesthetic depth of their medium and aligning with revolutionary ideals. Instead, in contrast to the prior structure, they either resisted both, sought a middle ground, or ventured to create an entirely new sphere external to it.
Popular Culture and Technology
In the early 1990s, the art world shifted its primary focus to popular culture and technology. While interest in these domains had already surfaced in the late 1960s with the incorporation of Pop art, Op art, Kinetic art, Happenings, and Environmental art into Korean art, the reception was tempered by suspicions of mere imitation of international trends, given the nascent stages of urbanization and industrialization at the time. However, in the 1990s, with the onset of a new societal era marked by terms such as "mass consumer society," "post-Fordism," and "information society," the interest became more compelling as it was perceived as self-generated. For subsequent generations of artists and critics, popular culture and technology ceased to be viewed merely as tools of deception and exploitation. Even within the Minjung art circle, they were seen as avenues for the rejuvenation of Minjung art, which was experiencing a crisis. By embracing the visual and technological elements of mass media, artists aimed to renew "communication" and "criticism" surrounding the new reality, employing mediums such as video, animation, film, and publishing.
However, the enthusiasm for popular culture and technology found a more vibrant expression beyond the realm of Minjung art. Various endeavors, labeled as "new generation," "mixed media," and "postmodern," transcended the confines of genre and media. They seamlessly navigated between photography, video, installation, and performance, seemingly liberated from historical obligations. Instead of shouldering the weight of both modernism and Minjung art, these initiatives, almost in a mocking tone, encouraged a sensory indulgence, an embrace of the everyday, artistic professionalism, and a relaxed attitude toward art. Some artists opted for unconventional exhibition venues like downtown clubs or rock cafes, diverging from the traditional museum or gallery settings. They even ventured into the realms of film art or the design industry. For those who came of age during the industrialization period of the 1960s and 1970s, internalizing the impact of popular and material culture, the new cultural and technological landscape resulting from the acceleration of capitalism became a playground of sorts. The buoyant atmosphere of the early to mid-1990s further bolstered the legitimacy of their spirited and carefree approach to art.
Globalization of Korean Art—Challenges and Prospects
The decline of Modernism and Minjung art in the 1990s was closely linked to an expanding openness and integration with the global artistic landscape. Notably, internal critique of Minjung art surfaced with overseas exhibitions like "Minjung Art: A New Cultural Movement from Korea" (1988) and "Across the Pacific: Contemporary Korean and Korean-American Art" (1993), and the significance of a "new generation" of artists gained early affirmation from foreign curators. Thus, globalization profoundly influenced the unfolding terrain of domestic "post" art. The emergence of “conceptual” artworks by artists returning to Korea in the 1990s after international experiences showcased an "austere" visual approach, intellectual depth, reflexive attitudes toward art, and subtle rhetoric. These “conceptual” works constituted another axis of the art of the 1990s, serving as a counterbalance to the distinctive artistic atmosphere often termed “sensualism.” Foremost among the events solidifying globalization's impact was the inclusion of Korean art in the global biennial circuit. In 1995, the establishment of the Gwangju Biennale and the installation of the Korean Pavilion at the Venice Biennale marked significant milestones. Subsequent overseas exhibitions and awards for Korean artists further heightened international visibility, sparking celebratory discussions on contemporaneity and the surpassing of long-standing developmental expectations. However, the escalating global attention came with a caveat: the demand for exoticism tended to confine Korean art within the categories of "tradition" or the "periphery," potentially alienating local audiences. The debate on how to navigate these dynamics took precedence over discussions between modernism and Minjung art, taking center stage in critical discourse within art magazines. The negotiation of the rules of this international art world’s "game" became a central concern, shaping the trajectory of Korean art at the turns of the new millennium.
The Restructuring of the Art World: Alternative Spaces and Public Art
The Korean financial crisis of 1997 marked a turning point, abruptly halting the promising beginning of the 1990s. The crisis reverberated through the Korean art world, resulting in the closure of many institutions and a reduction in funding. Nevertheless, the late 1990s witnessed the emergence of alternative venues such as Project Space SARUBIA, Alternative Space LOOP, Art Space Pool, and Ssamzie Space, which played a crucial role in reshaping the Korean art landscape. Furthermore, the return of artists who had studied and lived abroad injected a fresh vitality to Korean art, bringing diverse interests and novel approaches to the forefront. Meanwhile, amidst challenges like unemployment, evictions, homelessness, and community collapse, there arose a compelling need for a more direct intervention of art in Korean society. The stringent neoliberal restructuring underscored the imperative for heightened public critical awareness, bringing renewed attention to the public role of art. This prompted a shift in public art practice away from market-driven logic, signaling a transformative trajectory in the art scene as the new millennium approached.
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