Cultural Impact

Amidst the numerous praised exports from South Korea, the powerful wave of feminist art that influences art scenes across Asia remains underappreciated by art critics both at home and abroad. Though artists like Lee Bul and Haegue Yang are popular in the marketplace, their feminist roots are often overlooked. The societal struggles that gave rise to Korea's feminist movement are more intense now than ever. Despite this, “K-feminism” and its artworks receive minimal official endorsement compared to the widespread backing of pop music and drama. The intricate and longstanding history of Korean feminist art is nuanced and resists easy categorization.

Recentering Korean Feminist Art

Some institutional support has emerged for Kim Hong-hee’s book, Korean Feminist Artists: Construct and Deconstruct, which refocuses attention on Korean feminist art with a comprehensive approach spotlighting the artists themselves. Kim, who served as the artistic director of the Gwangju Biennale in 2006 and led the Seoul Museum of Art from 2012 to 2016, offers an analysis of 42 artists through 15 thematic sections, enriched by essays such as one from feminist poet Kim Hyesoon. All but one artist was still active at the time of publication. Kim frequently pairs artists from different eras to illustrate the evolution of feminist ideas.

Essential Feminism: Origins and Critiques

While the book may lean towards academic language, its translation generally maintains readability. Sharp insights emerge from the complex narratives, as Kim critiques early Korean feminist art's "narcissistic pitfalls of essential feminism," challenging concepts like "girl power" and maternal romanticism amidst broader historical narratives. She categorizes the Pyohyeon Group of the early 1970s under the label “naïve essentialism,” viewing them—not the 1960s Silheommisul avant-garde—as the first challengers of Modernism. The group included artists such as Yoo Yonghee, who explored themes of womanhood against the backdrop of censorship, dictatorship, and identity in Korea.

Feminism in Transition

By the mid-1980s, Korean art began shifting towards democracy, giving rise to the Yeoseongmisal or Yeoseongmijeon movement (meaning “Korean women”). Artists like Yun Suknam and Kim Insoon candidly portrayed female experiences, aligning with the broader Minjoong or people’s art movement.

Iconic Exhibitions

A pivotal moment for Korean feminist contemporary art was the 1999 Patjis on Parade exhibition at the Seoul Arts Centre. The term "Patji," referencing "bad" or rebellious women, was used to reclaim negative stereotypes. Kim Hong-hee played a significant role on the planning committee, alongside her previous 1994 exhibit Woman, The Difference and Power. However, Kim maintains a detached recounting of her involvement, focusing instead on thematic analysis over autobiographical details.

Artists and Themes

Each chapter functions as a standalone essay, beginning with Yun Suknam paired with Jang Pa for themes of "Femininity and Sexuality," followed by explorations of body art by Lee Bul, Fi Jae Lee, and Mire Lee. The political and artistic contexts of each artist provide insights into Korean history through an artistic lens. In “Ecofeminisms,” artists like Hyunsook Hong Lee and Eunji Cho explore themes of survival and the environment through innovative approaches.

Exile and Diaspora

Kim examines the theme of "apartness," dividing it into wanderers and diaspora artists. Nomadism features artists like Kimsooja and Jyungah Ham who navigate global and feminine Korean traditions. The “North American Diaspora Artists” section explores works by Yong Soon Min, Jin-me Yoon, and the late Theresa Hak Kyung Cha, who expressed profound themes of exile, silence, and protest through her video art.

Comprehensive Documentation

Kim meticulously confirms details and provides extensive footnotes and references throughout. Her deep knowledge, built over 30 years, is woven into Korean Feminist Artists, presenting an expansive yet introductory document. Even after 360 pages, the reader is left eager to hear more from Korea's “Patjis,” who undoubtedly have a wealth of stories still to share.