All posts filed under: Issue 15

Contributors / Issue 15: Spectacle East Asia

Issue 15: Spectacle East Asia (Fall 2010) Sohl Lee is a Ph.D. student in the Graduate Program in Visual and Cultural Studies at the University of Rochester, U.S.A. She is currently working on her dissertation, which investigates works by contemporary artists who practice sociopolitical interventions into national identity, urban development, ethics, and contemporaneity in South […]

The Politics of Spectacle: The Gwangju Biennale and the Asian Century

Issue 15: Spectacle East Asia (Fall 2010) Okwui Enwezor 21st CENTURY COSMOPOLITANISM As can be expected, organizing a large international exhibition with global ambition requires some proximity to various scenes of artistic production scattered in near and far-flung corners of the globe. An important requirement for the curator or researcher working to know these artistic […]

The Candlelight Girls’ Playground: Nationalism as Art of Dialogy, The 2008 Candlelight Vigil Protests in South Korea

Issue 15: Spectacle East Asia (Fall 2010) Hyejong Yoo “The Republic of Korea is a democratic republic! All of the Republic of Korea’s powers are from its citizens!”1 These words come from “The Constitution Article One,” a song that, along with popular protest songs from the 1970s and ’80s democratization movements, was widely sung during […]

Between Absence and Presence: Exploring Video Earth’s What is Photography?

Issue 15: Spectacle East Asia (Fall 2010) Rika Iezumi Hiro WHAT IS PHOTOGRAPHY?: ABSENCE What is Photography?/Shashin to wa nanika? (hereafter, What Is Photography?)1 is a 1976 video performance made by Tokyo-based video artist and film animator Nakajima Kō and Video Earth, the video art collective co-founded by Nakajima in 1973 (fig. 1).2 Mimicking a commercial photo shoot […]

Public Surfaces Beyond the Great Wall: Communication and Graffiti Culture in China

Issue 15: Spectacle East Asia (Fall 2010) Caitlin Bruce The Great Wall of China is an iconic and complex sign that has been used by both state officials and Chinese avant-garde artists since the end of the Cultural Revolution to make claims about and on behalf of Chinese society.1 This state/artist confrontation around a singular, […]

Afterword

Issue 15: Spectacle East Asia (Fall 2010) Barbara London My fascination with contemporary art in Asia began in the early 1970s upon meeting Nam June Paik, the Korean-born, Japan and German educated artist living in New York. An avid reader (in at least four languages) of cutting edge information (in a range of disciplines including […]