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Paradox of Diasporic Art from There: Antidote to Master Narrative of the Nation?

Paradox of Diasporic Art from There: Antidote to Master Narrative of the Nation? There was the title of one of four projects exhibited at the fifth Kwangju Biennale held in South Korea in 2002. The name alludes to five of the oldest and largest overseas Korean communities: those in Brazil, China, Japan, Kazakhstan, and the United States. There curator, Yong Soon Min, chose twenty-four visual artists to represent the five locations, and their artwork showcased Korea’s diasporic cultural production formulated by the historical migratory routes that have influenced the artists’ lives and their art. There indicates a paradox of diasporic art. While some diasporic artists uphold the ideas of Korean national culture and belonging bound by homogeneity and blood ties, other artists directly challenge the meaning such narratives hold in their artistic expressions. As such, the show discussed multiple identity formations that resist dominant narratives, reflected differing experiences of class, gender, global, and national politics and indicated how the nation-state system is increasingly challenged by globalization. Yet, there are also artists who reinforce monocultural conceptions of national culture and cultural identity for diasporic subjects. In other words, diasporic art both undermines the master narrative of the nation at the same time as it reinforces them. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Korean Studies Duke University Press

Paradox of Diasporic Art from There: Antidote to Master Narrative of the Nation?

Journal of Korean Studies , Volume 17 (1) – Mar 12, 2012

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Copyright
Copyright © 2012 by the Trustees of Columbia University in the City of New York
ISSN
0731-1613
eISSN
2158-1665
DOI
10.1353/jks.2012.0003
Publisher site
See Article on Publisher Site

Abstract

There was the title of one of four projects exhibited at the fifth Kwangju Biennale held in South Korea in 2002. The name alludes to five of the oldest and largest overseas Korean communities: those in Brazil, China, Japan, Kazakhstan, and the United States. There curator, Yong Soon Min, chose twenty-four visual artists to represent the five locations, and their artwork showcased Korea’s diasporic cultural production formulated by the historical migratory routes that have influenced the artists’ lives and their art. There indicates a paradox of diasporic art. While some diasporic artists uphold the ideas of Korean national culture and belonging bound by homogeneity and blood ties, other artists directly challenge the meaning such narratives hold in their artistic expressions. As such, the show discussed multiple identity formations that resist dominant narratives, reflected differing experiences of class, gender, global, and national politics and indicated how the nation-state system is increasingly challenged by globalization. Yet, there are also artists who reinforce monocultural conceptions of national culture and cultural identity for diasporic subjects. In other words, diasporic art both undermines the master narrative of the nation at the same time as it reinforces them.

Journal

Journal of Korean StudiesDuke University Press

Published: Mar 12, 2012

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