North Korean Art: Paradoxical Realism 9781624121210, 1624121217

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The English spelling of proper nouns in this publication is mostly based on traditional spellings used within the DPRK. © Ji Zheng Tai, private collector in Beijing | Kim Ja-yun, private collector in Seoul | Prima Museum in Seoul Yedo Arts Foundation in Washington, DC | Choson National Museum in Pyongyang 2018. All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means.

North Korean Art: Paradoxical Realism This publication was created in conjunction with the North Korean art exhibition at the 2018 Gwangju Biennale to provide context for the show’s development, address the cultural and political lenses by which we receive North Korean art. This exhibition is likely the first of its kind in terms of its magnitude and scope of displaying North Korean Socialist Realism content.

BG Muhn Curator of the Exhibition Professor at Georgetown University, Washington, DC

A display of North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale

The 2018 Gwangju Biennale Imagined Borders North Korean Art: Paradoxical Realism projected concept of “Imagined Borders,” and was one of the seven main exhibitions at the 2018 Gwangju Biennale. The exhibition was held at the Asia Culture Center in Gwangju, South Korea, from September 7 through November 11, 2018.

A display of North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale

Why North Korean Art Matters North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale is an exhibition that reflects the culmination of an eight-year exploration into the art of the Democratic People’s Republic of Korea (DPRK). During that time, I made nine research trips to the DPRK to pursue a growing passion for the uniqueness and mystery surrounding Chosonhwa, the North Korean name for traditional ink wash painting on rice paper. The DPRK is notably the only country in the world after the fall of the Soviet Union in 1991 that continues to create Socialist Realism art. This exhibition is likely the first opportunity for people around the world to see North Korean Chosonhwa in such a broad range of images within Socialist Realism art. Through this rare occasion to witness North Korean art firsthand, audiences will see the distinctive expression and unique characteristics that have developed over the past six decades within the largely closed-off society.

A Journey of Investigation Common inquiries that arise in discussions of North Korean art relate to issues of propaganda and uniformity versus individual artistic expression. Without exception, I receive questions about these topics at talks and during interviews on North Korean art. These queries can be boiled down to one basic question: Is North Korean art relevant in today’s world? Inquisitive minds often pose the question of whether all North Korean art is propaganda. There is an assumption that only State-ordered propaganda art exists in the DPRK or that the Mansudae Art Studio, the largest State-run artist community in the world, is merely a factory with a production line. It is true that North Korean art is largely propaganda art, but that is not all of what it is. This long investigative journey was sparked after my first encounter with a Chosonhwa piece —oddly enough, in Washington, DC. As an artist and art professor myself, I had hardly seen such poetic expression and rendition of the human figure in any Oriental paintings in Northeast Asia. This experience with Chosonhwa fueled years of intense, on-site, and first-hand research on North Korean art.

Anonymous, Chosonhwa

It was in 2010 in Washington, DC, that I saw the artwork pictured above. It is likely a copy1 of someone else’s original Chosonhwa, yet the rendering of figures, the stormy sky, and snowcovered fields reveal the near perfect harmony of ink and water blending together, leading to poetic visual effects that appeal to the viewer’s emotions. The depiction of a group of figures was not a major tradition in Oriental painting, nor was the three-dimensional rendering of subjects. These characteristics have not been adopted in contemporary Oriental figurative paintings of Northeastern Asian nations either, with the exception of North Korean art.

1 The act of copying or forging artwork, which is commonly practiced in the DPRK, will be discussed in detail within a chapter of my next book, Pyongyang: Mystery and Reality in Art. The reason the above Chosonhwa piece is most likely a copy is based on two facts. First, there are only a few elite artists who are permitted to depict a portrait of any DPRK leader. The anonymity of this piece points us away from that particular group of elite artists. Second, paintings of leaders’ portraits are not allowed to be a part of one’s private collection, especially if they might end up in the hands of foreigners. The notion that DPRK leaders are nearly deities is engrained in the consciousness of the people, and any painted depictions are supremely treasured and protected. Consequently, this painting has a high likelihood of having been copied by a talented yet unknown artist, and probably smuggled out of the country.

Relying on Primary Source Research As someone who was born and educated in South Korea, my perspective was saturated with anti-communist sentiment. Like all other South Koreans, I was instilled with genuine trepidation toward anything that held an association with the North. Until I came across this Chosonhwa piece, I knew little about the depth and scope of art in the DPRK. All I remembered from childhood through my college years in Seoul (the 1960s to the early 80s) was the occasional discovery of North Korean propaganda leaflets in nearby mountains blown into the South by the winds. The Chosonhwa piece that I encountered in Washington, DC, was far from what I saw in those leaflet images that I looked at with fear. During numerous investigative trips to Pyongyang over the past eight years, I visited many museums and art institutions, such as Pyongyang University of Fine Arts as well as State-run art studios, including Mansudae Art Studio. I also interviewed artists, art historians, art students, faculty, and museum staff. Without exception, they all shared their personal experiences with great candor. Through these visits and interactions with the art community and by cross-checking materials in the People’s Grand Hall of Study (somewhat similar to the US Library of Congress) in Pyongyang, I gradually gained insight into this unfamiliar art culture.

The Mansudae Art Studio in Pyongyang is composed of twenty-nine acres of land and thirteen departments, including sculpture, oil and acrylic paintings, Chosonhwa, printmaking, ceramics, and embroidery.

Above the entrance of the Chosonhwa Studio in the Mansudae Art Studio, red plaques are hung to reveal that this studio has been visited by Supreme Leaders Kim Il Sung and Kim Jong Il, who provided on-site advice to the artists.

Choe Chang Ho, a Chosonhwa artist, at work in his studio at Mansudae Art Studio. (Oct. 24, 2014)

Kim Song Min (right), the Vice President of Mansudae Art Studio and also the Chairman of the Central Committee of the North Korean Artists Federation, is the de facto leader of the entire North Korean art community. Here, Kim is interviewed about the current and future developments of Chosonhwa. Kim assured me that there is still quite some room for Chosonhwa to advance. (Mansudae Art Studio, Nov. 22, 2015)

The Art Year Books in the People’s Grand Hall of Study in Pyongyang are the strongest reference materials for identifying

artworks, art exhibitions, etc. Copies of 1985–1990 editions are so rare that these are likely the only ones in existence.

What Has Been Developed Over the Past Six Decades of North Korean Art

A display of North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale

Through this exhibition at the 2018 Gwangju Biennale, I would like to offer an opportunity to share what I have discovered about Socialist Realism and the diverse aspects and dynamics of the art in the DPRK. The discovery and exposure of North Korean art within the context of the country’s politics and culture are striking and new to many of us. Research acknowledges that North Korea has developed its own art form since 1948, and that it actively produces the only Socialist Realism art as of 2018.

Ink Wash on Rice Paper

Kim In Sok, Rain Shower at the Bus Stop, 2018, Chosonhwa, 217 × 433 cm, 85 × 68½ in., Private Collection

This exhibit consists entirely of Chosonhwa, commonly referred to outside of North Korea as traditional Oriental painting. The paintings are created using soft brushes with black ink and color pigments on rice paper. “Rice paper,” however, is a misnomer; the paper does not actually come from rice plants and is instead made from the inner bark of mulberry trees. The surface of this “rice paper” carries similar characteristics to blotting paper in that it has immediate absorbing power with ink or water. With this extremely absorbent nature, ink wash painting can lead to poetic visual effects from the soft renderings that result from ink and water blending together. The ultimate impact of this technique is an appealing and satisfying style for the viewer—one that leads the audience to an intimate connection with the art and its subjects.

The Expression of North Korean-ness

Choe Chang Ho, Mt. Kumgang (detail)

Chosonhwa has evolved into a unique North Korean art form that integrated itself within the country’s political, cultural and historical contexts. After the DPRK was established in 1948, a lengthy discussion among leading artists drove a gradual change from black ink to color pigments becoming the predominant mode of expression in ink wash painting. In a political sense, this change reflected the government’s emphasis on the proletariat. The use of color was promoted as a natural and practical way of helping the people feel connected with art. Chosonhwa effectively merged the traditional medium of ink wash painting on rice paper with highly representational imagery depicted in expressive colors, a new combination that successfully served as a vehicle to capture the everyday lives of people. In the early part of Kim Il Sung’s rule, Chosonhwa became the main channel of ideological

expression. From the mid-1950s to the late 1960s, it developed into the dominant art medium in the DPRK. After Kim Il Sung consolidated his political power domestically, he promoted independence from the Soviet Union with the slogan, “Let’s do things our own way.” He would later form the fundamental ideology of Juche, commonly translated as “selfreliance,” but best understood as subjecthood, or being the master of one’s own fate. As part of the campaign of Juche ideology, all plaster busts from the Soviet Union used for art training were removed from classrooms and replaced with those that only represented Korean physiognomy. The Juche ideology supported the evolution of the concept of “art characterized by purely Korean culture” that is manifested in Chosonhwa. The dexterity required in Chosonhwa artwork demands our attention. Unlike oil painting, for which an artist can paint over what has been painted already, in the Chosonhwa genre, if an artist makes a mistake, the painting needs to be abandoned and started anew. This is why Chosonhwa is seen as an unforgiving medium—it demands technical virtuosity.

Choe Chang Ho, A Worker, 2014, Chosonhwa, 98 × 70 cm, 38½ × 27½ in., Private Collection

Choe Yu Song, On the Way Home, 2016, Chosonhwa, 112 × 192 cm, 44 × 75½ in., Private Collection

Ri Chol, A Smelter at Rest, 2015, Chosonhwa, 97 × 72 cm, 38 × 28½ in., Private Collection

Kim Dong Hwan, At the Kangson Smelting Company, 2012, Chosonhwa, 72 × 118 cm, 28 × 46½ in., Private Collection

At times, the brushwork is finespun, as shown in Ri Chol’s work, but in other instances, the brushstroke can seem almost violent, as evident in Kim Dong Hwan’s painting—both characterize the distinctive expression of figurative paintings in Chosonhwa. The diverse technical prowess in each work of Chosonhwa is quite notable in contrast to figurative Oriental paintings in contemporary Northeast Asia, which rarely demonstrate a similar degree of expressionistic sensitivity and range of brushwork.

The Distinctive Characteristics of Chosonhwa While other forms of art, such as sculpture, oil and acrylic paintings, printmaking, and even embroidery have certainly been practiced in North Korea, Chosonhwa has been the country’s main vehicle and the most revered form of expression in art. Through the support of the State, Chosonhwa has developed unique aesthetics that are distinct from those of other Asian countries. Though other Northeastern Asian nations such as China, Japan, and South Korea also maintain the tradition of Oriental panting by using ink on rice paper, some elements and characteristics found in the art of the DPRK, such as the vibrant use of color, threedimensional rendering and expressionistic brushstrokes applied in figure paintings, are uniquely their own. With this development of distinct characteristics, Chosonhwa has significantly contributed to the “North Korean-ness” of contemporary art in the DPRK since the late 1960s. This exhibition at the Gwangju Biennale acknowledges this significance by solely showcasing Chosonhwa works.

Kim Song Min, Smelters from the Olden Days (detail), 1980, Chosonhwa, 139 × 226 cm, 54¾ × 89 in., Courtesy of Choson National Museum in Pyongyang

Socialist Realism Ideological Painting

Jang Gil Nam, Remembrances, 2007, Chosonhwa, 93.5 × 222 cm, 37 × 87¼ in., Courtesy of Prima Museum in Seoul

The art created in the DPRK is largely Socialist Realism, which was developed in the Soviet Union in the early 1930s and eventually became a dominant style in other communist countries. It is a teleological style; that is, it has the clear purpose (telos) of depicting socialist ideology, often glorifying the role of the proletariat. Since this style focuses on capturing the ideals of socialism, the content is usually focused on revolution, propaganda of the regime, and idolization of the leaders. Ideological painting, a core component of Socialist Realism, is unquestionably the most significant form of expression within North Korean art. From the government’s perspective, this type of art must, first and foremost, be easily understood by the people. Art created within the DPRK caters to the interests of common people, unlike in Western contemporary art, where much of the art encapsulates psychologically or conceptually charged layers of meaning. DPRK artists, as those in any socialist society, are not motivated to create ambiguous or provocative artwork. Their approach is literal rather than symbolic. Through on-site research in Pyongyang, I nevertheless discovered a few artists who practice art that deviates from the mainstream content of Socialist Realism. These artists are not condemned by the State for veering away from the majority of other artists’ work as long as the content of the work does not criticize the government. However, these artists are likely not an integral part of the art community.

The pivotal, concentrated visual energy of ideological painting is boldly conveyed in the form of collaborative painting, a unique work mode of socialist nations. North Korea is no exception, as collaborative art is indeed a powerful aspect of the country’s art production. North Korean artists and authorities have collectively developed a collaborative work method across all media, but particularly in sculpture and painting. In the DPRK, once the subject matter and themes of artworks are determined by leading art organizations, or sometimes by the artists themselves, many artists work together to create grand, epic-scale paintings and sculptures in a relatively short period of time. The pieces represent either sorrowful or celebratory historical moments, such as the death of a leader or the construction of an important work of infrastructure. In 1996, sixty artists from the Mansudae Art Studio in Pyongyang jointly created a panoramic Chosonhwa painting that depicts a scene of mourning following Kim Il Sung’s death in 1994. The piece stands 6.5 feet (2 m) high and 269 feet (82 m) wide. The nature of the rice paper allows the artists to efficiently create enormous paintings, with large sheets of paper glued together to create any desired width. After completion, the paintings can easily be folded for storage prior to being mounted for display. This exhibition at the Gwangju Biennale showcases six oversized collaborative Chosonhwa artworks. For most of the pieces, this is their first exposure in the art world outside of North Korea.

The Core Collaborative of Painting Socialist Realism

Yun Gon, Wang Gwang Guk, Nam Song Il, Jong Byol, Kim Hyon Uk, Baek Il Gwang and Rim Ju Song, Youth Storm Troopers, 2016, Chosonhwa, 212 × 524 cm, 83½ × 207 in., Private Collection

Kim Nam Hun, Kang Yu Song and Kang Yun Hyok, Self-reliance with Our Own Effort, 2017, Chosonhwa, 201 × 403 cm, 79 × 159 in., Private Collection

Hong Myong Chol, So Gwang Chol, Kim Hyuk Chol and Kim Il Gyong, Pyongyang Battle, 2016, Chosonhwa, 206 × 407 cm, 81 × 160 in., Private Collection

Kim Song Gun, Kim Chol, Cha Yong Ho and Ri Ki Song, Brave Men in Gajin, 1997, Chosonhwa, 205 × 398 cm, 81 × 157 in., Private Collection

Ko Yong Gun, Ro Yu Dam, Kim Song Ho, Ri Jin Myong and Han Gwang Nam, Joy of Smelting, 2016, Chosonhwa, 198 × 397 cm, 80 × 157 in., Private Collection

Kim Su Dong, Nam Song Il, Kim Won Sik, Kim Won Chol, Jong Kwang Hyok and Kye Chan Hyok, Joyfully Anticipating the Completion of the Dam, 2015, Chosonhwa, 221 × 437 cm, 87 × 172 in., Private Collection

Propagandistic Elements in Collaborative Painting Melodramatic Traits It is notable that melodramatic narratives are present within DPRK propaganda paintings. This phenomenon reflects the paradoxical reality that North Koreans adore.

A detail from Self-Reliance with Our Own Effort

A detail from Youth Storm Troopers

The above images are from collaborative paintings that portray warm human relationships keenly implying melodramatic elements. However, this very aspect of human drama is what contemporary Western art tends to shun.

Melodrama is a major element of kitsch.

Kitsch Elements Beloved by North Koreans Unlike artists of other backgrounds, North Korean artists highly value and feature elements of human drama in their art. Though the theatricality in the artwork may seem inauthentic or unrealistic, it is worth considering why North Korean artists are persistently drawn to depicting melodrama in their art, including the images of people smiling within scenes that are fraught with hardship and struggle. Is it a fantasy or utopian world that North Korean artists desire to portray? Perhaps. The ostensible glorification of people’s daily lives is in part a reflection of the politics and yet it also reveals the deeper complexity of the philosophical norm of the society—the stillprevailing ideals of Confucianism dictate a desire to uphold decorum, respect, and dignity in all situations. The presence of Confucianism in contemporary culture is a large source of the irony that makes North Korean art a mystery within the context of propaganda. I further explore the depiction of human drama and expression of emotions in North Korean art in my aforementioned book.

Landscape Painting with Unexpected Power As the greatest artists in the world seek to discover their own unique expression in their visual practice, North Korean artists also continually search for original strategies for personal expression. Landscape painting in Chosonhwa has flourished in the DPRK through a variety of individual expressions and personal approaches, contributing to an evolution that has been quite unexpected and powerful. In this exhibition, there are two paintings that depict a similar view of Mt. Kumgang—one by the artist Jong Yong Man, and the other by Choe Chang Ho. The artists’ styles and aesthetic priorities are clearly different from one another. The distinct styles and forms of expression in each piece refute the common notion that all North Korean art is produced with similar techniques. In fact, this kind of individual expression and marked poignancy in traditional landscape ink wash painting is more prominent in North Korean art than in that of modern day China, Japan, or South Korea.

Jong Yong Man

Choe Chang Ho

Jong Yong Man, Mt. Kumgang, 1988, Chosonhwa, 75 × 185 cm, 29½ × 61⅞ in., Courtesy of Prima Museum in Seoul

Choe Chang Ho, Mt. Kumgang, 2010, Chosonhwa, 212 × 402 cm, 83½ × 158 in., Private Collection

Waves in Ink Wash Painting on Rice Paper

Kim Song Gun, Waves, 2001, Chosonhwa, 72 × 127 cm, 28⅜ × 50 in., Private Collection

In North Korean landscape art, the image of waves is a popular subject in oil painting, but less preferred in ink wash painting due to the high degree of technical acumen required to achieve desired outcomes. As in the watercolor process, Chosonhwa demands meticulous preparation as well as technical dexterity. For example, the white portions of an image are created by leaving the natural white color of the rice paper untouched. Techniques such as this require great skill and precise planning, and it is through this painstaking process that the results are profoundly expressive and moving. Waves depicted in traditional Oriental ink wash painting, especially pieces that capture dramatic scenes of splashes against rocks, are not to be found in any Asian nations. North Korean artists have taken on the challenge of painting this traditionally avoided subject matter and achieved a new way of expression once considered too difficult to accomplish. Kim Song Gun, who has been awarded the prestigious North Korean title of People’s Artist, has created with the spirit of a pioneer a large body of ink wash paintings depicting waves. This feat has made him “the virtuoso painter of waves” in the DPRK. Following, we will encounter the unexpected and ambitious accomplishments of Kim Song Gun.

Kim Song Gun, Waves at Haekumgang, 2003, 2.16 Art Education Publication Company, Pyongyang

The Obsession to Capture Reality

The Table of Contents

Chosonhwa artist Kim Song Gun has conducted extensive research on waves and published a veritable tome on the subject. The intense focus of this endeavor is a prime example of how artists in North Korea approach the subject matter they are interested in and how they diligently strive for outcomes of excellence and mastery. Kim’s book is likely the first ever publication by an artist featuring thorough research on waves. In his Table of Contents, there are chapter titles such as “Understanding Images of the Ocean,” “Depicting Waves and Their Movements within Chosonhwa,” “Coloring Ocean Images in Chosonhwa,” and “Characteristics of Chosonhwa Depictions of the Ocean.” These chapters indicate that Kim conducted a comprehensive and meticulous investigation of aesthetical and physical principles of waves. In his book, Kim also displays many images of his own paintings of waves to exemplify the findings of his research.

The Tradition of Literati Painting in the DPRK The literati were the social class of scholar-bureaucrats in ancient Asian social systems.

Literati painting began in eighth-century CE China. The literati were the social class of noblemen or scholar-bureaucrats [] in the ancient hierarchical social system in Asia. Centuries later, with the advent of communism, leaders of communist nations strategically targeted and worked to eliminate this group in order to fully establish the proletariat. For this reason, it was long believed by many art historians that the tradition of literati painting had been extirpated in the DPRK, which is why the discovery of an ongoing practice of literati painting in modern day North Korea came as quite a surprise. The literati tradition, which typically focuses on erudite painters’ personal expressions and not literal depictions of images, has been continued by North Korean artist Jong Chang Mo and very significantly developed by Un Bong, the pen name for Ri Jae Hyon, a prominent art historian in the DPRK. His book, Anthology of North Korean Artists (published in 1994 and revised in 1999), is widely referenced by South Korean art historians. Although respected as an art historian in the South, Un Bong has not been recognized there as an artist. I first encountered his paintings in an art exhibition in Pyongyang in April 2012. The style of his Chosonhwa paintings is unlike any other among his DPRK contemporaries. In particular, there are three attributes of his work that demand attention.

Un Bong (Ri Jae Hyon), Yontan Shimwon Temple, 2010, Chosonhwa, 34 × 93 cm, 13¼ × 36½ in., Courtesy of Yedo Arts Foundation in Washington, DC Following is a translation of Un Bong’s writing on the above painting: “The Shimwon Temple in Yontan is an old Buddhist temple built in the late Goryeo Dynasty, located in a valley surrounded by the peaks Baegunbong, Cheongnyongbong, and Gwaneumbong. The temple backs against the peak Chonnyo, the highest peak in the Jongbang Mountains, and was designated as a National Treasure. I believe it was 1962 when I visited the temple with my former college professor, Jo Jun O. The Goryeo dancheong (a traditional multicolor pattern used on wooden buildings such as Buddhist temples) were beautiful, having withstood the ‘winds and frosts’ of time. Jo Jun O elevated the study of dancheong into an academic endeavor and taught many students as the head of the art theory department of his university, but passed prematurely from high blood pressure.” April 2010.—Un Bong

First, his painting style follows the tradition of literati painting, yet his use of color stands apart from the conventional and characteristic black-and-white literati style. Second, Un Bong’s brushstrokes often create abstract forms, as shown in his depiction of trees in Yontan Shimwon Temple, which is featured in the exhibition. This style is quite an unusual form of expression, in contrast to the mainstream development of Chosonhwa, which involves vivid color and three-dimensional renderings. Third, Un Bong often writes directly onto his paintings, a common practice in the literati tradition. As an expert in art history, Un Bong mostly writes anecdotes that uniquely convey North Korean art history.

Un Bong (Ri Jae Hyon), Jong Hyon Ung, 2015, Chosonhwa, 44 × 45 cm,17¼ × 17¾ in., Courtesy of Yedo Arts Foundation in Washington, DC “Namgung Ryon, wife of the late Jong Hyon Ung, visited me many times and asked me to fully document her husband’s achievements. In retrospect, the significant role that Jong Hyon Ung played was his replication of the ancient Anak and Kangso tomb mural paintings (circa fourth century, seventh century CE, respectively) in the Goguryeo Kingdom. These replications are currently displayed in the Goguryeo Hall in the Choson National Museum of Art.” October 2015.—Un Bong

Un Bong (Ri Jae Hyon), Ham Chang Yon & Picasso, 2015, Chosonhwa, 57 × 75 cm, 22½ × 29½ in., Courtesy of Yedo Arts Foundation in Washington, DC “Ham Chang Yon is the most internationally recognized artist of the DPRK. The encyclopedia of the Soviet Union included Jeong Seon, Kim Hong-do, as well as Ham Chang Yon as the representative artists of the DPRK. His seven prints, including Slash-and-Burn Farmers and Field Plowing, have received awards in international art competitions. The art world was astonished when Ham received a gold medal for his etching Field Plowing in an international art competition (in Leipzig, Germany) in 1959. In this art competition, an abstract artist, Pablo Picasso, also received a gold medal for his Dove of Peace. Ham was in his late twenties at that time.” November 6, 2015.—Un Bong

The two translations above reveal some anecdotes of North Korean art history that Un Bong recollects in his paintings.

A display of literati paintings in the North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale

Un Bong Portfolio, 2013–2015, Chosonhwa, 33 × 21.5 cm, 13 × 8½ in., 558 cm (220 in.) long when fully expanded, Courtesy of Yedo Arts Foundation in Washington, DC

The front side of Un Bong Portfolio contains twelve Chosonhwa paintings, and the reverse side has one painting and writing about his aesthetics.

The discovery of traditional literati painting in Pyongyang was certainly the highlight of my

eight-year-long research process. Considering the tightly-structured and controlled environment in the DPRK, encountering this kind of artwork was nearly unimaginable for a foreign scholar. Coming across literati works was more than just pure coincidence. In part, the method of my research—on-site, first-hand reliance on primary sources—might deserve some credit, but the results should in fact be largely attributed to the trust that I built with the DPRK art community. Prior to this discovery, those outside of North Korea were virtually unaware that literati painting was still being practiced and accepted by the State. Un Bong’s influence has been a great force in upholding this tradition of literati painting.

The Auspicious Connotations to the People of the DPRK After the most talented and elite North Korean artists serve their country by generating ideological paintings in their younger years, they often move on to creating either landscape, bird-and-flower, or animal paintings during the remainder of their careers. Among all animals, the

TIGER is a highly revered subject because of its auspicious

connotations, regardless of the medium. In the exhibition, we see a tiger painting by Kim Chol, one of the most prominent artists in the genre of animal painting. He depicts the tiger in its full spirit while simultaneously embracing a poetic, atmospheric quality.

Kim Chol, Tiger Dashing in Winter, 2014, Chosonhwa, 144 × 197 cm, 56⅝ × 77½ in., Private Collection

Kim Chol successfully combines the contrasting techniques of chill-evoking details and immensely expressive poetic touches. In this painting, Kim Chol spent seven hours of concentrated work to finish the depiction of the iris of one eye.

Uniformity or Assumption

Choe Chang Ho, At an International Exhibition, 2006, Chosonhwa, 107 × 159 cm, 42 × 62½ in., Private Collection

There is an assumption that all North Korean artists’ expressions are uniform. However, one of the surprises we may uncover relates to the nuances and complexities that exist within the art and culture of North Korea. Although the subtleties may not be as varied as those we may be accustomed to, if we dig deeper into the layers of any society, we will undoubtedly find that rich complexities exist, since art is an inherent reflection of society. To me, this investigation may have been arduous, but it was a profoundly rewarding process. I have been asked numerous times if Choe Chang Ho (whose work is on the left) was influenced by the American painter John Singer Sargent (1856–1925), who is considered one of the most prominent painters in his era. The question about Choe and Sargent is a perceptive one, yet the answer is a definitive “no.” A lack of contextual understanding can lead to these assumptions. Even in the West, there are critically acclaimed contemporary artists who explore traditional

subject matters, such as landscapes and human figures, but with their own interpretations and expressions. If we look beyond the strong criteria of prescribed subject matters, we can similarly observe striking new interpretations and courageous forms of self-expression in North Korean Chosonhwa. In my book, Pyongyang Art: The Enigmatic World of Chosonhwa, I argue that contemporary North Korean art must not be viewed through the lens of our own fixed assumptions, but through the context of North Korean society, and how it implements traditional values and socialist policy through its practice of art. There are two main obstacles to avoiding assumptions when viewing North Korean art. The first is that there are many kitsch artworks produced in the DPRK and this is not different from any liberal society, as the majority of artwork around the world might well be considered kitsch. Without adequate exposure to quality artwork from the DPRK, we form our own assumptions. The second is our ignorance of the system and culture of the DPRK. We simply don’t fully comprehend the subtle nuances of its society. Because of our lack of exposure, our preconceptions hinder us from enjoying the artwork for its true worth.

Art as the Triumph of Transcending Life’s Struggle The exhibition at the Gwangju Biennale features contemporary North Korean art; it may not appear contemporary as defined by Western preconceptions, yet it is powerful and poignant. During multiple visits to the DPRK, I had the opportunity to visit studios and engage in lengthy conversations with artists. I saw how each painting is the individual artist’s proclamation of his or her passion for art and the deeper representation of their triumph over life’s struggles.

Displays of North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale

A Manifestation of Human Spirit & Emotion

Organizing an exhibition in South Korea that featured North Korean art generated many questions about intent.

I feel fortunate for the opportunities to see and examine both kitsch and non-kitsch artworks in Pyongyang. From the outset, I was determined to view those artworks with an open mind and to gain a fresh perspective. This allowed me to experience the richness and subtlety of the art and to discover unexpected, diverse, and individual expressions. Witnessing such a manifestation of human spirit and emotion in this oppressed society gave me great joy as well as hope for the future.

North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale is undoubtedly a grand display of Socialist Realism, and more significantly, the diversity of DPRK art, the scope of which is unprecedented.

Art Can Be Still Victimized by Political Ideology Exploring North Korean political ideology has been considered taboo in South Korea. Even after living away from Korea for over thirty years, I still faced this reality of tension and discomfort as I prepared to showcase North Korean art at the Gwangju Biennale. The controversy of sharing North Korean art in South Korea is as real as might be expected based on the fraught history of the peninsula. What cannot be avoided are the complex history and the current realities between the two Koreas, and I at one point naively thought that I might bring North Korean artwork to South Korea for the exhibition without any friction. Aside from the physical challenges of preparing for the exhibition, the core barrier was in fact related to dealing with tensions surfacing from exploring otherwise untouched political ideologies.

While the artwork was being installed, the Gwangju Biennale headquaters received phone calls expressing concern and criticism. As a precautionary measure, the entire exhibition was covered with tempered glass to ensure that the artwork was protected.

The Ministry of Culture, Sports and Tourism of South Korea required me to submit a statement that described the content and purpose of the exhibition. I provided assurance that the artwork was not controversial in nature, understanding the sensitivity toward written or visual materials that relate to North Korea. Following is the statement that was submitted: “I have worked diligently not to include any artwork that might signify, support, or glorify the DPRK, or artwork that might oppose South Korean values while curating North Korean Art: Paradoxical Realism at the 2018 Gwangju Biennale. I also eliminated any artwork that includes the portraits of leaders of the DPRK as well as imagery that depicts the Korean War, which may present subjects sensitive to the South Korean people. It is important to consider how difficult it is to appreciate or view Socialist Realism art without prior understanding of the culture, system, history, and people’s thoughts of the society where the art was incubated. I am aware that an art exhibition of this kind can yield a very different reaction if it is held in the United States versus South Korea due to the sensitive nature of political ideologies. I believe that most of the general public in South Korea is able to embrace and appreciate North Korean art as part of the cultural heritage of the entire Korean Peninsula. This art exhibition is the first of its kind on a global platform to showcase the significance of the Socialist Realism art of the DPRK.”

Although the political climate on the Korean Peninsula has been warming up and both governments have shown strong interest in cultural exchanges, there were nonetheless numerous difficulties in materializing the very first large-scale, highly significant North Korean art exhibition in South Korea. This historic project, centered on the North Korean art form of Chosonhwa, creates a valuable opportunity for us to view the art of the DPRK holistically and to take a glimpse into the intriguingly complex art and culture of North Korea.

Although there were concerns about the content of the show, the exhibition drew a record number of visitors and coverage from international media outlets.

Kim Chol, Tiger Dashing in Winter (detail)

This publication was made possible with the generous support of The WAP Foundation, Seoul, Korea.

Written and designed by BG Muhn & published by Seoul Selection 2018

North Korean Art: Paradoxical Realism Copyright © 2018 by BG Muhn All Rights Reserved. No part of this book may be reproduced or utilized in any form or by any means without the written permission of the publisher. Published in 2018 by Seoul Selection U.S.A., Inc. 4199 Campus Drive, Suite 550, Irvine, CA 92612 Phone: 949-509-6584 / Seoul office: 82-2-734-9567 Fax: 949-509-6599 / Seoul office: 82-2-734-9562 E-mail: [email protected] Website: www.seoulselection.com eISBN: 978-1-62412-121-0