Decolonial Possibilities of Transnationalism in Contemporary Zainichi Korean Art
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This study discusses the works created by three contemporary zainichiKorean artists—Oh Haji, Kum Soni, and Chong Ri Ae—after the 2000s. These artists have addressed the issue of zainichi Korean identity and thehistory of zainichi Koreans. This study also deals with two exhibitionmaking projects led by young zainichi Korean and Japanese artists in the2010s: Zainichi Genzai Bijutsu and Totsuzen Me no Mae ga Hirakete. Theseexhibitions shed light on the presence of zainichi Korean art on the globalart scene. Through these case studies, this article examines the differentways in which these artists embody the notion of transnationalism intheir works and projects. By way of conclusion, this article points outthree ways that the ethos of transnationalism articulated in the practicesof zainichi Korean artists could contribute to the process of decolonizationin the context of postcolonial Japan: first, it creates a new expressionof ethnic identity by emphasizing the notion of hybridity in the placeof homogeneity; second, it challenges the nationalized narratives ofmodern history by highlighting a form of transnational historicity; third,it promotes multiethnic dialogue on postcolonial issues by forgingalternative platforms.
Abstract
This study discusses the works created by three contemporary zainichiKorean artists—Oh Haji, Kum Soni, and Chong Ri Ae—after the 2000s. These artists have addressed the issue of zainichi Korean identity and thehistory of zainichi Koreans. This study also deals with two exhibitionmaking projects led by young zainichi Korean and Japanese artists in the2010s: Zainichi Genzai Bijutsu and Totsuzen Me no Mae ga Hirakete. Theseexhibitions shed light on the presence of zainichi Korean art on the globalart scene. Through these case studies, this article examines the differentways in which these artists embody the notion of transnationalism intheir works and projects. By way of conclusion, this article points outthree ways that the ethos of transnationalism articulated in the practicesof zainichi Korean artists could contribute to the process of decolonizationin the context of postcolonial Japan: first, it creates a new expressionof ethnic identity by emphasizing the notion of hybridity in the placeof homogeneity; second, it challenges the nationalized narratives ofmodern history by highlighting a form of transnational historicity; third,it promotes multiethnic dialogue on postcolonial issues by forgingalternative platforms.
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