Main Exhibition

Seoul New 新 Arirang – Like Thousand Miles of Rivers

2016.11.01 (TUE) - 11.30 (WED)

Buk Seoul Museum of Art Exhibition Hall 1, 2

Participating Artist
Ko jungnam, Kim Gyoosik, Kim Sangdon, Kim Taedong, Kim Hongshik, Moon Sohyun, Park Hyundoo, Bak HyongRyol, Sung Jiyeon, Song Hochul, Ahn Okhyun, Yang Chulmo, Oak Jungho, ,Won Beomsik, Ryu Biho, Im Noa, Jung Jihyun, Cho Yikyung, Cho junyong, Han Sungpil, Hwang Gyutae

Arirang is the most representative songs of Koreans’ emotions which was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity program by UNESCO in 2012. ‘Like Thousand Miles of Rivers’ symbolizes the modern diaspora following the globalization of Seoul (Korea) like Arirang which enables communication between generations and spreads throughout the world; ‘thousand miles’ is a metaphorical expression of the physical distance that goes beyond regions and national borders, and ‘rivers’ is a metaphorical expression of the time period from the past to the present.

* ‘Flows like thousand miles of rivers’ was quoted from the remarks by former Korean Minister of Culture Lee O-young about Seoul Arirang, which was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity program by UNESCO in 2012.

Part Ⅰ – Gazing at a Boundary From a Boundary

Part Ⅰ of <Seoul New 新 Arirang – Like Thousand Miles of Rivers> attempted at organizing the context and the composition of exhibition in a more productive manner based on photographs and video works about the abstruse theme of the exhibition which has keywords ‘diaspora’ and ‘globalization’, which are being used in a wider and contemporary meaning all over the world. Moreover, the exhibition wishes to serve as an opportunity to reflect on the current life ‘here-now’ in Seoul while contemplating upon the historical importance and value of Arirang, the song sang by those who yearned for home, and issues such as the large-scale migration born of tragic history, the so-called ‘Korean diaspora (deportation of Russian Koreans, conscription under the Japanese Colonial Rule, compulsory mobilization to Sakhalin, etc.)’.

Part Ⅱ – From Land of the Others to My Homeland

The Exhibition Hall for Part Ⅱ which attempted at presenting the clash occurring at the interface between disparity and unfamiliarity through rather fragmented and rough composition and arrangements, each of the artists’ work embodies the beginning and the end of a narration. Big and small artworks are themselves a complete piece made with parts. They were meant to speak with their own unique and communal voice.
From the planning stage, the participating artists and exhibition directors tried to find common grounds and form a consensus about the exhibition. We also attempted at multi-layered interpretations and adaptations on the artworks of the others through cooperation and time spent together as if in a network. We hope it all leads to a hospitable journey of witnessing how certain facts laid outside the exhibition are realized in the artworks and exhibition.