Skip to content
1981
Volume 3, Issue 3
  • ISSN: 2051-7041
  • E-ISSN: 2051-705X

Abstract

Abstract

This article presents a close analysis of the Korean artist Sangdon Kim’s Rose Island (2009) and Bulgwangdong Totem (2011) within the broader context of a ‘shamanist turn’ in recent contemporary Korean art. As part of a larger project that examines the potential of local shamanist and animist practices to de-colonize the western model of modernity, Kim’s rich body of work foregrounds the agency of matter to reveal the contamination of landscape, a mimetic reconfiguration of alterity, and an anti-monumental model of sculpture. From a series of photographs to electronic images and sculptural objects, Kim’s work highlights the transformative exchange between humans and things to critique the logic of neo-liberal economic development and militarized modernity. Submitting a diverse ecology of images into an endless orbit of circulation, Sangdon Kim’s art offers a lens through which one can view the intersection between contemporary art and politics in South Korea.

Loading

Article metrics loading...

/content/journals/10.1386/jcca.3.3.295_1
2016-12-01
2024-11-03
Loading full text...

Full text loading...

/content/journals/10.1386/jcca.3.3.295_1
Loading
  • Article Type: Article
Keyword(s): alterity; animism; contemporary Korean art; landscape; mimesis; shamanism
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error