Chaotic Harmony: Korean Contemporary Photography Exhibition

Chaotic Harmony is a collection of photographs that formed an exhibit at The Museum of Fine Arts in Houston and the Santa Barbara Museum of Art (SBMA). Consisting of 42 large-scale photographs from Korean contemporary photographers, this presentation opens a window onto the dynamic photographic scene of Korean contemporary art.

Within the exhibition, two distinct generations of Korean artists are represented: those born in the mid-1950s and 1960s (during a succession of military dictatorships when the country was still largely agrarian) and those born in the 1970s (predominantly in urban areas and who came into maturity in the new democratic era which began in 1987). The recent works explore contemporary issues through the 5 thematic sections of land and sea; urbanization and globalization; family, friends, and memory; identity: cultural and personal; and anxiety.

After watching an interview with Karen Sinsheimer, SBMA's Curator of Photography (click here to view), I selected a few of my favourite photographs from the exhibition and evaluated them. I was blown away by the dynamic artistic activity and culture revealed throughout the exhibition. Some artists display very avant-garde and colourful large-scale images, whereas others have used more traditional photographic techniques.

Bae Bien-U

‘Kyung ju’ from the series ‘Sonamu’

This large-scale photograph was taken in one of the sacred pine forest of South Korea, which were cut down by the Japanese when they dominated Korea for 35 years. I think Bien-U’s intention was to photograph the beautiful peninsula and remaining curved pine-trees as a celebration and representation of the strength of Korean people. High contrast, soft imagery and a modern simplicity all support this beautiful print. Bien-U also demonstrates good use of the 'rule of thirds' and balance.

Dae-Soo Kim

‘Untitled’ from the series ‘Bamboo’ (1998-2008)

This photograph of a Korean bamboo growth was taken in traditional black and white photography mode, a very prevalent method used in Korea. The silver gelatin print itself is extremely delicate and looks very much like a negative. When observed more closely, the photograph gives an op-art effect where sometimes the darks advance and other times the whites advance – strong emphasis on abstraction. Like Bae Bieun-U’s photograph (above), the composition is simple, high contrasting and very effective.

Sekwon Ahn

'Seoul New Town’ (2005-2007)  

This triptych compares the rapid development over a period of 4 years (2003-2007) in a small town in South Korea. Fundamentally, it highlights urbanization & globalization of Korea – a huge contemporary issue being faced more and more as the world’s population increases. Although simple, this series is effective and gets a clear message across quickly without explanation.

Kyung Duk Kim

‘Refrigerator’, 2008

Looking at everyday life and exploring cultural identity, this artist has put together a collection of thirty photographs, one taken per day, of inside his refrigerator. I think this series of photographs is a reflection on the orderly society of Korea – a place where every young man serves in military for 2 years. It highlights the militaristic underpinning, which seems to pervade even the social lives of Koreans. Duk Kim has also looked at other typologies in Korean such as lampshades, bed covers etc. and I find his series of work to be very effective. The use of balance, line and unity also contribute to the overall purpose.

Chan-Hyo Bae

Existing in costume, 2008

I found this series very interesting and I was captivated by the artists’ story!

In his artist statement, Chan-Hyo Bae states that as a student studying in London, he always felt like an outsider - In Korea there are known rules for behaviour but in London he felt that he didn’t know how to act or behave. His whole concept was that if he dressed as an historical figure (in costume) he would somehow fit in. So, he made a whole series of photographs of himself dressed in traditional clothing. This series of self-portraits explores the theme of personal identity…

 

Interestingly enough, when he finally went back to Korea, he equally felt like an outsider!

  

Yeondoo Jung

‘Bewitched #2’

In his series, Yeondoo Jung asked a group of young people who they are and who they aspire to be. He then photographed them in their environment and, using digital editing techniques, created a superimposed duplicate of them in their imagined environment. Similar to the technique used by photographer Sekwon Ahn, the photographs are laid side-by-side so that a clear comparison can be made. In the two photographs above, Jung purposely gave the girl an aggressive expression to make her appear more independent and determined. This contrasts against her gentle expression and the bright pink of the ice-cream parlor clearly displayed in the photo to the left - I think the artist may have also been exploring the theme of women’s role in society.

Sungsoo Koo

‘Tour Bus’ from the series ‘Magical Reality’ (2005-2006)

This series of photographs labeled ‘Magical reality’ have been described as both ‘kitsch’ and ‘wonderous’. An incredible and overwhelming sense of colour, noise, neon etc. is projected, highlighting the constantly bombarding and over-the-top commercialism of Korea. Tour buses, like this one, are now found everywhere! ‘A jarring note but at the same time there’s something wonderful about them’, the photographer is attempting to celebrate the transcending ‘kitsch’ and understand the infusion of western influence on Korean society.

Sanggil Kim

Off-line: Burberry internet community’ from the series ‘off-line’ (2005)

This photograph depicts a modern phenomenon: people who met over the internet, united by a common passion, in this case, that of wearing Burberry Check and enjoying an “off-line” get-together. What really strikes me in this image, is that none of the people in the photograph are smiling – they all look very serous? This may be a reflection on the conformity of Korean life.

Sunmin Lee

‘Lee, Sunja’s House #1 – Ancestral Rites’ from the series ‘Woman’s House II’ (2003-2004)  

This photograph of a Korean family reflects the tensions in shifting societal values and practices as Korea continues its rapid growth. Traditionally, families followed Confucian norms: the father was the respected head of household and made decisions for his wife and children, financially supporting the family and arranging schooling and marriages. Social values have changed with increasing awareness of Western cultures through travel and the importation of Western products and media. Also with dramatic urban growth, came shifts from homes to crowded high rises, the entrance of women into the workforce, and other changes. Sunmin Lee’s photograph portrays traditional values playing out in a modern setting: the men and boys of a family conduct traditional rituals in one room while the women watch from the doorway.