Park Chan-kyong

Park Chan-kyong (; b. 1965 in Seoul, South Korea) is a South Korean media artist, filmmaker, and arts critic. Park is known for his advocacy of the revival of minjung art in the 90s through both exhibition organizing and writing. With his first solo show in 1997, Park's career as a media artists working across photography, film, sculpture, and installation art took off, even as he continued to write criticism and curate shows. His multimedia works often deal with traumatic moments in Korean modern and contemporary history (e.g. the splitting of the Korean peninsula), the relevance of tradition in the modern age, and the shifting role of spiritual practices like shamanism in contemporary Korea.

After graduating from Seoul National University in 1988, Park was part of several collectives engaged with the legacy of minjung art, including the Art Criticism Research Group, Seongnam Project, and Art Space Pool. He curated exhibitions and collaborated on projects that concerned Korea's rapidly changing urban space, as well as wrote extensively for publications like Forum A (which he cofounded) on theoretical issues about contemporary Korean art. Park's artistic practice from the late 1990s continued to engage with core questions minjung artists had raised decades prior about the relationship between politics and art. He continued to explore the possibilities of utilizing documentary photography and archival material to examine the effects of Korea's rapid modernization with works like Sindoan (2008) and Manshin: Ten Thousand Spirits (2014). Through his curation of Mediacity Seoul 2014, Park attempted to expand his thinking to consider how artists across Asia utilize similar techniques and imagery to engage with trauma, leading him to continue drawing on the phrase "Asian Gothic" (a term he coined in 2007) in his writing.

Park has exhibited extensively at home and abroad—sometimes together with his brother filmmaker Park Chan-wook under the moniker PARKing CHANce. Together they won the Golden Bear at the Berlin International Film Festival in 2011 for their film Night Fishing (2011). Both brothers were temporarily blacklisted by the South Korean Culture Ministry under president Park Geun-hye's administration. The end of the blacklist has allowed Park Chan-kyong to resume his major film projects. Park will also have his first solo show in the US at the National Museum of Asian Art at the Smithsonian at the end of 2023. Park still lives and works in Seoul.

Early life Park was born and raised in Seoul with older brother Park Chan-wook. They were brought up as Catholic.

Education Park received a BFA in Western Painting from the College of Fine Arts at Seoul National University in 1988, and an MFA from the Photography and Media program at the California Institute of the Arts (Valencia, California) in 1995. While at Cal Arts, Park studied with artist Allan Sekula and filmmaker Thom Anderson.

Work

Minjung art Park was closely involved with the efforts in the 90s and early 2000s to revive Minjung art as an artist and critic, leading art historian Shin Chunghoon to declare Park as part of the wave of "post-Minjung art".

Art Criticism Research Group (1989-1993) Park was a member of the Art Criticism Research Group (미술비평연구회, Misulbipyeongyeongguhoe), a collective of critics whom Park described as the fourth generation of the Minjung art movement. Park called for the redeployment of montage and kitsch in an effort to reformulate the techniques and goals of Minjung art during the period of its decline. In addition to writing arts criticism, Park and the other critics organized a series of exhibitions in 1992 focused on Seoul's urban visual culture. Along with Beck Jee-sook, Park curated the show "City Mass Culture (dosi daejung munhwa)" in 1992. For the exhibition, Park presented an installation titled Life and Death of the Images (1992) composed of newspaper images of self-immolating protesters juxtaposed with souvenir photos of factory workers.

Seongnam Project (1998-1999) Park was part of the artist collective Seongnam Project (성남프로젝트, Seongnampeurojekteu), whose members included Kim Tae-heon, Kim Hong-bin, Mah In-hwang, Park Yong-seok, Park Hye-yeon, Son Hye-min, Yoo Ju-ho, Cho Ji-eun, and Im Heung-soon. The group focused on the relationship between art and public space in Seongnam, South Korea's first planned city, producing a range of works including documentary photography, a brochure, video, and installation art.

The collective came together when curator Lee Young-chul (who had also been a member of the Art Criticism Research Group) invited Park to participate in his upcoming show "98 City and Media: Clothing, Food House," at the Seoul City Museum of Art. Park proposed to make a collective work, and along with artist Kim Tae-heon, invited the other members, who were graduates from universities in Seongnam and Anywang where Park lectured. The group presented an installation at museum at Seoul, and presented a nearly identical version of the work at the Seongnam City Hall so Seongnam residents could see the installation as well.

Art Space Pool (1999-2021) Park was one of the founding members of Art Space Pool (대안공간 풀, Daeangonggan pul).

Sets (2000) Sets also featured a slide projection of 160 photographs. The photographs depict three different sets. One was a movie set of Seoul that is actually located in Pyongyang (these images were taken from South Korean journalist Im Jongjin's series from his sanctioned visit to Pyongyang in 2000). Another was a movie set replica of Panmunjom also functioning as a tourist site (Park took these photos). The last was a South Korean military's war simulation set. Park's presentation of "the cultural industry's impulse to fictionalize the 'other' Korea" alongside evidence of the ongoing reality of military and political tensions with the war simulation set explore the shifting national discourse and sentiment on the relationship between North and South Korea.

Koreans Who Went to Germany (2002-3) During his residency at Akademie Schloss Solitude in winter 2002–3, Park presented a series of photographs and texts on miners and nurses who migrated to Germany from the 60s to the 80s. Park's writing for the series incorporated interviews from the Korean immigrants, explanations of working conditions, and the broader geopolitical context that brought the laborers there (e.g. the Korean government's history of exporting labor).

Sindoan (2008) Park's video integrates archival footage, documentary photography, and first-hand accounts from members from a range of religious groups who were forced out of an area on Gyeryong Mountain by authorities who wanted to make the mountain part of a national park in 1984.

Night Fishing (2011) Park worked with Park Chan-wook under the moniker PARKing CHANce to direct, produce, and write the short film shot using an Apple iPhone 4, and starring singer Lee Jung-hyun. The film centers on a shaman who is possessed by the spirit of a fisherman who uses the spiritual medium to speak to his family. The brothers won the Golden Bear at the Berlin International Film Festival in 2011 for the film.

Manshin: Ten Thousand Spirits (2014) Park's film focuses on one of Korea's most famous shamans: Kim Keum-hwa. Park sought out Kim after reading her autobiography, wanting to present 20th century Korean history via the perspective of a mudang. To create the film, Park wove together documentation on her life and work with archival footage of performances and interviews, but chose not to order scenes in chronological order.

Citizen's Forest (2016) Park presented the black and white video at the Taipei Biennial in 2016, and then Art Basel Unlimited in 2017. Park used the panorama of the three-channel format video to evoke shanshui painting, and structured the video to emulate the experience of seeing a landscape painting on a long scroll. The most recent event with the Sewol ferry was what initially motivated Park to make the work.

When asked whether or not the video illustrates a struggle between history and memory, Park responded: "The ghosts appearing in the video don't engage in any particular activities nor do they refer to any specific historical event. It is as if the ghosts are aware of the fact that people today, like us or the viewers, feel indifferent about themselves (ghosts). In such ways, their existence is removed from our memories, affirming once again their abandoned, forgotten presence."

Curation

Mediacity Seoul (2014) Park was the artistic director of the eighth iteration of Mediacity Seoul, titled "Ghosts, Spies and Grandmothers."

Park included the work of directors like Apichatpong Weerasethakul, Joshua Oppenheimer, and Rithy Panh, whose short films and documentaries on Thailand, Indonesia, and Cambodia respectively expanded the scope of the large-scale exhibition beyond Seoul.

Major themes

Historical memory Park often references modern and contemporary Korean historical events in works like Citizen's Forest (2016).

Shin Chunghoon argues that with works like Black Box: The Memory of Cold War Images (1997) and Sets (2000), Park is less interested in interrogating the actual events of history, and more concerned with how images shape human memory of historical moments.

Curator Hyunjin Kim asserts that Park delves into traumatic historical moments in order to rethink Asian modernity, and pursue a "hauntological understanding of the extremely violent and oppressive trajectories of East Asia in the twentieth century."

Kitsch Shin Chunghoon traces Park's use of kitsch back to techniques used by minjung art groups like Reality and Utterance. Park's insistence on the relevance of tradition to the contemporary moment led him to declare with fellow critic Lee Youngwook that "the task before us is, then, to reawaken the tradition that has been severed and oppressed from our memories, and feel it with all our senses, for this is how the future comes into view." This longer chronology for tradition has led him to adopt the term "longue durée tradition." He explained that he tried to balance history and religion in the video work Sindoan, for which he felt that a Western framework for understanding Korean modernity was insufficient. After making Sindoan, Park made several feature films and short films on Korean folk religion and shamanism, including Anyang, Paradise City (2010), Manshin: Ten Thousand Spirits (2013), and Citizen's Forest (2016).

His interest in religion, and more specifically Buddhism, grew after the Fukushima nuclear accident and the sinking of the MV Sewol ferry. Park clarified however, that this turn to religious themes in his work is motivated by his interest in visual and literary culture around Buddhism rather than Buddhist doctrine itself.

Critic Tiffany Yeon Chae expressed doubt about the potential for artworks like Park's to draw on Korean shamanism as a way to overcome Korea's traumatic colonial history and division, arguing that Korean society has changed greatly since minjung artists from the 80s had explored this idea.

In a review of Park's show at Kukje Gallery, critic Ye Eun Nam argued that while Park's work reveals a desire to leave behind tradition, his reference to traditional art and spiritual traditions suggests that he will never be able to achieve that goal in spite of his intentions.

Writing on Park's latest show at MMCA in 2019, Andy St. Louis finds Park's work to be "grounded in a rigorous conceptual framework (navigating notions of modernity, tradition, representation and historicization)," while also delivering "on an emotional level by moving beyond polemics of institutional critique and postcolonial discourse to contemplate how individuals in society cope in the aftermath of disaster."

Blacklist Park's name was among the list of 9,000 artists blacklisted for being critical of the former president Park Geun-hye. As a result, the Korean Film Council rejected Park's proposal for a horror film before Park's impeachment.

Select exhibitions

Solo exhibitions 2023-24

"Park Chan-kyong: Gathering," National Museum of Asian Art, Smithsonian, Washington DC

2019

"MMCA Hyundai Motor Series 2019: Park Chan-kyong – Gathering," MMCA Seoul, Seoul

2018

"Citizen’s Forest," Tina Kim Gallery, New York "PARKing CHANce 2010-2018," Asia Culture Center, Gwangju

2017

"安寧 Farewell," Kukje Gallery, Seoul

2016

"Park Chan-kyong," Tina Kim Gallery, New York

2015

"Pa-Gyong: Last Sutra Recitation," Iniva, London

2010

"Radiance," PKM Gallery | Bartleby Bickle & Meursault, Seoul

2008

"Sindoan," Atelier Hermès, Seoul

2003

"Koreans Who Went to Germany," Akademie Schloss Solitude, Stuttgart

2002

"Sets," rraum02, Frankfurt

1997

"Black Box: Memory of the Cold War Images," Kumho Museum, Seoul

Group exhibitions 2022

"Checkpoint. Border Views from Korea," Kunstmuseum Wolfsburg, Wolfsburg "Off the Page," Daejeon Art Center, Daejeon

2020

Yokohama Triennale 2020: "Afterglow," Yokohama Museum of Art, Yokohama

2019

2019 Asian Art Biennial: "The Strangers from beyond the Mountain and the Sea," National Taiwan Museum of Fine Arts, Taipei Aichi Triennale 2019: "Taming Y/Our Passion," Aichi Arts Center/Nagoya City Art Museum, Nagoya

2018

24th Busan International Film Festival, Busan "Rituals of Signs and Metamorphoses 仪礼·兆与易," Red Brick Art Museum, Beijing "Mise-en-Scène: A History of Images," National Museum of Modern and Contemporary Art, Seoul

2017

"Ghosts and Spectres – Shadows of History," NTU CCA Singapore, Singapore

2013

"Real DMZ Project: From the North," Artsonje Center, Seoul

Awards

Hermès Korea Misulsang (2004) Golden Bear Prize, Berlin International Film Festival (2011) Grand Prize for a Korean Feature Film, 12th Jeonju International Film Festival (2011)

Collections

National Museum of Modern and Contemporary Art, Seoul Seoul Museum of Art Gyeonggi Museum of Modern Art Art Sonje Center