Hijoo Son - Academia.edu (original) (raw)
Papers by Hijoo Son
The Journal of Korean Studies, Mar 12, 2012
Hijoo Son is assistant professor in the Department of History at Sogang University. Her current r... more Hijoo Son is assistant professor in the Department of History at Sogang University. Her current research interests include Korean migration history, visual culture, art theory, and related policy issues for a multicultural Korea.
Cross-Currents: East Asian History and Culture Review, 2018
Y. David Chung is an artist and filmmaker known for his film and video works, installations, perf... more Y. David Chung is an artist and filmmaker known for his film and video works, installations, performances, drawings, prints, and public artworks. This interview combines two conversations on the concept of Korean identity and diasporic art: one that took place in 2008, after Chung finished filming his documentary "Koryo Saram: The Unreliable People," co-directed with Matt Dibble, and the other in 2018. Hijoo Son and Jooyeon Rhee jointly designed the questions, interviewed Professor Chung, and redacted the transcript into its present form.
Cross-Currents: East Asian History and Culture Review, 2018
Author(s): Son, Hijoo; Rhee, Jooyeon | Abstract: This special issue of Cross-Currents—“Diasporic ... more Author(s): Son, Hijoo; Rhee, Jooyeon | Abstract: This special issue of Cross-Currents—“Diasporic Art and Korean Identity”—is the fruit of a two-day conference on “Korean Diaspora and the Arts” held at The Hebrew University of Jerusalem in May 2017. The contributors explore new delineations of the political, social, cultural, and emotional landscapes inhabited by Koreans living in diaspora. Korean diasporic artists investigate the meaning of “Koreanness” through their paintings, political cartoons, theater, film, documentary, photographs, and multimedia art. This special issue on Korean diasporic art presents creative expressions of a shared history of trauma, suffering, or displacement, affectively reconstructed or nostalgically reimagined, produced in China, Cuba, Japan, Kazakhstan, South Korea, and the United States. The contributors demonstrate how artists are particularly able to captivate audiences and innovate ways of articulating the multiple aspects of the everyday condition...
There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in Sout... more There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in South Korea in 2002. The name alludes to fi ve of the oldest and largest
What James Clifford calls a “dwelling-in-displacement” in his seminal article titled “Diasporas” ... more What James Clifford calls a “dwelling-in-displacement” in his seminal article titled “Diasporas” (1994) entails the maintaining of communities and of having collective homes away from homes. This type of existence represents a specific cosmopolitanism that is held in tension between structures of the nation-state and assimilationist ideologies. In order to explore this tension, the case of an adopting artist Yong Soon Min and an adapting adoptee Nathalie Lemoine shows a scale of identities and multiple affiliations overseas Koreans maintain. Most studies of overseas Koreans understand those residing abroad as self-same entities whose roles and function are understood primarily as intermediaries, pioneers, or future resources that provide potential bases for the expansion of national power outside of the borders of the nation. This essay suggests that such a perspective does not attune with the history of overseas Koreans and their sense of self that is constituted by a complex of in...
Cross-Currents: East Asian History and Culture Review
This article examines diaspora in the context of intimacy in order to focus on individual conditi... more This article examines diaspora in the context of intimacy in order to focus on individual conditions of art-making, taking into account global conceptions of diaspora that have appealed to celebratory, emancipatory, pessimistic, or desirous formulations about diaspora and art. Through a discussion of paintings by Himan Sŏk, a Chinese Korean (Chosŏnjok), and Jun Ch'ae, a Japanese Korean (Zainichi), the author proposes that diasporic art can be analyzed in terms of the transpersonal relations that surround the intimate vicinity of the artwork in three ways. First, these works of art are neither structured from above nor resistant from below. Second, they express an idea of doubleness bound at once to a larger organizing collective and to the individual experience. These artists imbue their paintings with ethnos and nation and the personal and intimate, and a comparison of their works reveals social relations that form around the objects and evolve as art is produced, exhibited, written about, and discussed. Third, transpersonal relations surrounding the artists and artwork underscore a two-tiered idea of who transindividuals are to others and to themselves, a concept of identity that is especially pertinent to diasporic artists who are postcolonial subjects, as it allows for differing "selves" according to context-specific settings. The transindividual is, thus, shown to be a critical concept of integration in understanding identity.
Modern Korea at the Crossroads between Empire and Nation, 2011
The policy of overseas Koreans refers to the goals, decisions, and activities of the Korean gover... more The policy of overseas Koreans refers to the goals, decisions, and activities of the Korean government to establish and improve relationships between overseas Koreans and their homeland. Through its policy, the government can set the definition and rights and duties of overseas Koreans, protect the rights and interests of overseas Koreans in their host countries, strengthen ties and interrelationships between overseas Koreans and the homeland, and utilize overseas Koreans for the development of the homeland. For this reason, researchers and policy makers need to take the policy of overseas Koreans seriously.
There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in Sout... more There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in South Korea in 2002. The name alludes to fi ve of the oldest and largest overseas Korean communities: those in Brazil, China, Japan, Kazakhstan, and the United States. There curator, Yong Soon Min, chose twenty-four visual artists to represent the fi ve locations, and their artwork showcased Korea's diasporic cultural production formulated by the historical migratory routes that have infl uenced the artists' lives and their art. There indicates a paradox of diasporic art. While some diasporic artists uphold the ideas of Korean national culture and belonging bound by homogeneity and blood ties, other artists directly challenge the meaning such narratives hold in their artistic expressions. As such, the show discussed multiple identity formations that resist dominant narratives, refl ected differing experiences of class, gender, global, and national politics and indicated how the nation-state system is increasingly challenged by globalization. Yet, there are also artists who reinforce monocultural conceptions of national culture and cultural identity for diasporic subjects. In other words, diasporic art both undermines the master narrative of the nation at the same time as it reinforces them. Paradox of Diasporic Art from There 157
The Journal of Korean Studies, Mar 12, 2012
Hijoo Son is assistant professor in the Department of History at Sogang University. Her current r... more Hijoo Son is assistant professor in the Department of History at Sogang University. Her current research interests include Korean migration history, visual culture, art theory, and related policy issues for a multicultural Korea.
Cross-Currents: East Asian History and Culture Review, 2018
Y. David Chung is an artist and filmmaker known for his film and video works, installations, perf... more Y. David Chung is an artist and filmmaker known for his film and video works, installations, performances, drawings, prints, and public artworks. This interview combines two conversations on the concept of Korean identity and diasporic art: one that took place in 2008, after Chung finished filming his documentary "Koryo Saram: The Unreliable People," co-directed with Matt Dibble, and the other in 2018. Hijoo Son and Jooyeon Rhee jointly designed the questions, interviewed Professor Chung, and redacted the transcript into its present form.
Cross-Currents: East Asian History and Culture Review, 2018
Author(s): Son, Hijoo; Rhee, Jooyeon | Abstract: This special issue of Cross-Currents—“Diasporic ... more Author(s): Son, Hijoo; Rhee, Jooyeon | Abstract: This special issue of Cross-Currents—“Diasporic Art and Korean Identity”—is the fruit of a two-day conference on “Korean Diaspora and the Arts” held at The Hebrew University of Jerusalem in May 2017. The contributors explore new delineations of the political, social, cultural, and emotional landscapes inhabited by Koreans living in diaspora. Korean diasporic artists investigate the meaning of “Koreanness” through their paintings, political cartoons, theater, film, documentary, photographs, and multimedia art. This special issue on Korean diasporic art presents creative expressions of a shared history of trauma, suffering, or displacement, affectively reconstructed or nostalgically reimagined, produced in China, Cuba, Japan, Kazakhstan, South Korea, and the United States. The contributors demonstrate how artists are particularly able to captivate audiences and innovate ways of articulating the multiple aspects of the everyday condition...
There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in Sout... more There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in South Korea in 2002. The name alludes to fi ve of the oldest and largest
What James Clifford calls a “dwelling-in-displacement” in his seminal article titled “Diasporas” ... more What James Clifford calls a “dwelling-in-displacement” in his seminal article titled “Diasporas” (1994) entails the maintaining of communities and of having collective homes away from homes. This type of existence represents a specific cosmopolitanism that is held in tension between structures of the nation-state and assimilationist ideologies. In order to explore this tension, the case of an adopting artist Yong Soon Min and an adapting adoptee Nathalie Lemoine shows a scale of identities and multiple affiliations overseas Koreans maintain. Most studies of overseas Koreans understand those residing abroad as self-same entities whose roles and function are understood primarily as intermediaries, pioneers, or future resources that provide potential bases for the expansion of national power outside of the borders of the nation. This essay suggests that such a perspective does not attune with the history of overseas Koreans and their sense of self that is constituted by a complex of in...
Cross-Currents: East Asian History and Culture Review
This article examines diaspora in the context of intimacy in order to focus on individual conditi... more This article examines diaspora in the context of intimacy in order to focus on individual conditions of art-making, taking into account global conceptions of diaspora that have appealed to celebratory, emancipatory, pessimistic, or desirous formulations about diaspora and art. Through a discussion of paintings by Himan Sŏk, a Chinese Korean (Chosŏnjok), and Jun Ch'ae, a Japanese Korean (Zainichi), the author proposes that diasporic art can be analyzed in terms of the transpersonal relations that surround the intimate vicinity of the artwork in three ways. First, these works of art are neither structured from above nor resistant from below. Second, they express an idea of doubleness bound at once to a larger organizing collective and to the individual experience. These artists imbue their paintings with ethnos and nation and the personal and intimate, and a comparison of their works reveals social relations that form around the objects and evolve as art is produced, exhibited, written about, and discussed. Third, transpersonal relations surrounding the artists and artwork underscore a two-tiered idea of who transindividuals are to others and to themselves, a concept of identity that is especially pertinent to diasporic artists who are postcolonial subjects, as it allows for differing "selves" according to context-specific settings. The transindividual is, thus, shown to be a critical concept of integration in understanding identity.
Modern Korea at the Crossroads between Empire and Nation, 2011
The policy of overseas Koreans refers to the goals, decisions, and activities of the Korean gover... more The policy of overseas Koreans refers to the goals, decisions, and activities of the Korean government to establish and improve relationships between overseas Koreans and their homeland. Through its policy, the government can set the definition and rights and duties of overseas Koreans, protect the rights and interests of overseas Koreans in their host countries, strengthen ties and interrelationships between overseas Koreans and the homeland, and utilize overseas Koreans for the development of the homeland. For this reason, researchers and policy makers need to take the policy of overseas Koreans seriously.
There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in Sout... more There was the title of one of four projects exhibited at the fi fth Kwangju Biennale held in South Korea in 2002. The name alludes to fi ve of the oldest and largest overseas Korean communities: those in Brazil, China, Japan, Kazakhstan, and the United States. There curator, Yong Soon Min, chose twenty-four visual artists to represent the fi ve locations, and their artwork showcased Korea's diasporic cultural production formulated by the historical migratory routes that have infl uenced the artists' lives and their art. There indicates a paradox of diasporic art. While some diasporic artists uphold the ideas of Korean national culture and belonging bound by homogeneity and blood ties, other artists directly challenge the meaning such narratives hold in their artistic expressions. As such, the show discussed multiple identity formations that resist dominant narratives, refl ected differing experiences of class, gender, global, and national politics and indicated how the nation-state system is increasingly challenged by globalization. Yet, there are also artists who reinforce monocultural conceptions of national culture and cultural identity for diasporic subjects. In other words, diasporic art both undermines the master narrative of the nation at the same time as it reinforces them. Paradox of Diasporic Art from There 157