As South Korea and the world tries to sort the best response to the latest provocations from North Korea, an exhibition of contemporary ‘official’ art of the DPRK (Democratic People’s Republic of North Korea) opened at the MAK (the Museum of Applied Arts) in Vienna, with a rather dodgy title. “Flowers for Kim Il Sung” was launched despite opposition and questions about the nature of the museum’s collaboration with the Pyongyang regime.
By admission of MAK director Peter Noever in a number of interviews, the work is presented without any critical context.
Perhaps there is no other art in North Korea, as it seems the MAK believes. While that may be true, it is hard to imagine that much first hand research went into that position being taken. Perhaps the director’s trip to the DPRK was not so unlike this one taken by Vice correspondents:
Watch all three episodes. But perhaps it is another experience for a European museum director.
Surely there is a difference between exhibiting a display of historical propaganda versus a contemporary, active one constructed through forced labor and dictated entirely by one family’s aesthetic viewpoint, if you can even call it that.
The MAK makes a case that this show fits in a tradition of previous exhibitions centering about specific political systems, and yet the defense of this show is that it is about aesthetics, not politics, and about seeing the visual production of an ‘other.’ It is hard to imagine that this will open doors for us to see anything except what the current regime wants us to see. Continue reading “Blumen for Peter Noever”
A cheap plane ticket purchased on a whim resulted in me attending Berlin’s recent “Gallery Weekend” (and the May 1 ‘riots’ party). As I have not really been to Berlin in years, it gave me a lot to think about. I decided to go with an open mind and little advance research, to get a reasonable overview of the scene. I did find out about a few openings, but also came across velvet ropes and guest lists.
My first impression is that the scene is much, much bigger than before, so big that one really needs to make choices about what to see and do. I guess there are 500 some galleries in Berlin, 40 of which participated in Gallery Weekend.
My second impression is that the Gallery Weekend was trying to be just that—a weekend for a carefully selected group of people. If you came, like me, without a particular invitation, you were pretty much on your own. If I didn’t know people in Berlin, I would not have met a soul. I would have eaten every meal alone. I imagine that would have turned me off deeply if I were a serious collector who didn’t have a particular gallery invitation.
My third impression was that the programming was decidedly blue chippy international artists, rather than being focused on the new and local talent on which Berlin has built its reputation.
I do wonder what exactly this Gallery Weekend is meant to accomplish. Zürich has done them for years. There, it is clear where you are supposed to be and when; there are gallery clusters, so the openings are split over three days for the three clusters. Continue reading “Berlin calling”