Theme: Travel and Migration
Fluxus, Revisited in Global Context: Fluxus in South Korea in the 1960s and 1993, the Meta-Avant-Garde.
My paper traces undocumented territory within existing discourses of Fluxus – Fluxus in South Korea. By examining Fluxus’ South Korean connection in the 1960s and again, in 1993, it argues a reciprocity, specifically, South Korean artists strategic use of Fluxus-like activities for socio-political ends, and South Korea’s role in forming Fluxus via Corner, and Paik. Fluxus is an apt juncture to position the parallel artistic activities in South Korea within a broader art historical dialogue, while South Korean Fluxus, in turn, contributes to Fluxus history in its broadest, and continuous transforming identity. My paper also offers alternative concepts and meta-criticism of the avant-garde, repurposed by South Korean artists.
Sooran Choi is a PhD candidate in Art History at CUNY, Graduate Center, and currently completing her dissertation on the South Korean “avant-garde” under military dictatorships from 1967 to 1992, viewed with a revisionist lens, expanding the existing discourses on the avant-garde. Her scholarly interest lies in a comparative study of different cultures, with postcolonial theoretical concerns; she currently teaches Western and Non-Western art history courses at FIT, and BMCC.
From the conference Multiple Modernisms. A Symposium on Globalism in Postwar Art.
Louisiana Museum of Modern Art 2017