1366 is an emergency call number for the victim of a domestic violence. It began its operation since 1983 and it is opened 24 hours a day. In Project 1366, Seungbok Roh used the picture of the body of battered women. When they were filing papers for a div
Seungbok Roh, 1366 Project 2020 Digital Achieve Pigment Print 240 x 708 in
description: Seyun Moon begins with research on the experience of objects or other people. Based on it, her aim is to show signs, objects, and invisible ideas that have become categorized into genders. She conducts researches and analyzes it into outcomes
Seyun Moon, Collected Anonymity 2015
Fear turns into anger, and a group with the same thoughts develops repulsion. Heejung Nam scrapped articles (1980~) which are corresponding to women’s rights. Many women have been dissatisfied with the situation from the past to the present till now. In o
Heejung Nam, Manifesto Two sided college 23.4 x 33.1 in
Dadaepo (meaning “big and wide port”), well known for its Rainbow Industrial Complex, is located on the outskirts of  Busan. The performers in this film are thirteen local women working at the Complex.  The 5 dance-film works were made in Busan, Osan, Dae
Youngjoo Cho, Floral Patterned Romance 2014 Single Channel Video 6mn 51sc

Feminism in Korea only really began to take root as a radical movement in the 1980s, and it remains controversial in public discourse. However, in just the past few years, the women's movement in Korea has grown into a sizable online community thanks to social networking sites. It has also manifested in public actions and demonstrations, particularly in response to the #MeToo movement.

Since I know these difficulties for Korean women to be the feminist, as a curator I’m holding a feminism show for the Korean women artists. I’m building this ‘Safe House’ for them to speak their aims.

Featured Artists:

  • Heejung Nam
  • Youngjoo Cho
  • Sunwoo Jung
  • Gyeongyeon Kim
  • Kyuwon Kim
  • Seyun Moon
  • Seungbok Roh

With Safe House, audiences will have a chance to experience both new and familiar concepts. Korean audiences will grapple with a concept of feminism that has only recently surfaced in daily life, but that nonetheless reflects familiar aspects of Korean culture. American or other non-Korean audiences will learn about Korean culture and attempt to reconcile familiar feminist concepts with the values of a foreign society. This will ultimately provide opportunities for cross-cultural exchanges. Finally, the show will introduce American audiences to a multigenerational group of contemporary Korean artists working in a variety of mediums.