Please use this identifier to cite or link to this item: http://hdl.handle.net/10397/67256
Title: Art and community engagement : Chang-Jin Lee’s comfort women wanted, 2007-2012
Other Titles: 藝術與社群參與 : 李昌珍的「慰安婦招募」(2007-2012)
Authors: Fok, S 
Keywords: Art
Chang-jin Lee
Comfort women
Community engagement
Trauma
Issue Date: 2016
Publisher: 牛津大學出版社
Source: 香港社會科學學報 (Hong Kong journal of social sciences), Autumn/Winter 2016, no. 48, p. 3-27 How to cite?
Journal: 香港社會科學學報 (Hong Kong journal of social sciences) 
Abstract: This paper examines the issues related to community engagement in Chang-Jin Lee’s Comfort Women Wanted (2007−2012), a solo exhibition held in Hong Kong’s 1a Space from February to May 2012. The strategies in which she engaged comfort women survivors and witness, feminists, activists, researchers, scholars, and audience are expounded. Considering her shows in other cities such as in New York (2008), Incheon (2009), and Cleveland (2011) prior to that in Hong Kong (2012), the different means of artistic representation of the comfort women issue across nations is investigated too. I contend that through community engagement by means of field research (i.e., engaging the human subjects and the sites) and artistic mediation (i.e., engaging the audience), art can play a role in raising socio-cultural awareness and further contributing to social changes. Trauma-related art is not just a matter of stimulating empathy, as the contemporary art scholar Jill Bennett discussed; it is also a way to lead the audience “toward a conceptual engagement.” As a female Korean artist residing in New York, the manner in which Chang-Jin Lee’s cross-cultural, humanistic perspectives shaped the means she tackled this “taboo” theme, engaged comfort women survivors and witnesses and represented complicated issues such as race, class, gender, and human rights through installation art, audio installation, and video installation in different cities are noteworthy. Apart from the survivors, the ways her art engaged the community of various nationalities in Hong Kong not only cultivated an awareness of the past, it also raised concern for our present and future, which is another aspect that deserves our attention.
本文着重研究2012年2月至5月於香港1a空間(1a Space)舉辦的李昌珍個展「慰安婦招募」(2007–2012)。研究焦點是該作品如何讓「慰安婦」倖存者、見證人、女權主義者、社會活動家、研究員、學者及不同國籍的觀眾參與其中。文中回顧李昌珍之前的三次展覽:2008年紐約展、2009年仁川展、2011年克利夫蘭展,着重探討「慰安婦」議題的藝術表現手法。本文的論點是:藝術可以通過社會調查和藝術手段吸引不同社群參與其中,換言之,藝術能提高社會文化意識,繼而鼓動社會變革。當代藝術學者Jill Bennett 認為跟創傷有關的藝術不但要喚起人們的同情,而且要引導觀眾「參與並思考」。李昌珍作為一名旅居紐約的韓國女藝術家,面對被視為「恥辱」的「慰安婦」亞洲創傷史議題,究竟如何從跨文化的人文視角去關注此「忌諱」呢?她是如何讓「慰安婦」 倖存者、見證人等參與其中呢?更值得留意的是,她如何通過裝置藝術、錄音裝置、錄像裝置去表現這個涉及種族、階級、性別、人權等複雜問題的議題呢?李的藝術作品除了鼓勵倖存者參與其中之外,還吸引了香港不同國籍的觀眾也來參與,不僅喚起觀眾對歷史的反省,更提高了他們對當下和未來的關注。
URI: http://hdl.handle.net/10397/67256
ISSN: 1021-3619
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