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Deoksugung

The Arrival of New Women

21.Dec.2017 - 01.Apr.2018

  • The Arrival of New Women
  • Gu Bonung, <Woman>,1930, MMCA collection
  • Gu Bonung, <Portrait of a Friend>,1935, MMCA collection
  • Kim Kichang, <Quiet Listening>, 1934, MMCA collection
  • Kim Junghyun, <The Spring Season>, 1936, MMCA collection
  • Lee Kaphyang, <Woman in a Cross-striped Dress>, 1938, MMCA collection
  • Lee Yootae, <Research>, 1944, MMCA collection
  • Lim Gunhong, <Model>, 1946, MMCA collection
  • Cover images of women's magazines of 1920s~1940s
  • Rha Hyeseok, <What is that>, April 1920
  • Ahn Seokjoo, <On the Street 1: Modern girls' boasting of accessory>, February 1928

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The Arrival of New Women

Gu Bonung, <Woman>,1930, MMCA collection

Gu Bonung, <Portrait of a Friend>,1935, MMCA collection

Kim Kichang, <Quiet Listening>, 1934, MMCA collection

Kim Junghyun, <The Spring Season>, 1936, MMCA collection

Lee Kaphyang, <Woman in a Cross-striped Dress>, 1938, MMCA collection

Lee Yootae, <Research>, 1944, MMCA collection

Lim Gunhong, <Model>, 1946, MMCA collection

Cover images of women's magazines of 1920s~1940s

Rha Hyeseok, <What is that>, April 1920

Ahn Seokjoo, <On the Street 1: Modern girls' boasting of accessory>, February 1928

Current exhibition booked
  • Period 21.Dec.2017 - 01.Apr.2018
  • Venue Gallery 1~4
  • Admission       TBC

  • Exhibition
    introduction

It is hard to define "modernity" in just one word because it embodies not only a specific experience, but a discourse in which various contradictions, conflicts, coincidences, and discontinuities are intricately entangled. New Women focuses on women as an intersection of these experiences and discourses that construct Korean modernity: the tension between tradition and innovation, the idea that westernization equals modernization, and the implications of urbanization, imperialism, and colonialism.

The exhibition pays special attention to the "new women" regarded as "ambiguous and dangerous women who are neither gisaeng (artists who worked as entertainers and courtesans) nor students." Yielding to external influences from Japan and the West, they formed through processes of selection and exclusion, translation and imitation, making them perfect displays of the country's complicated and inconclusive "modernity." The exhibition explores these women who permeated images and narratives of colonial modernity through pop culture and modernist art.

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