Performing Gender: Yeoseong Gukgeuk and Performativity
Dec 1, 2018 Saturday 19:00 - 20:30
Rockbund Art Museum (Shanghai 20 Huqiu Road, Huangpu District)
Yeoseong Gukgeuk that started at the end of the 1940s is a similar type of the Korean traditional operas that declined after its popularity peaking during the 1950s through 1960s. It is a Genre where singing (唱) and dancing (舞) are combined and contains remaking stories of popular myths or novels based on Korean traditional music, Pansori. Yeoseong Gukgeuk obviously appropriates the characters who perform conventional gender role and their typical melodrama, however, it has a significantly, uniquely subversive style what only women player can perform all of characters. Even though Yeoseong Gukgeuk has such a very short history and only few historical documentations, it has achieved totally new modern formation of theatre as much as radical sexual politics in particular period of Korean modernization. So far, Yeoseong Gukgeuk has been studied and analyzed based on only some interviews with several performers who is still alive as a first generation, and some faded personal photos.
Since 2008 until now, the artist siren eun young jung has been working on “Yeoseong Gukgeuk Project”, she tries to create a technology of imagination being closer to Yeoseong Gukgeuk, an image of absence. Through this technology, it argues inherent political possibilities of the minorities in Yeoseong Gukgeuk by critically intervening into the certain hegemony, so-called 'written history'.
siren eun young jung studied Visual art and Feminist theory at Ewha Womans University and at the University of Leeds, UK. Her artistic interest lies in how the yearning desires of unknown individuals meet with the events of the world, how such contacts become resistance, history, and politics. She is also constantly attempting to expand the feminist artistic language. One of her prominent projects, Dongducheon Project(2007-2009) was an inquiry of life and death of the female residents in the US Army town of Dongducheon. Since 2008, she has been working on Yeoseong Gukgeuk (Korean Traditional Female Theater) Project in which she follows a community of performers of the genre. In 2013, she was awarded Hermes Foundation Missulsang(prize), in 2015 Sindoh Art Prize, and in 2018 Korea Artist Prize with the project. She also will represent as an artist for Korean Pavilion in 2019 Venice Biennale, with other tow woman artists. Now she lives and works in Seoul, and also gives several lectures at Ewha Womans University, Sungkyunkwan University, and Korea National University of Art.
As art activities proliferate, performance and performing arts are evermore presented to the public, notably seen in art museums across recent years. The series of lectures of “Spectrum of Performance(ing) Arts” is not designed to invent some new vocabulary or definition, or to inquire “What is Performance (Performing)?”, but to examine how art in an unbound state flows and mutates into a spectrum with colorful connotations and more possibilities. It looks forward to the confluence and interaction of different realms of art, discussions from the artist, curator, researcher and scholar perspectives on issues such as the role of the platform, methods of artistic creation, ways of watching performances, the concept of curating, and the development of performance art and performing art under the globalization framework, as well as more dialogues in unexpected aspects between the speakers and audience.
This series of lectures is jointly initiated by RAM and Zhang Bing, an independent curator, and supported by Shanghai Artemis Art Center.
Shanghai Artemis Art Center (SAAC), funded by Anxin Trust Co., Ltd. and approved for registration by Shanghai Bureau of Civil Administration, was established officially on June 6, 2016 as a non-profit art institution.
SAAC aims at promoting the production and development of modern arts, through hosting, supporting and assisting non-profit artistic activities of various forms, including but not limited to art exhibitions, publications, public projects, artistic research, academic discussion, art curating, criticism and writing.
Free admission, reservation is required.