The Korean Cultural Center Canada is hosting "Negotiating Borders" in collaboration with SAW, the Real DMZ Project, and the Korea Foundation for International Culture Exchange (KOFICE), from October 13th, 2023 to January 27th, 2024.

The year 2023 holds significant meaning as it marks the 60th anniversary of diplomatic relations between Korea and Canada. Hosting the "Negotiating Borders" exhibition in Canada, in partnership with the prominent contemporary art institution SAW, is a significant signal. Not only because Canada was the first country to support Korea by sending troops to the Korean War in 1950 and continues to be a comprehensive strategic partner with Korea but also the enthusiasm of Canadians for K-Culture and the arts has been growing exponentially for the past decades. Now, Canadian interests in Korea have expanded beyond the cultural sphere to include global issues such as the DMZ (Demilitarized Zone) of the Korean peninsula.

SAW was established in 1973 and is celebrating its 50th anniversary this year. As one of Canada's leading artist-run centers, SAW has actively enhanced the richness and seriousness of Canadian arts and culture. Many renowned Canadian artists have started their careers at SAW, making it a globally recognized institution. SAW hosts over 30,000 visitors annually as a major cultural institution in the Ottawa-Gatineau region. SAW runs the main gallery, Nordic Lab (an Indigenous contemporary art exhibition space), Club SAW, the Courtyard (an outdoor space), and the Rochon Residency space in collaboration with the City of Ottawa and the National Capital Commission.

The exhibition also features various public events designed to generate dialogues surrounding the DMZ continuously throughout the exhibition and beyond.

1. Vernissage: Friday, October 13, 2023, 7 pm~midnight/ SAW (67 Nicholas St., Ottawa) 

2. Panel discussion & Screening: Saturday, October 14, 2023, 5~8 pm/ KCC (101-150 Elgin St., Ottawa)

3. DMZ Reading with Riverbed: Wednesday, October 18, 2023, 7:30 pm/ Club SAW

4. Final viewing: Saturday, January 27, 2024  

      * 12 - 5 pm/ KCC ( 101-150 Elgin St., Ottawa)  

    ** 11 am - midnight/ SAW (67 Nicholas St., Ottawa)

Negotiating Borders

Efforts toward Harmony at the Borders

Sunjung Kim

REAL DMZ PROJECT Artistic Director

This year marks the seventieth anniversary of the creation of the Demilitarized Zone (DMZ), a result of the 1953 Armistice Agreement following the Korean War, which began in 1950. During this time, the DMZ, as a place reserved solely for army bases, has ironically become the most militarized of demilitarized zones. Due to restrictions on civilian entry, the DMZ is home to only animals and plants, aside from its military presence. Negotiating Borders—Ottawa is an exhibition that contemplates the various phenomena brought about by the division of South Korea and North Korea through the lens of contemporary art. In addition to commemorating the DMZ’s sense of place, its history, and the meaning of the divided nation, the exhibition also seeks to ponder the future of the DMZ. The artists participating in this exhibition approach the DMZ from diverse perspectives, ranging from political and historical themes, to the lives of residents of the civilian control zones developed around the DMZ over the past 70 years, and other various phenomena that derive from the North-South division of Korea. Furthermore, the artists attempt new explorations of the natural environment of the DMZ and its ecology as it has been built up throughout the last 70 years of national division.

DMZ

The DMZ, which marks the boundary between South Korea and North Korea, was created 70 years ago, through the Armistice Agreement of 1953. At the Moscow Conference of Foreign Ministers in December 1945, where representatives from the United States, the United Kingdom, and Russia discussed how to manage the trusteeship of the Korean Peninsula following the end of Japanese colonial rule, a US-Soviet Joint Commission was established and a line drawn was along the 38 parallel to divide the peninsula into North and South. The North and South were then put under the military administrations of Russia and the United States respectively, and although there were efforts to form a unified government, the South established the government of the Republic of Korea on August 15, 1948, and the North established the Democratic People’s Republic of Korea on September 9, 1948. The Korean War began in 1950 after a North-led attack, and on July 27, 1953, a ceasefire was announced based on the Armistice Agreement between the representatives of the UN and those of North Korea and China. The war wound down without a formal termination, but rather with an armistice, and each party agreed to retreat 2 kilometers in either direction from the Military Demarcation Line (MDL), effectively creating a demilitarized zone spanning a total length of 248 kilometers. Marking the southernmost end of the DMZ is the Southern Limit Line (SLL), and to the north is the Northern Limit Line (NLL). In the areas 5 to 20 kilometers from the SLL, a Civilian Control Zone (CCZ) also came to be developed. A demilitarized zone, as defined by international law, comprises four elements: demilitarization, a certain amount of buffer area, separation or isolation of military forces, and the installation of surveillance measures. However, the Korean DMZ and its surrounding areas are currently some of the heaviest armed areas in the world, with sparks ready to fly at a moment’s notice. This fact of temporary armistice and the ongoing conflict between South Korea and North Korea have put down deep roots within our daily lives, on both conscious and unconscious levels.

Negotiating Borders

The exhibition Negotiating Borders has its origins in the REAL DMZ PROJECT. Begun in Cheorwon, South Korea in 2012, the project brings together artists from Korea and from elsewhere in the world to explore the tensions between South Korea and North Korea, the social impact of the division, and efforts to overcome it. The REAL DMZ PROJECT carried out exhibitions and other commissioning work from 2012 to 2016, focusing on Cheorwon’s national security tourism routes and the village of Yangji-ri, and held a large-scale exhibition in Culture Station Seoul 284 in 2019 that encompassed all of its works to date. This was followed by exhibitions held overseas, in locations including Denmark, Brazil, the UK, France, South Africa, Australia, and Germany. During September 1-23, 2023, DMZ Exhibition: Checkpoint was held in Paju, Gyeonggido, at Dora Observatory, a former military observation post (OP), and at Camp Greaves, a former US military base. The exhibition Negotiating Borders—Ottawa will be on view from October 13, 2023, to January 27, 2024, at the Korean Cultural Centre in Ottawa, Canada, and at the SAW Gallery. The two exhibition halls are configured as to set the various images of the DMZ face to face with each other, just as the South and North have reflected each other like mirrors throughout the past 70 years. The SAW Gallery will showcase works shedding light on the South-North relationship, the state of the divided nation, and the people who live through that division, as well as the lives of residents of the Civilian Control Zone, mainly the village of Yangji-ri in Cheorwon. The exhibits in the Korean Cultural Centre will focus on the natural environment of the DMZ area, in which humans have not been able to intervene for 70 years as well as efforts to achieve harmony.

SAW Gallery 

Entering the SAW Gallery, the viewer is immediately faced with Jane Jin Kaisen’s Apertures / Specters / Rifts (2016), a lightbox of reddish hue holding 36 black-and-white photographs. These photographs include those taken by Danish journalist Kate Fleron in 1951 when she visited North Korea as part of the Women’s International Democratic Federation, and those taken by Kaisen herself, an adoptee, as she traveled across the border from North to South in 2015 as one of thirty women in the international women’s delegation ‘Women Cross DMZ.’ HaeAhn Paul Kwon Kajander’s  Leave Without Absence, 2023  is strewn about here and there. The work of HaeAhn Paul Kwon Kajander involves casting and varnishing found items such as residential window grilles from the 70s and 80s and sewer grates from Panmunjeom. Sewers are crucial parts of the social infrastructure that discharge and circulate wastewater from daily life, although they remain hidden from view. Window security grilles, often shaped into grids or other geometric patterns, serve to distinguish the inside and outside of the home, and to protect the inside from the dangers of the outside. Minouk Lim’s It’s a Name I Gave Myself is a work based on broadcasted searches for families separated during the Korean War and its aftermath, collecting and reconstructing the cases in which participants in the search do not know their own names or years of birth. Chan Sook Choi’s work springs from an interest in the lives of the residents of villages within the Civilian Control Zone. Through works such as 60 Ho (2020), which focuses on the structure of villages and houses built up through land-reclamation projects for North-facing propaganda purposes, and Artificial Sun (2017), based on footage of the ubiquitous fan-heaters found throughout the village, especially in the homes of elderly women, Choi contemplates the lives of women migrants into the CCZ areas as products of the Cold War system. Jeewi Lee’s work involves a floor installation that divides the exhibition space in half by way of black and white pebbles, as well as drawings based on rubbings of bullet marks left on trees near the 38 parallel. The viewer is led to walk through the pebble-strewn ground in order to see the drawings, and in the process, the boundary between black and white gradually disappears. Finally, the viewer encounters Jin-me Yoon’s work Mul Maeum (2022). The work cuts across three regions in South Korea: a fishing village near Saemangeum, home to the world’s longest embankment; the village of Gangjeong on Jeju Island, partially destroyed for the purpose of building a naval base; and the military facilities built in the DMZ, where such interventions have resulted in shifts in human, natural, and environmental ecologies. Adrian Göllner presents drawings based on birdwatching sessions in Cheorwon accompanied by an expert on avian life.

Korean Cultural Centre Canada

At the entrance of the Korean Cultural Centre, two video works can be viewed. One of the works hypothesizes what it would be like to install art in the access-limited areas of the DMZ, and uses a virtual-reality space to display pieces by Lee Bul, Minouk Lim, Kyungah Ham, Tobias Rehberger, and Superflex. The other is Dongsei Kim’s video work, A Construct the Koreas (Never) Made Together: Deconstructing the DMZ for the Imaginary—2019 (2019), which shares records of the process through which the DMZ came into being and the events that took place within it. Inside the Centre’s gallery, one can view Vine: Between and Traces (2023) by ikkibawiKrrr, a work illustrating abandoned houses overgrown with plant life in Jeongyeon-ri, Cheorwon, a village made part of the Civilian Control Zone in the 70s. The mural, in panorama format, reflects an image of the CCZ from which humans have disappeared and in which plants have taken over. Zoh Kyung Jin and Cho Hye Ryeong’s Parallel Botany (2023) reveals the differences between South Korea and North Korea that have grown more stark in the past 70 years by highlighting how the two lands now call the same plant by different names. Kyungah Ham’s work contains embroideries by North Korean seamstresses that the artist has contacted indirectly through brokers. It thus embodies the issues of labor, censorship, and border-crossing; “What you see is the unseen,” as the title indicates. Sojung Jun’s video work features a joint performance of a North Korean pianist and a South Korean pianist, conjuring an image of correspondence between the two Koreas. Lee Bul’s Study for Aubade V(1/5 Scale) (2019) is a maquette based on large-scale structures inspired by modernist architecture such as Tatlin’s Tower or the Eiffel Tower, built from the remnants of the 10 guard posts (GP) that were demolished following the Pyongyang Joint Declaration of 2018.

Coda

Negotiating Borders—Ottawa is distinct from previous exhibitions on the DMZ. Whereas other exhibitions have tended to involve works that focus on the fact of division itself and the social phenomena that spring from it, this exhibition concentrates on the DMZ’s sense of place by collecting and showcasing works based in Cheorwon, particularly the village of Yangji-ri, the locale of the REAL DMZ PROJECT for the past 10 years. In addition, research on the natural environment, fauna, and flora of the DMZ has been added as a new chapter in explorations of the DMZ. The exhibit in the Korean Cultural Centre, opening with a video that dreams of a future for the DMZ through virtual images of the DMZ space filled with gigantic installations of art, goes on to approach the DMZ in new ways through works that deal with the ecological and environmental facets of the DMZ, namely the animals, plants, and nonhuman elements remaining in the DMZ space closed off to humans, as well as works that present various ways to achieve harmony. The exhibition in the SAW Gallery brings together the efforts of boundary-crossing women in history, the work produced by the REAL DMZ PROJECT over the past 10 years centering on Yangji-ri, Cheorwon, and contributions by Canadian artists. The past seven decades have seen the end of the Cold War, but the DMZ, its product, yet remains. Ideologies operating through invisible forces have brought the Korean people to call the same plant by different names through 70 years of division. We do not know if the day will come when we will again use the same name, but efforts to draw out the meanings of the DMZ and to move beyond its boundaries must continue.

Artists and Artworks 

SAW Gallery 

Jin-me Yoon

Mul Maeum, 2022, Single channel video, 30min. 48 sec.

Mul Maeum transverses three locations on the Korean peninsula to explore the consequence of extraction economies and military industry on the livelihood and lifeways of people, nature and marine environments. One of these locations is a fishing village near Saemangeum, home to the world’s longest seawall. The construction of the thirty-three kilometre wall has displaced the estuarine tidal flat that was once the natural habitat for migratory birds. A second location is the village of Gangjeong on Jeju Island, where the construction of the naval base has disrupted the sacred Gureombi rock. In Gangjeong, we encounter a Yemenis family, refugees who the artist met during an earlier research trip. The third site is the Demilitarized Zone (DMZ) separating North and South Korea—ironically also one of the most richly bio-diverse areas in the region. Intercutting these three sites across three screens, Yoon’s work flows like water calling up the title Mul Maeum, directly translated, “Water, Mind-heart.”

Adrian Göllner 

Trace, 2023, mixed media, dimensions variable

Trace presents an alternate mapping of the Korean DMZ based on birdwatching along this highly militarized border. In the 70 years since the Korean War, this 4 x 248 km divide has returned to nature and is now home to many rare birds and animals. In September 2023, Adrian Göllner travelled to South Korea to bear witness to its avian population. This line drawing stitches together the paths of his birdwatching excursions from Incheon to Cheorwon County.

Chan Sook Choi

60 Ho, 2020, Single channel video installation, 21:9, Full HD, color, sound, loop, 24 min

Artificial Sun, 2017, Single channel video installation, 3:12, Full HD, color, loop, 1:30 min

60 Ho (2020) details the personal narratives of women who settled in one of the 112 propaganda villages located up North at the Civilian Control Zone of the Demilitarized Zone. After the outbreak of the Korean War in 1950, these villages were established for purposes of land-clearing and propaganda against North Korea. The village of Yangji-ri in Cheorwon, Gangwon-do, was also formed in response to political promises of cheap land and housing. The colorfully roofed houses all sport windows facing north—supposedly to facilitate observation of the enemy—but the insides are makeshift, each with its own complex structure. Under the patriarchal family-register system, the female migrants who lost their husbands to war, or to the mines scattered about their everyday living space, cannot claim ownership of their territory. Village soldiers begin to address them as just numbers. 60 Ho refers to a human reduced to a mere number in the place where she resides. In Artificial Sun (2017), based on footage of the ubiquitous fan heaters found throughout the homes of these elderly women, brings warmth that burns brighter than the sun to the lives of these numbered female migrants.

Jane Jin Kaisen

Apertures | Specters | Rifts, 2016, Triptych handcrafted oak light box, 36 B&W Photographs, 52.8 x 508.4 x 10 cm

Apertures | Specters | Rifts consists of a triptych red-light box containing 36 black-and-white photographs portraying North Korea through the lens of two international women’s delegations. In May 1951 Danish journalist and women’s rights advocate Kate Flerson, visited North Korea as part of a delegation organized by the Women’s International Democratic Federation. Upon her return she published Fra Nordkorea. Indtryk fra en Rejse til Verdens Ende (From North Korea. Impressions from the End of the World) about her experience. Seventy years later, in May 2015, Kaisen—born in Jeju and adopted to Denmark—visited the North as part of Women Cross DMZ, an international women’s delegation consisting of 30 women. Half of the photographs in the lightbox stem from Fleron’s archive, while the remainder were taken by Kaisen herself, visualizing the persistent trauma of war and polarization of the Cold War. 

Minouk Lim

It’s a Name I Gave Myself, 2018, Single channel video, 20:36 min

Farewell, 2011, Children's rainboot, sponge, paraffin, glue, glass case, 52 x 67 x 60 cm

To commemorate the 33rd anniversary of the Korean War and 30 years since the Armistice, one South Korean broadcasting station planned Finding Separated Families to find those who were unable to meet each other. The division of the two powers into South and North Korea caused by the Cold War inflicted collective wounds on the Korean people. As the ideological battle continued and each side gained and lost advantages countless times, it was common for parents, brothers, and sisters to become separated on the path of refuge which divided their fate into life or death. Through the 138-day broadcast, a total of 10,000 families were able to reunite in South Korea alone. On being faced with these scenes, Minouk Lim saw the space of the broadcast as a place for conversations that bring back the memories and history that we have forgotten. Minouk Lim’s It’s a Name I Gave Myself is a short video that mainly includes the reunion of separated family members who lost their families at such a young age that they cannot remember their names. The large lighting object that is placed alongside the video is an attempt at re-exploring the “impossible” by reproducing the exhibition space as a virtual broadcasting station.

Jeewi Lee

FRAKTUR (Fracture), 2018, Installation – gravel, Dimensions variable

INZISION (Incision), 2018, Hanji-paper, Chinese ink, 70 x 140 cm (paper), 120 x 160 cm (framed)

A German artist of Korean descent, Jeewi Lee currently works and resides in Berlin. She presents her work INZISION (Incision), a rendition of five trees near the 38th parallel using the traditional Eastern method of takbon rubbing that uses ink to copy out the original forms of carved patterns from stone monuments, trees, and other objects onto traditional Hanji-paper. The artist planned out a total of 10 equidistant topographical points – five in South Korea and five in North Korea – and selected trees which met her requirements on age and location. The trees selected by Lee are all ones which grew before the 1945 North-South division, and as such, serve as living evidence which vividly recalls the trauma of the Korean War. It is exhibited alongside FRAKTUR (Fracture), an installation piece in which black and white gravel divides the exhibition space in half and creates a boundary. Visitors directly experience walking on the field of gravel to view INZISION (Incision). The black and white pebbles are gradually mixed together by the movements of the audience, and so are a metaphor for the future of North and South Korea in which their borders, which appear strong, gradually blur due to mutual interaction. This is also the artist’s hope.

KCC Gallery

Lee Bul

Study for Aubade V (1/5 Scale), 2019, Cast steel (collected from demolished checkpoint in DMZ), glass beads, LED lights, mixed media, 200 x 70 x 70 cm 

Premiered at the 2019 edition of the Venice Biennale, Aubade V is a large-scale casted steel tower. Its design incorporates inspirational elements from modernist architecture, such as Tatlin’s Constructivist Tower and the Eiffel Tower. The steel structure is made from barbed wire debris collected from a guard’s post in the Korean Demilitarized Zone (DMZ), which was demolished in 2018 as part of an inter-Korean military accord. Attached to the structure are various light signals that flicker anxiously, failing to communicate their message to the audience, as many will not be able to decode—or even recognize—Morse Code or the International Code of Signals. Moreover, the English text in LED lights may appear more familiar, yet it states: “For the next 1 million years, the cycle will carry the obliquity between 22˚ 13' 44" and 24˚ 20' 50",” delaying direct or easy understanding. Lee Bul’s Aubade V evokes insecurity and uncertainty, rather than utopian or heroic ambitions. Study for Aubade V (1/5 Scale) is a study model for the work Aubade V.

Kyungah Ham

What you see is the unseen / Chandeliers for Five Cities DSK M 02-D-05, 06, 07 (Triptych), 2018-2019, North Korean hand embroidery, silk threads on cotton, middleman, smuggling, bribe, tension, anxiety, censorship, ideology, wooden frame, approx. 1200 hrs / 1 person (each panel), 105 x 151 cm (each panel) / 151 x 315 cm (overall)

The Embroidery Project that Kyungah Ham has been involved in since the late 2000s was inspired by her chance discovery of a North Korean propaganda leaflet in front of her house. Seeing the leaflet, she had the idea of artistic communication with an anonymous partner in the North. She sought to reach out toward the lives of North Koreans, which are restricted, that stands in sharp contrast with South Korea’s highly digitalized lives, where all manner of information is available at the click of a mouse. The Chandelier series, one of Ham's embroidery projects presented in this exhibition, was inspired by the North Korean card stunt documentary. A close-up of a boy's face appeared on a television screen as thousands of people displayed large-scale propaganda images, each showing individual color charts. The image of the boy's face and card stunt overlapped with the image of a chandelier embroidered with pixels one by one. 

Sojung Jun

Early Arrival of Future, 2015, Single channel video, stereo sound, HD 16:9, 10:08 min

Sojung Jun's Early Arrival of Future documented the process of reaching a perform together through a series of encounters, conversations, and practice between North Korean defector pianist Cheol-woong Kim and South Korean pianist Eun-kyung Uhm. Against the grain of time and ideology, the two pianists sit before their instruments, talking about North and South Korean music as they return to the past—and memories of early childhood in particular—in an attempt to bridge a 70-year gap. The two pianists carefully combine the songs that they would have murmured together in the past, songs that have been forgotten for seven decades, compromise homogeneity. Their collaboration Sinabro is a melodic variation of Yonggang Ginari and Eommaya Nunaya, focusing on jung-im-mu-hwang-tae scale (the basic scale for Korean traditional music). The arrangement reaches harmonies of Dondol Arirang and Gangangsullae as a metaphor to the harmony of the North and South.

Zoh Kyung Jin/Cho Hye Ryeong

Parallel Botany, 2023, Plant/Stone(Basalt), Dimensions variable

Plants, by their nature, are apolitical beings. However, South and North Korea have different names for more than half of the plants. The plants in this garden bear two different names, despite belonging to the same species. The collective nature of the 22 species of this garden represents the parallel worlds. Parallel Botany is a garden installed at Camp Greaves for DMZ Exhibition: Checkpoint (23.8.11-11.5) as part of the 2023 DMZ Open Festival. The North Korean names were cited by a North Korean defector while the South Korean plant names were cited by the artist. 

Plant Lists(South Korea, North Korea, Scientific Names)

* 산사나무-찔광나무. Crataegus pinnatifida

* 수수꽃다리-넓은잎정향나무. Syringa oblata Lindl. var. dilatata

* 고광나무-조선산매화. Philadelphus schrenkii 

* 귀룽나무-구름나무. Prunus padus L.

* 함박꽃나무-목란 Magnolia sieboldii

* 백당나무-접시꽃나무. Viburnum opulus L. 

* 회양목-고양나무. Buxus microphylla var. koreana

* 쥐똥나무-검정알나무. Ligustrum obtusifolium

* 쑥부쟁이-푸른산국. Aster yomena

* 냉초-숨위나물. Veronicastrum sibiricum 

* 부처꽃-두렁꽃. Lythrum anceps

* 산박하-깨잎오리방풀. Isodon inflexus 

* 벼룩이울타리-긴잎모래별꽃. Eremogone juncea

* 산국-기린국화. Chrysanthemum lavanduliofolium 

* 큰꿩의다리-잔가락풀. Thalictrum kemense

* 노루오줌-노루풀. Astilbe chinensis

* 배초향-방아풀. Agastache rugosa 

* 용담-초룡담. Gentiana scabra

* 까치수염-꽃고리풀. Lysimachia barystachys

* 도깨비부채-수레부채. Rodgersia podophylla

* 마타리-맛타리. Patrinia scabiosifolia  

* 실새풀-새풀. Calamagrostis arundinacea

Volunteers: Son Jung Hee, Lee Ae Kyung, Kim Lee Kyung, Jung Eun Ha, Kim Myuoung Yoon

Leave Without Absence, 2023

ikkibawiKrrr 

Vine: Between and Traces, 2023, Plants, acrylic on canvas, 160 x 800 cm

On the walls of the gallery, ikkibawiKrrr presents a work of graffiti that uses a panorama format to show plants collected from abandoned houses overgrown with plant life in Jeongyeon-ri, Cheorwon, a village part of the Civilian Control Zone. The plants that live in the DMZ are granted access to inhabit a place where people typically cannot go. In that sense, it is an environment eroded by contradiction. It is like a hidden setting or a “space in between'' that cannot be perceived because it is off limits to people. Plants are the intruders that are allowed to enter this space, which is both a buffer zone and a place of tension. ikkibawiKrrr records the marks left by these burrowing vines, while also expressing a sense of mourning for this environment.

Dongsei Kim 

A Construct the Koreas (Never) Made Together: Deconstructing the DMZ for the Imaginary – 2019, 2019, animation, 11 min. 23 sec.

Dongsei Kim’s animated film, A Construct the Koreas (Never) Made Together: Deconstructing the DMZ for the Imaginary (2019), analyzes the Korean DMZ through five different lenses. The first lens examines the DMZ through history and illustrates how the DMZ has fluctuated over time. The second lens demonstrates how the DMZ functions as a solid barrier that maintains and reinforces the divided Korea. The third lens reveals ways in which the DMZ connects the two countries and is transgressed despite its being an impenetrable barrier. The fourth lens zooms out to take in Northeast Asia and trace the paths of North Koreans who partake in the 5,000 km clandestine escape route. The final lens shows how the two Koreas are starting finally to literally deconstruct the border, a remnant of the Cold War.

RDP Online Exhibition

Originally Shown in 2021 during the COVID-19 lockdown, this online exhibition introduces works by Lee Bul, Minouk Lim, Kyungah Ham, Tobias Rehberger, and Superflex who conceived their projects with borderless minds and unimaginable visions. This exhibition offers them a borderless virtual environment where no constrains exist. It simulates the DMZ, maneuvering the line between reality and imagination. Designed by the media artist duo Roomtone, the virtual DMZ space partakes in proposing for the future of the border area. 

CREDIT: 

Hosted by the Korean Foundation for International Cultural Exchange 

Organized by the Real DMZ Project

Sponsored by the Korean Ministry of Culture, Sports and Tourism

Curated by Sunjung Kim

Project by Space for Contemporary Art

Artists  and their works

- SUPERFLEX, One Two Three Swing!

- Tobias Rehberger, Duplex House

- Lee Bul, Aubade V

- Kyungah Ham, Are you lonely, too? 

- Minouk Lim, DMZ Portable Keeper and 

- Roomtone