Ssamziespace and the Alternative Art Scene in Korea
Hyunjin Shin
While the number
of independent and alternative art spaces in the US is dwindling, Korea has witnessed
the proliferation of these types of art organizations. Between 1998 and
1999, new art spaces such SSamziespace, Ilju House, Insa Art Center, Project
Space Sarubia, Pool and the Loop opened in Korea. Before then, hardly any art
organization freely exhibited unknown young artists for their merit alone. Today,
Seoul is growing with new alternative spaces and independent art organizations,
mainly due to the fact that the Korean government also acknowledges that these
alternative spaces should be granted government aid.
To give a proper background, it should be mentioned that the Korean art field
is structured differently than Western countries. There are government-run
museums as well as private museums where either their founder’s private
collection or works by modernist masters of both native Koreans and those abroad
are mainly displayed. There are also commercial galleries and galleries that
artists can rent for thousands of dollars per week.
These renting galleries are not only the major platforms for young artists to
build their careers, they are also venues where art schools and their recent
graduates can express their experimental ideas. These renting galleries have
thrived for a long time and the number of these galleries reached more than 200
in the 1990s in a small district that is similar size to Soho in New York. This
situation changed after Korea faced economic recess in the late 90s increasing
the need for institutions like alternative art spaces for these young artists.
SSamziespace in Seoul is one of these non-profit, alternative art organizations,
which promotes younger, emerging artists. Although SSamziespace is not an independent
space because it is mainly funded by Korea’s leading fashion company SSamzie
Co. Ltd. SSamziespace has functioned as an alternative space in terms of its
programming. It is renowned for its artist in residence program and innovative
exhibitions that create dialogue between generations and among Korean artists.
While the number is growing, organizations like SSamziespace was and still is
quite rare in Korea, let alone in Seoul. As short as the history of alternative
spaces has been in Korea, along with other alternative spaces in Seoul, SSamziespace
has brought quite a sensational influence on the Korean art exhibition practices
by organizing exhibitions that attempt to set new norms and trends. Today, SSamziespace
is considered a critical bedrock on which young artists may develop their creativity
and quickly become an integral part of the alternative art scene in Korea. What
differentiates this organization from other alternative art organizations is
its closer connection with international art scene.
SSamziespace director, Kim Hong-hee’s activities as an art critic, curator
and lecturer in the international art scene are note worthy. She has recently
organized and gave lectures internationally including Venice Biennial, Asia Pacific
Triennial, and Yokohama Triennial.
Another one of Ssamziespace’s distinctions is its international exchange
exhibition series, which is based on the shared experiences of mutual visits
between Korea and foreign countries. This program has introduced many Korean
artists abroad and vice versa. Ssamziespace’s artist in residency program
also actively hosts international visiting art professionals, transforming the
space into culling ground for curators all over the world. Following are a few
artists who participated in the programs.
Inhwan Oh is one of the participants in the programs organized by SSamziespace.
He is also a conceptual artist and one among a handful of outwardly gay
artists in Korea. For his floor installation °Where a Man Meets Man,”
he uses incense powder to write the names of gay bars and clubs near the exhibition
sites. While the overlapped names of the bars burn throughout the exhibition
period, viewers share the fragrance from names of the gay bars no matter how
badly they want to avoid associating themselves with what the names stand for.
These enigmatic writings then blur physical boundaries, penetrating into exhibition
space and even into the viewer’s body.
Jin Ham, who has been already introduced in Art in America, makes tiny creatures
that resemble animals and humans. From a head of dried anchovy to popcorns,
toothpaste and a piece of chewed gum, the materials he uses are endless but small.
These materials are set on the most unusual places like inside of a navel or
on top of toothbrush bristles creating funny yet fantastically bizarre stories.
These creatures are often engaged in sexual intercourse or have bloody mouths
as they are biting fingertips. His artworks originate from his “playing,”
which is indebted to his childhood when both his parents had to work leaving
him with nothing to do but to play with clay alone.
Yangah Ham is a video/ installation artist currently participating in the ISCP
residency program in New York City. Her highly intellectual works are great
concoctions using an Asian abstract sensitivity and Western video aesthetics.
She depicts the intangible psyche of the people who are seeking them through
her cautiously calculated serene video images. This is best manifested
onto the three channel video, °fictionary” illustrating the filming
process of an independent film crew who mentally incarcerate themselves from
the commercial film world by setting irrational rules of conduct that only themselves
abide by. In her juxtaposition of images, we can trace her use of sensations
as cues for triggering the audience’s imagination.
These three artists among many others who are actively showing work all over
the world and had participated in Ssamziespace’s program. A list of
other artists includes Junghwa Choi who is scheduled to have an exhibition at
Deitch Project upcoming fall; Hyunmi Yoo, who participated in Art OMI; Hong Soonmyung
at ISE Foundation gallery; Yeondoo Jung and Kyungah Ham at Tirana and Nante biennials;
Rhii Jewyo at de Appel, Netherlands; Younghye Jang at Venice Biennial. SSamziespace
cannot be responsible for these artists’ careers, but the role of SSamziespace
in the Korean art field is testament to its devotion and dedication of not only
to Korean art, but global contemporary art in general.
