@article{ART003213761},
author={Yoonjeong Koh},
title={Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2025},
number={57},
pages={55-77},
doi={10.17057/kahoma.2025..57.003}
TY - JOUR
AU - Yoonjeong Koh
TI - Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists
JO - Journal of History of Modern Art
PY - 2025
VL - null
IS - 57
PB - 현대미술사학회
SP - 55
EP - 77
SN - 1598-7728
AB - This thesis examines the meaning of performance as an expanded field centered on Diana Taylor’s concepts of ‘archive’, ‘repertoire’, and ‘scenario’, and applies them to the cases of contemporary Korean artists. Taylor urges a broader understanding of the meaning of performance centered on various theories such as anthropology and social drama rather than performance art as an art form or genre. In addition, since Taylor’s theory examines the process of performance centered on the activities of Latin American artists, it encompasses anti-hegemonic and anti-systemic meanings. There is a relationship between the meaning of “archive,” which preserves records, and “repertoire,” which means gestures, ceremonies, and actions that are not based on writing and are invisible. Performance becomes a powerful transmission system that conveys history centered on these two concepts. Taylor points out that intangible memory is rather a concrete living system, and she values the process of revealing the invisible. In this way, performance functions as a stage, and “scenario” plays a role as various elements for this stage in a repeated process. Contemporary Korean artists such as Bang Sung-wook, Lee Yeon-sook, Cho Young-joo, and Han Seok-kyung each directly experienced situations that Korean society has continuously faced, such as care, memories of the past, and the Korean War, and reflected this in their work. The process of constructing a work changes in multiple layers, and performativity is applied in the process of concluding it as a single work.
KW - contemporary art;performance;archive;repertoire;scenario
DO - 10.17057/kahoma.2025..57.003
ER -
Yoonjeong Koh. (2025). Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists. Journal of History of Modern Art, 57, 55-77.
Yoonjeong Koh. 2025, "Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists", Journal of History of Modern Art, no.57, pp.55-77. Available from: doi:10.17057/kahoma.2025..57.003
Yoonjeong Koh "Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists" Journal of History of Modern Art 57 pp.55-77 (2025) : 55.
Yoonjeong Koh. Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists. 2025; 57 : 55-77. Available from: doi:10.17057/kahoma.2025..57.003
Yoonjeong Koh. "Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists" Journal of History of Modern Art no.57(2025) : 55-77.doi: 10.17057/kahoma.2025..57.003
Yoonjeong Koh. Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists. Journal of History of Modern Art, 57, 55-77. doi: 10.17057/kahoma.2025..57.003
Yoonjeong Koh. Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists. Journal of History of Modern Art. 2025; 57 55-77. doi: 10.17057/kahoma.2025..57.003
Yoonjeong Koh. Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists. 2025; 57 : 55-77. Available from: doi:10.17057/kahoma.2025..57.003
Yoonjeong Koh. "Performance as Social Memory and Cultural Identity: Focusing on Contemporary Korean Artists" Journal of History of Modern Art no.57(2025) : 55-77.doi: 10.17057/kahoma.2025..57.003
