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BEYOND KOREA: POST 1989 KOREAN CONTEMPORARY ART – TAASA Review March 2018

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This article was originally found in the March 2018 edition of TAASA Review (Volume 27, Issue 1, Page 9).

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Jiyoon Lee O ne of the most important developments on the international art scene during the post-1989 period was the blurring of the ‘centre’ and the ‘fringe’ (Martinez 2000).

Prior to the 1990’s, the mainstream art scene was limited to Europe and North America, and art from other areas was perceived as from the ‘fringe’.

However, with the inclusion of delegations from East Africa, South Africa, Ireland and Turkey to the 45th Venice Biennale (1993), and with Korean-born Paik Nam-June sharing the Golden Lion with Hans Haacke in the same year, the balance began to shift...