탈(脫)매체 환경과 현대도자의 잡종성(Hybridity)

문유진 ( Yujin Moon ) 이화여자대학교 도예연구소 2018 陶藝硏究 Vol.- No.27

본 연구는 문화적 생산으로서 동시대 예술 활동을 ‘잡종성(hybridity)’ 개념을 중심으로 고찰하고, 도자 매체에 대한 관념과 인식의 변화 양상을 살펴봄으로써 동시대 도자 예술이 그려내는 잡종의 풍경을 어떻게 이해할 수 있을 것인지 논의하고자 한다. 우선 아방가르드의 반동과 전복, 포스트모던적 반복과 참조의 시대를 거쳐 융합과 통섭의 정신이 사 회의 모든 영역을 휩쓸고 있는 현재의 시대 상황을 논한다. 그와 같은 상황에 대한 인식을 바탕으로 문화 의 잡종화(hybridization) 과정에 대해 살펴보고, 20세기 후반 포스트모더니즘의 토양 속에서 전개된 잡종 적 예술의 징후들을 포착한 문화이론과 예술 비평들을 소개한다. 다음으로는, 기술 발전과 혁신이 거듭 됨에 따라 전통적 매체 관념이 무효화되고 뒤섞여 새로운 매체 관념이 생성되는 동시대 예술의 탈(脫)매체 (post-medium)적 조건에 대한 이론적 배경을 고찰한다. 이를 통해, 예술 형식의 범주와 위계질서에 따르는 열등한 정체성과 물질에 기반한 매체특정성(medium-specificity)에 한정되지 않는, 넓은 의미의 예술 형식으로서 도자의 동시대적 맥락을 이해하고자 했다. 더불어, 도자를 매체 혹은 탈매체로 활용하는 예술 활동 들과 그들이 사용하는 잡종적 언어들을 고찰한다. 특히, 동시대 예술의 주요 관심사로 자리 잡은 주변, 이주와 같은 키워드로 표상되는 문화정체성의 주제 내에서 잡종화의 의미를 살펴봄으로써 예술 활동의 잡종적 수사 자체보다는 그것을 발생시킨 맥락을 이해하는 것에 보다 무게를 두었다. 본 연구는 문화이론, 매체비평, 사회생물학 분야의 대표적인 선행 연구들이 정립해 놓은 탁월한 개념 과 태도에 크게 기대고 있다. 그리하여 과정이자 환경으로서, 궁극적으로 생산과 사용 측면에서 모두 다양 성을 증가시킬 수 있는 예술적 장치로서, 융합의 방법론이자 철학인 통섭으로서의 도자 매체의 가능성을 조심스레 질문해 보고자 한다. This paper aims to examine the concept of 'hybridity' that has come to the fore as a keyword in the contemporary art practices when considered as cultural productions. Then, it discusses how the contemporary artistic practices of ceramics conjure up the landscape of hybrids by reviewing different ideas of the medium of ceramics and the aspect of changes through time in understanding of this ideas. Primarily, I present the state of the period that came out of the era of the avant-garde marked by resistance and subversion, then the era of post-modernism characterized by repetition and reference to the past and finally to arrive at the current circumstance in which the spirit of fusion and consilience is sweeping over all areas of the society. Based on the perception of such situation, I will take a detailed look at the process of hybridization of culture, and then introduce the culture theories and art criticisms that capture the symptoms of hybrid art that sprang up from the spoil of the post-modernism in the late 20th century. Subsequently, I will study the theoretical backgrounds behind the post-medium condition in contemporary art discourses which explains how advancing technology and continual innovation resulted in the traditional understanding of a medium to be nullified and blended for the new concept of a medium to be created. Through this, I attempt to understand the contemporaneous context of ceramics as an art form in a broader sense where it is not limited by the medium-specificity that is based on the inferior identity and the material that follows formalistic categories of art hierarchy. Furthermore, artistic practices in which the ceramics is treated as a medium or as a post-medium and the hybrid vocabulary they employ are to be analyzed. More specifically, I will review the meaning of hybridity within the scope of cultural identities that is marked by the keywords that have become the main interests of the contemporary art such as marginality and migration. By doing this, I intend to give more weight to the context that gave rise to the conditions that influenced the artistic practices rather than the rhetorics of hybridity. As a conclusion, I want to point out that this research takes from the accomplished concepts and approaches of the culture theory, media criticism, and sociobiology. Therefore with a caution, I attempt to pose my question about the possibility of ceramics as an artistic device that serves as a process and a condition at the same time, which may increase diversity in the aspects of both production and consumption, and ceramics as a medium of consilience ― a methodology and philosophy of convergence.

Postcolonial Geographies of Power, Desire, and Nomadic Subjects: Hybridity in Early Korean Migrants' Autobiographic Writings in the US, 1895 ~ 1940

박경환 국토지리학회 2006 국토지리학회지 Vol.40 No.1

The notion of hybridity is in paradox: it has emerged as a key political strategy for postcolonial critics to crisscross power-laden social boundaries, yet, at the same time, we increasingly encounter fashionable cultural hybridists and hybrid cultures in which critical consciousness is castrated. This paper aims to disentangle the paradox. The first half of this paper consists of three arguments. First, I indict ÔungroundedÕ hybridity consciousness for its political danger and emphasize the importance of historical geographical materialism to ground it. Second, by drawing on Luk‡csÕs historical materialism, I suggest that hybridity as an individual psychology is a false consciousness. Instead, I underline the notion of ÔimputationÕ, which transforms the psychology into historical consciousness through what Luk‡cs called Ôinner transformationÕ. Third, approaching to ZùizùekÕs critique of ideology and Deleuze and GuattariÕs materialist deconstruction of subject, I further interrogate what Luk‡cs termed ÔhumanityÕ and suggest that ÔdesireÕ takes a cental position in the psycho-social production of different hybridities. The second half of this paper analyzes how heterogeneous hybridity consciousness is ÔperfomativelyÕ produced, recorded, and consummated in early Korean migrantsÕ autobiographic texts in the US. There are two foci in the textual analysis. First, I focus on how the authorsÕ hybrid writing practices reproduce and, simultaneously, resist such colonial discourses as modernity, Enlightenment and Orientalism and other binary oppositions. Second, I draw on the ways in which the historical geography of colonialism and early capitalism produces authorsÕ Ôstrategically repositionedÕ hybridity through its articulations with authorsÕ desires. I conclusively argue that if detached from the inner struggle to transform individual psychology of hybridity into geohistorically imputed consciousness, hybridity would remain as a new cultural logic of late capitalism.

“Local” Hybridity and the “Translocal” Identities of Korean Subalterns and Asian Migrant Workers : Looking at the South Korean Film, Banga, Banga!

TAE, Heasook 이화여자대학교 이화인문과학원 2013 탈경계인문학 Vol.6 No.3

As part of redeploying the theoretical potentiality of hybridity, I hold that more attention should be given to the discursive location of Asian minor locales against the discursive power of global metropolitan diasporic location. This attention leads us to a task of localizing hybridity, which can posit the concept of Asian “local” hybridity. The South Korean film, Banga, Banga!, is a cultural text that embodies it vividly. Korean subalterns and Asian migrant workers in the movie speak to people located in global metropolitan cities as well as Asian metropolises. To listen to them attentively, it is necessary to propose the concepts of sub–imperialism, Asian local patriarchy, and translocalism. The marginal city of Ansan emerges as a locale engaging in constant dialogue, exchange, and contestation with the sub–imperialistic and gendered political–economic structures of South Korea. Within such space, Korean subalterns and Asian migrant workers create another language through singing together in spite of their social and cultural differences and conflicts. As they traverse various xes of identity including ethnicity, race, class, and gender, they show their translocal identities and agencies to contest and oppose the sub–imperial Asian local patriarchy. As such, Asian “local” hybridity embodied in Banga, Banga! demonstrates something that is other than mere interstitiality, something that is a kind of other Asian identity with its own specific consciousness of language and self as well as its own dialogic and negotiatory capabilities through its translocal identities and agencies.

인도네시아 중국계 페라나칸의 혼종성 연구

리단(Li, Dan),김영술(Kim, Young-sool) 전남대학교 글로벌디아스포라연구소 2014 전남대학교 세계한상문화연구단 국제학술회의 Vol.2014 No.2

This study in the context of diaspora examines the migration of Indonesian Chinese and the formation process of Chinese Peranakan community. It also analyzes multiculturalism of Indonesian Peranakan, and considers the meaning of the modern hybridity through their racial and cultural hybridity. It is noticeable that Chinese in Indonesia have special characteristics of migration like indigenization due to assimilation, westernization, and re-sinicization. The position of Chinese Peranakan in Indonesia could be characterized as the third group or the middle class situated between the colonial rulers and local people which need to form a symbiotic relationship with native society. That is to say, it is similar to " the status of diaspora" . Besides, the position is different in the relations between Totok and Peranakan. The migration and settlement of Chinese to Indonesia involves varied issues such as ethnic conflicts, alienation, discrimination, exclusion and inequality, which are explained in sense of multiculturalism and diaspora. Especially, although the problem of ethnic and cultural hybridity occurred in such process would not be treated well, it is becoming an important field of area study. Racial hybridity of Chinese Peranakan was a flexible adaptive strategy to the local circumstances for the survival of Chinese migrants and they formed family relations in order to ensure stability of economic activities. Also, Chinese Peranakan culture has drawn unique their own pattern as well as mixed features through creatively accepting and reinterpreting different cultural factors from Europe, India and Malaysia on the basis of Chinese traditional culture. This cultural hybridity is due to mutual influences in the cultural transformation process caused by contact between races. The hybridity sometimes disintegrates conventional identity of Chinese Peranakan in Indonesia and it is sometimes used to build a community for state from conflict, social inequality and political issues by the difference. It shows the value of cultural exchange and fusion among different nations very well. Hybridity of Chinese Peranakan in Indonesia provides the meaning as follows; Firstly, the hybrid society, as a multicultural society mixed with races and cultures, should further actively seek for human rights of minorities and expansion of democracy in various areas above all. Secondly, the existence of difference and diversity of immigrants symbolized in the multicultural society should operate the opportunity to stimulate changes of political community through tolerance of the mainstream and politicization of the difference. Finally, it should be become a diaspora in community that marginal individuals and minorities could be a main actor with multiculturalism which could form pure and homogeneous national identity, overcome the hierarchical dichotomy between majority and minority, and broaden the mutual coexistence and understanding, rather than segregation and exclusion to subordinate others. Eventually, the hybridity problem of Chinese Peranakan in Indonesia is an issue of nation integration between native Indonesian and overseas Chinese and ethnic Chinese. In fact, the hybridity in Indonesia should play a role in providing the necessary ideology for the future of the heterogeneous society, and create even more powerful concept of the future symbolic community.

일본 하이브리드 문화의 원천과 전승 양상

이노미 ( No Mi Lee ) 성균관대학교 인문과학연구소 2012 人文科學 Vol.0 No.49

본 연구는 21세기 디지털 정보사회의 문화적 패러다임으로 상징되고 있는 혼종성의 본의를 통해 일본 하이브리드 문화의 원천양상과 전승형태를 규명하는 것이 주된 목적이다. 하이브리드는 서로 다른 이질적인 것들이 결합하여 새로운 계통을 창조하는 잡종화의 과정으로 ``모방``을 통한 일본의 궁극적 목표가 ``창조``라는 본연의 의미와 부합됨으로써 일본은 하이브리드의 표징으로 인식된다. 일본문화의 잡종성은 인간을 자연과 동일시한 그들의 정체성의 공간인 ``숲``의 잡종강세를 통해 터득한 것으로 생물학에서 발현한 ``하이브리드``의 본질이 자연스럽게 용해되어 있다. 외래문화와 고유문화가 뒤섞여 일본토양에 맞게 창조된 일본의 하이브리드 문화는 기층문화가 소멸된 것이 아닌 그 모든 것들이 중층적으로 공존 하는 특징을 지닌다. 특히 일본 내부에 자발적으로 구축된 혼성화의 결과는 하이브리드 문화의 바탕이 되는 ``와(和)``의 가치관을 통해 일본 근대화 촉발의 배경인 ``화혼한재(和魂漢才)``와 ``화혼양재(和魂洋才)``의 태동에 크게 기여하였다. 일본 하이 브리드 문화의 전개양상은 크게 내부 토착의 ``전통형``과 해외발산의 ``글로벌형``, 해외에 토착화된 ``해외현지화형``의 3가지 유형으로 구분된다. 하이브리드를 통한 일본문화의 발전은 문화들 간의 섞임을 정당화하여 새로운 문화를 창출해내는 문화적 개방성과 다원성, 창의성에 기인함으로써 지식정보사회의 미래국가 창의력의 토대가 되고 있다. 이에 우리들 또한 문화 순종성에서 탈각하여 경계가 해체되어 융합되는 혼종성을 지향하여 나아가야 할 것이다. 하지만 고유의 사상과 가치관이 내포되지 않은 무작위적인 결합의 하이브리드는 지역문화의 고유성과 독자성을 상실하는 위기를 초래할 수 있음을 상기하여야 한다. 이에 본 논의는 문화다원주의를 견지하여 문화다원성과 개방성을 통해 하이브리드 문화 이해에 필요한 단초를 제공하였다는데 유의미한 연구가 될 것이다. The chief purpose of this research is to examine the true meaning of hybridity that is the symbol of the cultural paradigm in the 21st century digital information society and investigate the types of sources in Japanese hybrid culture and the patterns of its transmission. ybrid is the process of hybridity to combine heterogeneous things and create a new system. As it corresponds to the original meaning that Japan`s ultimate goal through ``imitation`` is ``creation``, Japan is recognized as the symbol of hybrid. Japanese hybrid culture created properly for the Japanese soil as foreign and its original culture are well harmonized is characterized by the fact that it doesn`t mean the absence of basic culture but the coexistence of all in multilayered ways. In particular, the result of hybridity established voluntarily in the inside of Japan did contribute greatly to the birth of ``Hwahonhanjae`` and ``Hwahonyangjae`` which are the background of triggering Japanese modernization through the value of ``Wa`` that is the ground of its hybrid culture. As the development of Japanese culture through hybrid justifies the mixture of cultures and contributes to cultural openness, diversity, and creativity to produce new culture, it becomes the ground of creativity to build a future nation in the knowledge information society. Thereupon, we also have to escape from cultural monism but pursue hybridity where boundaries collapse and fuse. However, we should also deem that the hybrid resulted from random combination without our original ideas or values will lead to the risk in which we may lose the originality or uniqueness of local culture. Therefore, this discussion can be seen significant in that it adheres to cultural pluralism and provide essential clues to understand hybrid culture through cultural pluralism and openness.

인도네시아 중국계 페라나칸의 혼종성 연구

김영술(Kim, Young-Sool) 고려대학교 아세아문제연구소 2014 亞細亞硏究 Vol.57 No.1

This study in the context of diaspora examines the migration of Indonesian Chinese and the formation process of Chinese Peranakan community. It also analyzes multiculturalism of Indonesian Peranakan, and considers the meaning of the modern hybridity through their racial and cultural hybridity. It is noticeable that Chinese in Indonesia have special characteristics of migration like indigenization due to assimilation, westernization, and re-sinicization. The position of Chinese Peranakan in Indonesia could be characterized as the third group or the middle class situated between the colonial rulers and local people which need to form a symbiotic relationship with native society. That is to say, it is similar to ‘the status of diaspora’. Besides, the position is different in the relations between Totok and Peranakan. The migration and settlement of Chinese to Indonesia involves varied issues such as ethnic conflicts, alienation, discrimination, exclusion and inequality, which are explained in sense of multiculturalism and diaspora. Especially, although the problem of ethnic and cultural hybridity occurred in such process would not be treated well, it is becoming an important field of area study. Racial hybridity of Chinese Peranakan was a flexible adaptive strategy to the local circumstances for the survival of Chinese migrants and they formed family relations in order to ensure stability of economic activities. Also, Chinese Peranakan culture has drawn unique their own pattern as well as mixed features through creatively accepting and reinterpreting different cultural factors from Europe, India and Malaysia on the basis of Chinese traditional culture. This cultural hybridity is due to mutual influences in the cultural transformation process caused by contact between races. The hybridity sometimes disintegrates conventional identity of Chinese Peranakan in Indonesia and it is sometimes used to build a community for state from conflict, social inequality and political issues by the difference. It shows the value of cultural exchange and fusion among different nations very well. Hybridity of Chinese Peranakan in Indonesia provides the meaning as follows; Firstly, the hybrid society, as a multicultural society mixed with races and cultures, should further actively seek for human rights of minorities and expansion of democracy in various areas above all. Secondly, the existence of difference and diversity of immigrants symbolized in the multicultural society should operate the opportunity to stimulate changes of political community through tolerance of the mainstream and politicization of the difference. Finally, it should be become a diaspora in community that marginal individuals and minorities could be a main actor with multiculturalism which could form pure and homogeneous national identity, overcome the hierarchical dichotomy between majority and minority, and broaden the mutual coexistence and understanding, rather than segregation and exclusion to subordinate others. Eventually, the hybridity problem of Chinese Peranakan in Indonesia is an issue of nation integration between native Indonesian and overseas Chinese and ethnic Chinese. In fact, the hybridity in Indonesia should play a role in providing the necessary ideology for the future of the heterogeneous society, and create even more powerful concept of the future symbolic community.

Neither Dokdo, Nor the DDP: An Argument for Negative Hybridity

Stephen J. BECKETT 이화여자대학교 이화인문과학원 2015 탈경계인문학 Vol.8 No.1

This paper argues for a reconceptualization of hybridity. Rejecting the definition of hybridity as a ‘cultural melange’ as ideological, it reconstructs the contradiction inherent to hybridity as a dialectical opposition, and then, following the dialectical materialism of Slavoj Žižek, this paper follows this opposition through its dialectical resolution. Consequently, the model of hybridity that claims the compatibility of local and global identity is resisted in preference to a form of negative hybridity that rejects the choice between local and global identity as false. This theoretical model is played out with reference to contemporary South Korean identity, using the tension between local Korean culture and an intruding global culture to explore the contradictions that hybridity tries to contain and the motivations that give rise to them.

Acceptance of Hybridity and the Expansion of Identity : Focusing on Seamus Heaney and William Butler Yeats

Hong, Sung Sook 한국예이츠학회 2007 한국예이츠 저널 Vol.27 No.-

I insist in this paper that hybridity and identity are two aspects of modernity, not the separate words like in the aesthetic theory of 'discordia concors' and that modernity carries both in it, expanding relative values. A new version of culture will be able to come out, depending upon how to arrange hybridity and identity. The modern Irish culture, especially in its literature, offers a good example. As for the Irish people, the disaster of Great Famine brought an awakening that the Irish was not the British. And the Irish Literary Revival made the will to differentiate. However, even after the Irish Literary Revival, the Irish people found out that their own culture had been hybridized and that the cultural conflict existed. However, the Irish writers have tried to recreate their own culture based on the pride of their own culture-a firm religious, political and cultural tradition. W.B. Yeats's contribution lies in his attachment to things Irish. His spirit and taste for the supernatural world can be identified with Irishness. However, for Yeats the expression of identity cannot but be limited because he himself was hybrid in blood. Meanwhile, for Heaney, the expression of his own identity is seen in his concern about landscape, history and Gaelic language. His will to search for identity starts from the sense of dispossession, experiencing the Ulster Trouble. However he comes to recognize that they are hybridized. Despite this, his studious will to recreate identity has continued by accepting the hybridity. In brief, Yeats and Heaney are the poets who, moving beyond hybridity, wanted to make the new cultural identity or to complete 'discordia concors' in culture. My last conclusion is that Yeats and Heaney seek to expand the cultural identity by accepting the hybridity and heterogeneity of their culture, and that, however, their last convergence is to search for the essence of the Irish spirit- light, freedom and song.

혼종성의 역동성: 마샬의 『갈색 소녀, 갈색 사암집』과 실코의 『의식』, 그리고 리의 『만조의 바다 위에서』를 중심으로

장정훈 ( Jung-hoon Jang ) 한국현대영미소설학회 2017 현대영미소설 Vol.24 No.3

This study analyzes Marshall's Brown Girl, Brownstones, Silko's Ceremony and Lee's On Such a Full Sea using the framework of Homi K. Bhabha's ideas of the translational space of hybridity. It is true that some critics rightly criticize Bhabha's theory as having limitation in considering the present time in which national cultures are being weakened or incorporated into the culture logic of transnational capitals. Nevertheless, Bhabha's third space of hybridity can be very useful in correcting the mistaken logic of cultural imperialism, which states that the culture of the center will dominate that of the periphery. Bhabha's idea of the translational space of hybridity is to rethink the unconscious structure of postcolonial discourses and deconstruct the one-sided domination by colonizers within colonialist discourses. The young heroine, Selina in Brown Girl, Brownstones, confronts the cultural conflicts between Barbados and New York and loses her identity. As she matures, she tries to establish her own self-identity as a Caribbean-American and a black female living in America through understanding her parents' generation and fusing the two distinct cultures. The cure for Tayo’s broken self caused by cultural collisions between the White and Native American in Ceremony is to realize cultural hybridity and to learn to adapt and alter ancient traditions to fit modern situations. Silko asserts that the tribal cultures and values may be adapted and transformed by cultural exchanges and the hybridization of different cultures. In Lee's On Such a Full Sea, the future of human life doesn’t lie in the world of Charter District, which has absolute wealth and economic affluence, but in the translational space of hybridity which is opened, has boundless imagination itself, and produces new meaning like an impromptu and spontaneous mural painting. These three novels provide the readers with the opportunities to explore various manifestations of intercultural, interethnic and interclass dynamics. In conclusion, this paper tries to appropriate a positive sense of Bhabha's ideas of the translational space of hybridity, to investigate the protagonists’ reactions to racial prejudice, different cultures, and ruling class, and to examine those protagonists’ attempts to achieve harmony with other races, cultures and classes in that space. Marshall, Silko and Lee present the possibility of reconciliation and coexistence among different races, ethnic cultures, and socioeconomic classes in terms of cultural hybridity.

혼성공간으로서의 민중미술

윤난지(Yun Nan-jie) 현대미술사학회 2007 현대미술사연구 Vol.22 No.-

All art is a product of ideology as well as a mirror on realities of time; Minjung Art is no exception to this idea. While Minjung Art set forth social utterance and social reform, it is also a manifestation of historical and social contexts. Critical writings on Minjung Art hitherto have mainly focused on addressing its ideological aspects and therefore it is more difficult to find texts that examine the realities of its time represented in Minjung Art. In this paper, I will attempt to illuminate this lesser discussed aspect of Minjung Art; its aspect as the “mirror of reality.” Looking through the mirror of Minjung Art, I am able to see what Homi Bhabha described as the “Third Space.” This theoretical term refers to a cultural contact zone that deconstructs the fiction of “purity” of a native culture and reveals its “hybrid identity.” In this Third Space, native and foreign things do not merely meet each other but ambiguous and complex exchanges occur continuouslyamong diverse signs in the form of collision, amalgamation, appropriation and adaptation. When the detente between the Left and the Right as well as multinational capitalism became familiar realities, global space of hybridity emerged worldwide in the late 20th century, thereby creatinga sensibility of the post-modern. Located in the inferior space called the other and inevitably exposed to the world powers, the Third World became an exemplar site in the global space of hybridity. The Korean society in the 1980s is a typical example of such “third-worldly” space of hybridity and Minjung Art is its version of art practice. In the 1980s, Korea underwent a period of rapid, domestic political change in which one-person dictatorship ended in a pretext and was placed in diversified international relations? being the only divided nation (after the collapse of the Berlin Wall in 1989). At the same time, the nation’s economy rapidly shifted to a main peripheral nation of multinational capitalism and to a post-industrial society. Accordingly, disparate contexts in areas of politics, economy and society became entangled and Minjung Art bore out of these contexts. With the aims of “pure” nationalist art, Minjung Art, in fact, became a vivid documentation of this “impure” site. Not limited by critically represented urban landscapes, Minjung Art generated cultural responses from the realities of hybridity including inclination to purebloodism or ethnic homogeneity. Korean racial superiority complex came into effect with even more force as the crisis of hybridity unfolded in front of the Koreans and in visual arts, it emerged as Minjung Art. This is an example of nationalism Frantz Fanon referred to as a type of defense mechanism. The modes of hybridity that emerged in Minjung Art werefirst presented through images of the nation state and its members. The native images therein aimed at a singular ethnic nation are mixed with the actual conditions as a universal crossroad images of the subject matter “minjung”(means ‘people’ in Korea) of the same ethnicity and images of the cosmopolitan “masses” thatare of multiple ethnicities, are entangled. The images represented in Minjung Art are not univocal signs that represent nationalism. In contrast, they are equivocal signs that reveal a peripheral status surrounding the Korean Peninsula which brought the changes in its imperative under the premise of diversity and fluidity of nationalism. Whether the site of hybridity is depicted directly or indirectly, a crossroad of complex international relations? a geopolitical map of Korean Peninsula at the time is juxtaposed on the works of Minjung Art. It is also possible to look at the site of hybridity through the visual environment portrayed in the works of Minjung Art. Minjung Art’s notion of utopia basedon an agricultural society rooted in tradition has been realized in the temporal-spatial matrix of plasticity where tradition and modern, natural and artificial, agricultur