traces

June 30 (Asia Today) — “Have you eaten?”

The National Museum of Korea’s new special exhibition, “Our Table,” begins with a familiar Korean greeting that reflects the central role food plays in everyday life and personal relationships.

The exhibition invites visitors to consider how an ordinary meal represents a record of culture and daily life stretching back about 3,000 years. Archaeological objects, historical documents, paintings and folk materials trace how Koreans have grown, prepared and shared food over the centuries.

“Our Table,” which opens Wednesday and runs through Oct. 25, is the museum’s first special exhibition offering a comprehensive examination of Korean food culture.

Fifty-one institutions and private collectors contributed 684 objects grouped into 488 entries. The display includes five state-designated Treasures and two items recognized as National Folklore Cultural Heritage.

The exhibition is divided into two sections: “Our Table Through Life” and “Our Table Shaped by Nature.”

Visitors first encounter charred rice grains excavated from Heunam-ri in Yeoju, a Bronze Age site southeast of Seoul. The grains provide evidence of early rice cultivation on the Korean Peninsula and serve as a starting point for understanding the development of Korea’s rice-centered food culture.

The exhibition continues with a spoon and chopsticks excavated from the tomb of Baekje King Muryeong, a late 19th-century diagram explaining traditional table-setting rules and cookbooks from several historical periods.

One display places a wooden cutting board excavated from a third- or fourth-century site in Gochon-ri, Busan, beside Park Soo-keun’s 1952 painting “Dried Yellow Corvina on a Cutting Board.”

By presenting objects separated by about 1,700 years, the exhibition illustrates the continuity of everyday work involved in preparing a meal.

Genre paintings offer another view of Korean dining customs.

In Kim Hong-do’s “Tavern,” a traveler wearing a traditional horsehair hat raises a bowl and scrapes up the final grains of rice. Kim’s “Midday Snack” and Kim Deuk-sin’s “Gathering to Eat and Drink by the River” portray people sharing food in fields and along a river during the Joseon Dynasty.

Seong Hyeop’s “Grilling Meat” depicts diners gathered around an iron griddle, presenting a scene that resembles modern Korean group dinners.

The second section examines how Korea’s seasons and natural environment shaped its cuisine.

Heo Gyun’s 17th-century book Domundaejak, written while he was in exile, records regional delicacies from across the country.

Other exhibits include a jar containing seafood excavated from the Seobongchong tomb in Gyeongju, bird eggs discovered at the Cheonmachong tomb and Byeon Sang-byeok’s painting “Hen and Chicks.” Together, the pieces document the history of seafood, meat and foods traditionally consumed for nourishment and health.

Charred soybean clusters dating from the third to fifth centuries are presented as possible early forms of meju, the fermented soybean blocks used to make soybean paste and soy sauce.

Charred perilla seeds from the Bronze Age and a Goryeo Dynasty celadon maebyeong vase that once contained honey further illustrate the long history of fermentation, seasonings and sweeteners in Korean cuisine.

The museum uses sounds of rice cooking, food-preparation videos and Korean words that imitate sounds and movements to create a multisensory exhibition without serving actual food.

Audio commentary by actor Ryu Soo-young and video interviews with food culture specialists are also available.

“Choosing the dining table as a museum exhibition subject is an invitation to reconsider both the roots of K-food and the scene closest to our everyday lives, which we have often taken for granted,” museum Director Yoo Hong-jun said.

“I hope the exhibition helps visitors recognize that our table was created through the natural environment of this land and the efforts of earlier generations who regarded food as something as precious as heaven,” Yoo said.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260630010010708

June 12 (Asia Today) — Nam June Paik connected Seoul, Tokyo and New York by satellite in 1986.

His project, “Bye Bye Kipling,” brought Korean traditional dance, American popular music and Japanese avant-garde art together on one screen in real time. The work directly challenged British writer Rudyard Kipling’s famous line that East and West could never meet, presenting instead the possibility of communication across borders and cultures.

That history of encounter and exchange is at the center of “Road movie: Art between Korea and Japan since 1945,” now on view at the National Museum of Modern and Contemporary Art, Korea, in Gwacheon. The exhibition marks the 60th anniversary of normalized diplomatic relations between South Korea and Japan and traces 80 years of artistic exchange since Korea’s liberation in 1945.

The exhibition features about 200 works by 43 artists and artist teams from both countries. It was jointly organized by the Korean museum and the Yokohama Museum of Art. The show first opened in Yokohama late last year and drew about 37,000 visitors before coming to South Korea.

Featured artists include Nam June Paik, Lee Ufan, Lee Bul, Jung Yeondoo, Koki Tanaka, Jiro Takamatsu and Takashi Murakami, along with other major figures in contemporary Korean and Japanese art.

Paik is one of the central figures in the exhibition. He studied aesthetics and art history in Japan in the 1950s and later built close ties with Japan’s avant-garde art scene. It was there that he met Shigeko Kubota, his lifelong partner and artistic collaborator.

Alongside “Bye Bye Kipling,” the exhibition presents Kubota’s video work “Broken Diary: Korean Trip,” which documents Paik’s return to South Korea after 34 years abroad.

The exhibition, however, does not focus only on well-known artists. Its first section, “In Between: Zainichi Koreans’ Gaze,” examines the lives of Korean artists who remained in Japan after liberation. Cho Yanggyu’s “Sealed Warehouse” depicts a dark, enclosed labor site and reflects both the reality faced by Zainichi Koreans and the wounds left by national division.

The exhibition also explores the growth of artistic exchange after South Korea and Japan normalized diplomatic relations in 1965. Works by Lee Ufan, Park Seo-bo, Yun Hyong-keun, Jiro Takamatsu and Kishio Suga show how artists in the two countries influenced one another as modern art movements developed across borders.

Later works by Masato Nakamura, Takashi Murakami and Lee Bul show how artistic exchange expanded in the 1990s from official institutions to personal networks and collaborative relationships.

Lee Bul’s “Cyborg W5” presents a futuristic but incomplete body, questioning boundaries between humans and machines and between male and female identities. The work reflects the shared concerns about technology and identity that shaped Korean and Japanese contemporary art after the 1990s.

The exhibition’s final section shifts from past exchange to present-day solidarity. Koki Tanaka’s “Vulnerable Histories: A Road Movie” links the massacre of Koreans after the 1923 Great Kanto Earthquake to more recent anti-Korean demonstrations in Japan, asking viewers to consider histories of discrimination and exclusion.

Jung Yeondoo’s “Magician’s Walk” reflects on landscapes after the 2011 Great East Japan Earthquake and explores the possibility of empathy and solidarity with the suffering of others.

The exhibition also extends to the museum’s outdoor sculpture park in Gwacheon. Six sculptures by Korean artists based in Japan and Japanese artists, including Duckjun Kwak, Quac Insik and Lee Ufan, highlight the museum’s role as an important site of Korean-Japanese artistic exchange.

Kim Sung-hee, director of the National Museum of Modern and Contemporary Art, Korea, said the exhibition revisits “historical moments experienced by the two countries and the traces of artistic exchange formed within them.”

Kim said she hopes the exhibition will offer visitors a chance to rediscover “the status and possibilities of Korean and Japanese contemporary art.”

The exhibition runs through Sept. 27.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260612010003954