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Politics of the Thaw at the Crossroads of Internationalism: North Korea and the Art of Socialist Countries Exhibition in Moscow, 1958-1959
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논문 기본 정보

Type
Academic journal
Author
Victoria Young Ji Lee (SUNY Korea-FIT)
Journal
KOREA ASSOCIATION FOR HISTORY OF MODERN ART Journal of History of Modern Art Vol.51 KCI Accredited Journals
Published
2022.6
Pages
191 - 228 (38page)
DOI
10.17057/kahoma.2022..51.008

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Politics of the Thaw at the Crossroads of Internationalism: North Korea and the Art of Socialist Countries Exhibition in Moscow, 1958-1959
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This essay examines how the polemics of the Thaw affected the local and global productions and receptions of socialist realist art by investigating the Art of Socialist Countries Exhibition that opened in Moscow in 1958. This groundbreaking exhibition, which displayed approximately three thousand art pieces from twelve socialist countries in Asia and Europe, provided a panoramic and democratic site where each country’s recent achievements in contemporary art could be seen together from a comparative perspective. During the Thaw, Asian and European socialist countries appropriated the Stalinist tenet of “socialist in content and national in form” to further develop socialist art with national characteristics. Unlike the Stalinist era, which attempted to impose rigid rules and aesthetic principles on socialist realists under Zhdanovism, the age of the Thaw emphasized individuality, peace, diversity, and contemporaneity. Their global promotion resulted partly from criticism by the socialist camp of capitalist countries for the loss of those values. The revised discourse of international socialist realism bolstered the diverse national traditions and national arts of socialist countries as representations of the ideals of the Thaw. In contrast to the assumption that Soviet satellite countries developed their strong national art to obtain cultural autarky from Soviet hegemony, this study argues that the Soviet Union under the Thaw compelled its fraternal countries to celebrate their diverse national arts partly to defend the Eastern bloc from ideological attack by the West.
#Art of Socialist Countries Exhibition(사회주의 제 국가 조형예술 전람회) #Thaw(해빙) #socialist realism(사회주의 리얼리즘) #socialist art(사회주의 미술) #neorealism(신사실주의) #De‑Stalinization(탈스탈린화) #cold war art(냉전시대미술) #North Korean art(북한미술) #chosonhwa(조선화) #guohua(중국화) #ink painting(수묵화) #Venice Biennale(베니스 비엔날레) #Mun Haksu(문학수) #Kim Yongjun(김용준) #Lee Sukho(리석호) #modernism(모더니즘)

Contents

Ⅰ. Introduction
Ⅱ. Realistic, Not Too Abstract
Ⅲ. Racialized Media, Asian Form, and Diversity within Unity
Ⅳ. Uneven De‑Stalinization, Modernism, and the Polish Section
Ⅴ. Coda
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