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Yong Soon Min at Art in General - Brief Article

Yong shortly Min returns to New York with her special repertoire of symbolically charged materials that poetically summon Korean history while dissecting Korean and Korean-American identity. Her novel work is a complex weave of Asian diasporic reflection and memorialization replayed for us against a backdrop of geopolitical conflict and chilled War demystification.

Geohistorical reflections (lyrically enriched by dint of images of what Min calls "Defining Moments") are at the core of her work, and are best press outed in The Bridge of No turn back a vividly metaphoric sculptural installation that symbolically invokes a historic prisoner exchange at the extreme point of the Korean War. In this incident, captured soldiers upon both sides were given the option of going to the North or South--with no confidence of ever returning to the other. A freestanding, fencelike 8-foot-high construction of aluminum struts and wire interstice the work is a snaking "S" form that invokes the spiritual universal of yin and yang. Its physical transparency allows the viewer to symbolically and simultaneously rencounter the inextricably linked experiences of North and southerly Korea. It's a symbol of male and female, of night and day, of the interdependence of human experience. on the other hand it also references the split between family (the yin-yang icon is upon the South Korean flag) as well as the cultural and metaphysical separation of Korean immigrants (and their hyphenated offspring) from the Korean nation and its bifurcated history.

The fencelike form is overspreaded in culturally charged language fragments printed upon magnetic strips and is metaphorically divided into night and day by dint of a horizontal row of clock faces hung upon both sides. Photographic images upon each clock face represent a series of national Korean "defining moments" The work is ultimately a three-dimensional cultural portrait of pan-Korean sensibility and Min attempts to in some way reconcile her relationship to the couple the totalitarian North and the crisis-ridden, free-market republic in the South



Min's work beautifully monitors and shows the inner life of the immigrant/expatriate. An immigrant herself, she remains focused upon the intricate connections between national agriculture the poetics of identity and the unpredictable, hybrid reconfigurations of the individual life caught in forced cultural dispersion.

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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