One can think of the earlier globalization in antiquity as cultures and empires expanded and contracted. Hellenic travels introduced Asian countries to wine, the Silk Road connected East and West, and Christopher Columbus brought the Old World in to the new. Today, living in exponential times, we are faced with perplexing dilemmas. The problems of the future are unknown.
Globalization has also entered the art world. Again, this concept is not new. Puccini's Turandot uses Chinese folklore and traditional sonorities (Orientalism), Dvorak New World is laden with sonorities of Native American melodies, longing for the past with excitement for the future.
I attended the opening of "Your Bright Future: 12 Contemporary Artists form Korea" at the Museum of Fine Arts, Houston. Pictured here is Bahc Yiso's, died in 2004, "Your Bright Future" which themed and named the exhibition. A collection of lamps shining bright light on a white wall, questions the complexity of the excitement of raising stars while juxtaposing a blank wall of nothingness. Is there a future? Is there a bright future? Will it have meaning?
A lecture preceded the opening drinkfest where we learned about the overall concept of Korean state-sponsored art versus the "people." In it, a general commentary of art not necessarily communicating in a one-way direction, but more of an interactive and experiential dialogue. Cultural context was not necessarily needed to participate. Well, of course, this concept is not universal, but I'd argue, impossible to achieve. I do not believe anyone can just eradicate and negate the importance of cultural context. As human beings, we come with histories, contexts, psychological baggage, preset traditions, rebellious tendencies, all which exists within the confines of our own realities.
Billboard art is present in Houston. Whether through the recent works of Karyn Olivier's "Inbound" and now through this exhibit which also extended into this medium. Billboards are interesting. Although their primary function is to broadcast information, noticing "Inbound" is quite strange at first. They are somewhat playful, although some claim surreal, I'd argue the works themselves are not surreal, but the experience and medium are. They represent and mimic exactly what is behind them in an effort to make them disappear.
This exhibit also has some billboards associated with it. Below is one of them. Originally found in Seul Korea, it is now on display facing west overlooking 59 and Rosedale. Here is my dilemma. Upon seeing this, my first reaction: I am of course not the target demographic for this sign. In reality, I am. But unfortunately, it is lost in translation. It actually means we are happy. Given that this was meant for an English speaking country, would it have been appropriate to translate it or to provide a translation? Or is the fact that it is Korean provide us with more information. If so, one cannot take a piece like this outside of its cultural existence.
The concept of globalization is also clear in Do Ho Suh "Fallen Star 1/5". Two cultures collide. A violent crash of a traditional home in Korea with a traditional Rhode Island apartment is a biographical commentary on the artists travels and education. The video does not do justice to the sublime and realistic detail. It's a must see, especially for those of us whose inclination would be to dust off the old Barbie and Ken Doll and play house.
I did not get a chance to spend more time and interact with the work. That will be my intention in the next coming weeks. I encourage you to do the same. More information on the MFAH website.
