Fragments and Borders: (re)constructing South Korean identity through patchwork

碎片与边界：通过拼凑（重新）构建韩国身份

• 批准号: 2395175
• 金额: --
• 依托单位: Royal College of Art
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2395175
• 关键词: Fragments; Borders; re; constructing; South

This work explores the (re)construction of the Republic of Korea (ROK, 1948-present) through Korean women's patchwork culture, recording and recovering neglected stories of women's domestic labour. Written histories of the patchwork handicraft, chogakbo, began to proliferate during the 1970s, coinciding with South Korean institutional reforms of cultural heritage policy. Reiterating qualities of frugal tenacity and constructive minimalism, such narratives trace the cloths in a linear trajectory to the Choson dynasty (1392-1910), where they were and are said to act as the representational voices of forgotten and unknown women. Furthermore, the linear histories served to reinforce notions of authentic 'Koreanness' during a period that sought to differentiate national identity from the Communist regime of the Democratic People's Republic of Korea (DPRK, North Korea). This project troubles linearity and authenticity by deploying feminist, postcolonial and decolonial methods that explore polyphonic perspectives of Korean women's patchwork culture. Using a framework that positions postcolonialism within localised and transnational South Korean histories, necessarily considering the period of Japanese colonialism (1910-1945) and US imperial presence (1945-present), iterations of traditional forms, modern adaptations, diasporic interpretations and corporeal manifestations reveal the multiplicity and complexity of Korean womanhood beyond definitions of authentic and static (South) Korean nationhood, with specific histories of neo-Confucian and non-Eurocentric modes of reading female agency. Using patchwork in institutional archives, I explore the very processes of establishing perceptions of chogakbo, both nationally and internationally. Material objects enrich and challenge written histories through analyses of material technologies, forms and compositions. I regard souvenir objects to examine how repetition, reiteration, industrialization and mass consumption and production work to reinforce establishing versions of national identity. Worn patchwork fashions aim to explore the boundaries between object and bodies, and the utility and function of patchwork wrapping. Finally, these questions and themes will be investigated through patchwork skins, wherein the proliferation of ROK's cosmetic surgery culture will be examined as corporeal manifestations of patchwork. Using oral histories, this work aims to foreground questions of womanhood, beauty and ornamentalism through perspectives that challenge reductive perceptions of agency, capital identities and colonial histories. Patchwork is the amalgam of different pieces, reflecting an accumulative temporality through mending, piecing and stitching. This research uses the adaptive, growing potential of patchwork form to radically reconsider prescribed notions of Korean womanhood, and offer an original lens to addressing urgent global questions regarding colonialism, Cold War legacy and women's histories. I aim to shed new light on the material processes underpinning colonial subjectivities and transnational identities, using stories collected from objects, alongside perspectives of makers, designers, curators and archivists and oral histories to build dialogical and relational histories.

这项工作通过韩国妇女的拼凑文化，记录和恢复被忽视的妇女家务劳动的故事，探索(重建)大韩民国(韩国，1948-现在)。在20世纪70年代，拼凑而成的手工艺Chogakbo的书面历史开始激增，当时韩国正在进行文化遗产政策的体制改革。这些叙事重申了节俭的坚韧和建设性的极简主义，将衣服沿着直线轨迹追溯到朝鲜王朝(1392-1910)，在那里，它们曾经是，据说也是被遗忘和默默无闻的女性的代表性声音。此外，在一个试图将国家认同与朝鲜民主主义人民共和国(朝鲜、朝鲜)的共产主义政权区分开来的时期，线性历史有助于强化真正的“朝鲜身份”的概念。这个项目通过运用女权主义、后殖民和非殖民主义的方法来探索韩国女性拼凑文化的复调视角，从而困扰着线性和真实性。使用一个将后殖民主义置于本地化和跨国的韩国历史中的框架，必要地考虑到日本殖民主义时期(1910-1945)和美国帝国的存在(1945-现在)，传统形式、现代改编、散居海外的解释和肉体表现的迭代，揭示了韩国女性身份的多样性和复杂性，超越了真实和静态(韩国)民族性的定义，并具体记录了新儒家和非欧洲中心的女性机构解读模式。利用机构档案中的拼凑，我探索了在国内和国际上建立对乔加博的看法的过程。物质对象通过对物质技术、形式和组成的分析来丰富和挑战书面历史。我认为纪念品是为了研究重复、重复、工业化和大规模消费和生产如何加强建立国家认同的版本。穿戴的拼布时尚旨在探索物体和身体之间的边界，以及拼布包装的用途和功能。最后，这些问题和主题将通过拼凑的皮肤进行调查，其中韩国整形手术文化的扩散将被视为拼凑的有形表现。使用口述历史，这部作品的目的是通过挑战对中介、资本身份和殖民历史的简单化观念的视角，突出女性、美丽和装饰主义的问题。拼图是不同碎片的拼凑，通过修补、拼接和缝合反映出累积的时间性。这项研究利用拼凑形式的适应性和不断增长的潜力，从根本上重新思考关于韩国女性身份的既定概念，并为解决关于殖民主义、冷战遗产和妇女史的紧迫全球问题提供了一个原创的视角。我的目标是通过使用从物品中收集的故事，以及制作者、设计师、策展人和档案保管员的视角以及口述历史来构建对话和关系历史，从而对支撑殖民主体性和跨国身份的物质过程做出新的解释。