Abstract
We examine Dansaekhwa of the 1970s, which championed nationalism in the backdrop of the global trend of interpreting identity as something fluid rather than a static concept, in terms of ‘deferred action’. The 1970s were a period where the generation that endured the Korean War was beginning to establish cultural policies, and the Korean art scene was going through a discourse on the issue of identity. In this paper, we will examine how the nation's identity has been internalized in Dansaekhwa and establish how the critique thereof has turned into the context of 'tradition.' The purpose of this paper is to break away from the interpretation of critique as an advocate of certain ideologies representing a particular group or class by analyzing the features of critique from the perspective of ‘deferred action'.
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