Abstract
This article explores the art world of Rim Dong Sik, a Korean artist born in 1945, and characterizes his art as an endeavor to project an alternative approach to the conservation of performance. Rim has recently been recognized for the solo exhibition at the Seoul Museum of Art (SeMA) in 2020. He presents unique artworks that comprise outdoor in situ performances, archives as records thereof, and paintings. We will examine his artistic background that straddled Korea and Germany against the backdrop of the germination and development of experimental art in Korea in the 1960s and 1970s. Then we will analyze how Rim’s performances, archives, and paintings are fused into a unified construct by focusing on his two representative works presented in Hamburg in 1985. Hal Foster’s “An Archival Impulse”(2004) and Douglas Crimp’s “Pictures”(1979) corroborate the artistic potential of Rim’s archives. His paintings may be viewed as tableau vivant that bridges the gap between performances and paintings.
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