In Beijing’s bustling 798 Art Zone, an art exchange exhibition between China and North Korea was initiated as part of the 798 Art Festival, preceding China’s National Day celebrations. Hosted at the Mansudae Art Museum, this exhibition emerges as a symbol of the deep-rooted cultural and traditional ties binding the two nations.
Ji Zhengtai, the museum’s curator, believes the exhibition is a powerful conduit for artists from both nations to interact, learn, and draw inspiration from each other. Highlighting the cultural camaraderie and shared heritage, this artistic venture harmoniously blends two distinct, yet intertwined, traditions. A curated selection of 45 artworks, spanning diverse mediums such as oil paintings, ink wash paintings, and sculptures, have been put on display.
From North Korea, the featured artists include the acclaimed Kim In-sok and the national first-class artists Om Yong-ho and Kim Sang-chun. All three are prominent members of North Korea’s esteemed Mansudae Art Studio. Their Chinese counterparts predominantly engage in crafting creations centered around military themes.
Among the standout pieces, a painting titled ‘The Village Chief Surnamed Ji’ by Kim In-sok captures the imagination of visitors. Kim shared that this creation draws inspiration from personal history, echoing memories of his father, a committed village chief who played a pivotal role in community affairs. The canvas portrays a village chief, lantern in hand, casting a warm glow over his family and vintage photographs reminiscent of 1970s China. Kim emphasized the modern techniques employed in the creation, juxtaposed with the timeless emotions it exudes, capturing the essence of the exhibit.
In contrast to young artists gravitating towards individualism, North Korean artists are lauded for their grounded approach. Their works, deeply embedded in collective consciousness, prioritize art for the masses and champion the continuation of tradition. Another masterpiece from Kim In-sok, titled ‘Pilgrimage’, is born from his fascination with tales of Tibetan pilgrimages, encountered through magazines and television during the pandemic’s lockdown.
Interestingly, the harmonious placement of artworks often blurs national distinctions. Ji cited the pairing of ‘Red Memories’ by China’s acclaimed artist Yan Ling with ‘Recollections’ by North Korea’s Kim Hun. Such juxtapositions weave a unified tapestry, making it challenging for visitors to distinguish the origin of each artwork without referring to the accompanying descriptions. This seamless integration showcases the universality of art and accentuates the profound bond between the two nations.
The Mansudae Art Museum’s origins are intriguing in itself. A collaborative venture between Beijing Jixichang Culture and the Mansudae Art Studio, one of the globe’s art production behemoths, it opened its doors in May 2008. It holds the distinction of being the singular cultural and artistic institution where North Korea has invested internationally, underscoring the importance of cultural exchanges.
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