Venetian Rhapsody: The Power of Bluff- Cody Hyun Choi- Korean Pavilion Casino Culture : 57th International Art Exhibition- La Biennale di Venezia 2017
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TextSeries: La Biennale di Venezia ; #57Publication details: Art Council Korea; PKM Gallery; Arario Gallery; 2017Description: 68p; 27x21cmSubject(s): Summary: Korea, Venice and Casino Capitalism- Culture and its productions can be studied from many perspectives , including politics, economics, social development, and art- even through individual points of view and behaviors- but they cannot be reduced singular ideas. After 36 years of Japanese occupation, immediately followed by the Korean War, Korea endured profound cultural trauma. In this chaotic era, the US played the role of military and cultural savious, with the US Army culture having a striking and direct impact on impoverished Korean youth in the 1950s and 1960s. In her 1986 book Casino Capitalism, British economist Susan Strange noted that the Western financial system was rapidly coming to resemble nothing as much as a vast casino. The integration of worldwide finance gave rise to an economic order predicated on risk and gambling: "casino capitalism". An international art event such as the Venice Biennale has both causal and symptomatic relations to the imperialism of this order. Cody Choi's work in the 2017 Korean Pavilion suggests that casino capitalism signals the death of art, but also presages a new kind of hope for its resurrection, in the era of speculation and excess. Adopting advertisement techniques- the key elements of capitalism- Choi's installation satirizes the logic of contemporary capitalism, that even a Biennale could eventually become a means of the art business. This large-scale installation consists of images of a tiger, a peacock, and a dragon lined out in neon and LED lights, overlapped with the flashy neon signs, reminiscent of the famous gambling city Las Vegas.
| Item type | Current library | Collection | Call number | Status | Date due | Barcode |
|---|---|---|---|---|---|---|
| Booklet w/o spine | SAF Reference Library | Visual Arts | N4390-5098 29.0454 (Browse shelf(Opens below)) | Available | 4105 |
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Publication produced in conjunction with the exhibition held at the 57th Biennale di Venezia, Pavilion of Korea, May 13-November 26, 2017. Exhibition title: Counterbalance: the stone and the mountain. Exhibitors: Cody Choi, Lee Wan. Commissioner: Arts Council Korea. Curator: Lee Daehyung. Venue: Giardini; "La Biennale di Venezia. 57. esposizione internazionale d'arte."
Korea, Venice and Casino Capitalism- Culture and its productions can be studied from many perspectives , including politics, economics, social development, and art- even through individual points of view and behaviors- but they cannot be reduced singular ideas. After 36 years of Japanese occupation, immediately followed by the Korean War, Korea endured profound cultural trauma. In this chaotic era, the US played the role of military and cultural savious, with the US Army culture having a striking and direct impact on impoverished Korean youth in the 1950s and 1960s. In her 1986 book Casino Capitalism, British economist Susan Strange noted that the Western financial system was rapidly coming to resemble nothing as much as a vast casino. The integration of worldwide finance gave rise to an economic order predicated on risk and gambling: "casino capitalism". An international art event such as the Venice Biennale has both causal and symptomatic relations to the imperialism of this order. Cody Choi's work in the 2017 Korean Pavilion suggests that casino capitalism signals the death of art, but also presages a new kind of hope for its resurrection, in the era of speculation and excess. Adopting advertisement techniques- the key elements of capitalism- Choi's installation satirizes the logic of contemporary capitalism, that even a Biennale could eventually become a means of the art business. This large-scale installation consists of images of a tiger, a peacock, and a dragon lined out in neon and LED lights, overlapped with the flashy neon signs, reminiscent of the famous gambling city Las Vegas.
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