Noh Suntag – Red House I. North Korea in North Korea, 2005
About Noh Suntag
Noh Suntag has made it his mission to provide the world glimpses of social, historical and political developments of North Korea, which many people do not get to see. Noh produces photographs that record real-life situations that are directly linked to the division of Korea. Some of his works were in particular created to show how deeply the division between the North and South has permeated the daily lives of the Korean citizenry, as well as how the division has distorted the proper functioning of society.
Nadav Kander – The Polygon Nuclear Test Site I (after the event), Kazakhstan, 2011
If it were possible to take a picture of the entire earth’s surface, the mosaic of human co-existence would be a sight to behold. Some areas are military grounds, mining cities or tourist destinations while others are education hubs just to mention a few. It is hard to appreciate that in the midst of all that are secrets as deep as the mystery of death. In the Dust series, as created by Nadav Kander’s, images of crows illuminated against the light of the moon in the darkness symbolizes how difficult it is to hide the truth. These images appear in the first three spreads, perhaps to prepare one’s mind to the secrets about to be uncovered.
Sea Hyun Lee – Between Red_101, 2010, oil on linen, 300x300cm
South Korea’s traditional illustrative and art history is immovable; however, cultural and artistic experimentation will always be relentless. Sea Hyun Lee demonstrates his understanding of just how true the above statement is through his art. He manages to join the two forces of past and present together to create Between the Red.
Steve Mumford – The Prayer, 2016, oil on linen, 121.9×152.4cm
Many artists often find that they have to immerse themselves in the landscapes and the environment that they paint. This not only helps when capturing the true essence of the subjects to be featured in the art, but it also helps the artist gain a deeper understanding of the subjects in regards to their feelings, emotions, and opinions.
Jeremy Deller – It is what it is- Conversations About Iraq, 2009, at Joy in People at the Hayward Gallery, Southbank Centre
Photo: Linda Nylind
Why did Jeremy Deller bring a suicide car bomb to museums?
In the Imperial War Museum in London, surrounded by some of the most powerful military hardware of the last 100 years rests a rusting, crumpled car. This is a clear example of what war does. The car is a piece by Jeremy Deller and was a car that was contorted in a street bombing that killed 38 people and wounded many more at Baghdad’s Al-Mutanabbi book market. Al-Mutanabbi book market was at the heart of Baghdad’s cultural and intellectual life.
The car serves as a sobering reminder of the consequences of war on civilians, the toll it takes on lives, the destruction and devastation that comes with every act of war. The artist, Deller, won the Turner prize in 2004, is best known for recreating the Battle of Orgreave from the miners’ strike.
The visual destruction and devastation on the vehicle are only small and representative compared to the destruction and devastation in people’s lives, especially those who are in war-torn countries. Lives are lost and destroyed, worlds and realities become twisted and mangled, and families become broken. Deller’s piece is a gateway into the hurt, harm, and brokenness that comes with war. The fact that this piece is held at a war museum is also extremely significant.
This piece serves as a discussion piece, arguing different sides and aspects of war- this piece is simply what we need more of. Thought-provoking, raw, emotional, and profound- it takes the audience’s thoughts in different directions as they inspect the twisted metal that was once a fully formed vehicle, maybe like their own. It takes the audience to a place of realism and realization and takes something that is often out of sight and out of mind and places it directly in the guest’s line of sight.
Richard Mosse – Vintage violence, 2011
Courtesy of the artist and Jack Shainman Gallery, New York
Richard Mosse’s The Enclave
Richard Mosse’s commanding video installation The Enclave (2013) transcends art by also encompassing anthropology and journalism. It was produced by means of a recently superseded military film technology designed in World War II to reveal camouflaged mechanisms concealed within the landscape. This film is rendered in vivid tones of lavender, crimson and pink. Mosse utilized this film to document the ongoing conflict in eastern Democratic Republic of Congo, in which 5.4 million people have died since 1998 and is fundamentally ignored by the mass media.