A Review of London Korean cultural year 2017

by Philip Gowman on 1 January, 2018 updated 26 August, 2018

in 2017 year-end posts | Dance | Event reports and reviews | Exhibition reviews and comment | Live music reviews | Recorded music reviews

2017 events collage

It feels like it’s been an incredibly busy year, and as I come to write this review I realise that, much more so than in previous years, many of the things that have been memorable I haven’t had time to write about – and maybe won’t. I’ve written separately about the films it was possible to see in London this year, and about the books which absorbed us. Here we focus on the exhibitions, concerts and other events in London and elsewhere in the UK.

First, some introductory comments before we get to the list of the best concerts, exhibitions and other performance events of the year. And then we round up with a few miscellaneous events.

Performing arts: decisions, decisions

More than anything else, this has been the year of performance – from live music to dance and performance art, it has been a phenomenal year and it has been difficult to separate the performances at the top of the pile to come up with the outright winners.

Dance, movement, art: where to draw the line?

If it has been difficult to rank the best of the best this year, it’s been even more difficult to distinguish between different categories of the performing arts. With music, maybe it’s easy – that’s a category of its own. But as soon as there is dance or bodily movement involved, the boundaries this year were blurred. Maybe it’s always been the case, but this year the question was particularly difficult to answer: where does visual art stop and dance start? (Not particularly relevant here, but a related question is where to draw the dividing line between video art and short or experimental film.)

Oh Man-chul and Lee Kun-yong

L: Oh Man-chul at Han Collection (photo: Park Jin-su); R: Lee Kun-yong at the KCC (photo: LKL)

Artists creating work before our eyes, with the movements and physical constraints of their bodies being part of the point – whether it be the single fluid brush-strokes of a traditional ink-painter (such as Oh Man-chul at Han Collection) or the frenetic, angular, repetitive strokes of Lee Kun-yong recreating his Snail’s Gallop or Method of Drawing at the KCC – start the blurring of the line between visual art and performance art.

Hong Young-in’s 5100: Pentagon

Hong Young-in’s 5100: Pentagon at the Royal Academy (photo: LKL)

Artists creating theatrical-style works, with movement, music and even spoken word – such as Park Bongsu’s Internal Library project or Hong Young-in’s choreographed Gwangju-related piece 5100: Pentagon – push the boundary much further.

Starting from the other end of the spectrum, pieces which are performed or created by professional dancers or choreographers, such as Ahn Eun-mi’s Let Me Change Your Name or Yoo Sun-hoo’s After 4 – Over the moon don’t seem that far distant from works performed by artists with a strong performance practice such as Jeong Geumhyung. Jeong’s 7Ways is performed in complete silence (other than the occasional noise generated by her theatrical props), but that’s not too far from the minimalist sound design that accompanies a choreographer such as Lee Kyung-eun in her conceptual dance piece Mind Goblin. And where do you position a work such as Hong Young-in’s The Moon’s Trick – in which a performance of movement and music is conjured from a score created from pieces of embroidery which are impressionistic abstractions from photographs of key moments in recent Korean social history?

So in the performing arts space it has been a particularly rewarding and thought-provoking, if slightly bewildering, year. I’m almost glad, if only for the sake of my sanity, that I missed performances of the K-Arts Dance Company at Trinity Laban; Yongsan Project at Jacksons Lane; or Creative Group SUM BI or Modern Table, both at the Greenwich & Docklands Festival though maybe any one of these could have been strong contenders to top the list of performances in the dance category.

Music – loads of both quality and quantity

Within the purely musical sphere it has again been extremely busy and probably the highest quality year I can remember. The KCC has run a full programme of House Concerts featuring young Korean musicians at the start of their western classical music career, and has also organised a series of five concerts at King’s Place featuring top-rank traiditional Korean musicians alongside performances of Western classical music. And the K-music festival this year had an extremely strong line-up.

The Barberettes at the Borderline

The Barberettes at the Borderline (photo: KCCUK)

The performances I missed all sounded, from second-hand reports, like they could be strong contenders for my musical shortlist: AUX at Rich Mix (K-music); Kingston Rudieska at Borderline (K-music); or the Asian Sounds Project in the Thames Tunnel to name a few. I also managed to miss virtually all the rock / indie bands who now come to the UK for the various festivals in May (Brighton, Liverpool and elsewhere), and virtually all the more commercial pop / hip-hop performances (G-Dragon, KARD, Highlight (once known as Beast), ZICO, DEAN and probably many I didn’t get to hear about.

Sultan of the Disco

Sultan of the Disco at the Borderline (photo: KCCUK)

One night will serve as an example of the impossible clutteredness of the K-Culture calendar this year: on 23 May we had to choose between a literary event featuring Min Jin Lee at Asia House and three competing music events: Barberettes and Sultan of Disco at Borderline; Swiimers at Surya and The Monotones + Billy Carter at Nambucca. Impossible.

Best of the year

Exhibitions

There are several exhibitions I missed this year, mainly because of inconvenient locations or timing. The one I’m most sorry to have missed is Suh Do-ho’s one-night-only installation at Christ Church Spitalfields. (I’d also like to have got to Yiyun Kang’s installation at the DDP in Seoul).

The longlist for exhibition of the year includes

But the exhibitions that will remain most with me are as follows:

3= Rehearsals from the Korean Avant-Garde Performance Archive (KCC) and Kim Yong-ik: I believe my works are still valid (Spike Island, Bristol)

Some of Kim Yong-ik's early work

Some of Kim Yong-ik’s early work on show at Spike Island, including his career-defining untitled submission for the 1981 Young Artists exhibition (the pointedly unopened cardboard boxes containing his works) (photo: LKL)

Both exhibitions foregrounded artists who were not part of the art-historical mainstream but who nevertheless are an important part of recent art history.

2 Suh Do-ho: Passages (Victoria Miro)

Suh Do-ho: My Home/s – Hubs (2016). Polyester fabric on stainless steel pipes, Dimensions variable. At Victoria Miro Gallery, 17 March 2017

Suh Do-ho: My Home/s – Hubs (2016). Polyester fabric on stainless steel pipes, Dimensions variable. At Victoria Miro Gallery, 17 March 2017 (photo: LKL)

For pure wow factor, the long passageway constructed out of colourful polyester gauze took some beating.

1 Memories of Korea: Cross-vision from East and West, at Han Collection

Lilian May Miller

Print by Lilian May Miller (1895 – 1943) (photo courtesy Han Collection)

A lovely collection of colonial-era prints by Japanese and western print-makers including the well-known Elizabeth Keith. For me, the works by Lilian May Miller – the daughter of an American consular official in Japan – were the highlight.

Music

Heo Yoon-jeong and Kathryn Tickell introduce the final set

Black String’s Heo Yoon-jeong with Kathryn Tickell (photo: KCCUK)

The K-Music festival this year presented an extremely strong line-up, with the special theme being collaboration between Korean and British musicians. An early highlight was Northumbrian small-piper Kathryn Tickell with fusion band Black String – though it was a shame they really only had one brief set together. Jeon Jeduk with Park Juwon gave us a flawless gig from start to finish at Pizza Express Soho, and Park Jiha gave us a meditative finale at King’s Place.

Honourable mention in the music category goes to Joo Yeon Sir. I think I only managed to get to one of her concerts this year, but I’ve been enjoying listening to her debut CD:

Joo Yeon Sir

And so to the list of concerts that absorbed us most during the year:

4. Love X Stereo at the Windmill, Brixton: intimate and euphoric at the same time, showcasing their hugely ambitious recording schedule this year involving 37 new tracks and music videos.

Love X Stereo at the Windmill, Brixton, 15 May 2017

Love X Stereo at the Windmill, Brixton, 15 May 2017 (photo: LKL)

3. Nah Youn Sun at Ronnie Scotts: the quality of Youn’s diction, her musicality and consequently her consummate communication and story-telling ability puts many native English-speaking vocalists to shame. This was a very special gig, showcasing her new line-up and new album, She Moves On.

Nah Youn Sun

Nah Youn Sun

2. Kim Hyelim with Alice Zawadzki at the Vortex: creative, imaginative and collaborative music-making at its best.

Kim Hyelim, Alice Zawadzki, Misha Mullov-Abbado and Rob Luft

L to R: Kim Hyelim, Alice Zawadzki, Misha Mullov-Abbado and Rob Luft (photo: KCCUK)

1. The amazing Lee Heemoon with Prelude in the Elgar Room. Minyo and laid back jazz mixed with camp humour and extreme glam. Probably the best entertainment I had all year.

Lee Heemoon with the Two Dudes

Lee Heemoon with the Two Dudes (photo KCCUK)

Performance art / Dance

This was the most difficult category to judge this year, but after the lengthy introduction above I’ll go straight to my events of the year:

4. Bongsu Park’s Internal Library project. Harnessing the general public as input into your work is a risky business, and this project came together in a moving and even inspirational way.

Bongsu Park's Internal Library project

Bongsu Park’s Internal Library project – involving actors / readers and texts provided by members of the public on the theme of secret personal memories. (photo courtesy Bongsu Park)

3. Ahn Eun Me: Let Me Change Your Name, at The Place. Colourful, propulsive, flirtatious. Do not ever miss the chance to see her work.

Let Me Change Your Name

Ahn Eun Me: Let Me Change Your Name (photo: Eunji Park)

1=. From the exuberant to the macabre: Jeong Geunhyung’s 7ways was a riveting 70 minutes of precision-controlled movement, puppetry, sexual exploration. How can anyone, in manipulating an inanimate object, make it appear that in fact it is she that is being manipulated (and ravaged)? A remarkable performance.

Geumhyung Jeong 7ways

1=. After 4 – Over the Moon: Choreographer / dancer Yoo Sun-hoo with fusion band E-DO at the Edinburgh Fringe. Unforgettable and incredibly moving.

Yoo Sun-hoo in After 4 – Over the Moon

Other events

We’ve had author appearances (Min Jin Lee, Suki Kim, Han Kang, Han Yujoo, Hwang Sok-yong); walks in Richmond Park with North Korean exiles; a commemoration in Hyde Park for SHINee’s Jonghyun; numerous dance workshops and late-night parties; Chuseok celebrations in Kingston and a cultural festival in Olympia; regular events commemorating the Sewol victims and victims of sexual slavery; literature discussions at the KCC; free seminars at SOAS; jewellers and lacquer craftsmen at the V&A and more besides. Here are the miscellaneous events that stick in the memory:

4 Translation pitch: an evening during which six young translators (including Sophie Bowman and Jason Woodruff) presented the texts for which they would like to have funding to translate. Texts from Korea, Taiwan, Indonesia and Japan were showcased, and the audience left wanting full translations of all the works.

Sophie Bowman

Sophie Bowman pitching Kim Bo-young’s sci-fi romance I’m Waiting for You (photo: LKL)

3. Mike Breen interviewed by Chris Hollands for the British Korean Society at the UK launch of The New Koreans.

Chris Hollands and Mike Breen

(photo: LKL)

2. An evening with North Korean exiles in New Malden highlighting the need to help them, among other things, with their English language skills.

(photo: LKL)

1. Presence Through Sound: Place and contemporary music in and from East Asia – a free two-day conference at SOAS covering a huge range of fascinating topics. Well worth taking two days holiday for.

SOAS and the National Gugak Centre

SOAS and the National Gugak Centre sign a memorandum of understanding at the Presence through Sound conference (photo: LKL)

——-

Thanks as always to all the event organisers and sponsors.

{ 4 comments… read them below or add one }

Alexander January 1, 2018 at 4:54 pm
Philip Gowman January 1, 2018 at 5:02 pm

Yes, I really wanted to come along to that, but I didn’t have enough days holiday available to come up to Hull for it, and no-one volunteered to cover it for me. Glad you enjoyed it, and thanks for reminding me about it.

Colin Bartlett January 2, 2018 at 7:52 pm

Did you see “Medea on Media” at the Edniburgh Fringe Festival? I was very impressed: it’s my Korean theatre event of the year (and my joint theatre event of the year, with a non-Korean solo playreading), and would still have been if I’d seen more Korean theatre in 2017. I wanted to see it again, and managed to persuade four people to come with me to the last performance: one of them is a dance and performance critic, and afterwards he said “How did that not win a Total Theatre Award?”
https://londonkoreanlinks.net/2017/06/16/korean-performers-at-the-2017-edinburgh-fringe/

Philip Gowman January 2, 2018 at 8:34 pm

I bought a ticket for it, but I knew it was touch and go whether I would get there or not. In the end, I was enjoying dinner too much so decided not to rush and instead went for 2차. Sorry to have missed it. In the two days I was there I think I got to 6 of the 8 shows I bought tickets for. I think the other one I missed was Hello Potter – an early start which I didn’t fancy after the 2차 the previous evening 😉

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