Artists take step forward in feminism

Installation view of "No Patience for Monuments" at Perrotin Seoul / Courtesy of Perrotin Seoul

By Kwon Mee-yoo

While female nudes painted by male artists are common in fine art, in the name of composition and aesthetics, male nudes by female artists are still rare.

"No Patience for Monuments," a new exhibition at Galerie Perrotin Seoul, brings works of 12 artists who question the historic ways of a male-centric society and monumentalize this history.

Valentine Blondel, director of Galerie Perrotin New York, organized this exhibit after seeing women rallying for their rights when she visited Seoul last summer.

"I saw #MeToo protests of women in front of the plaza the last time I visited Seoul. In reference to the current political climate, I proposed to the team here to gather a group of artists who are interested in feminism, deconstructing gender stereotypes and gender equality and questioning patriarchal values," Blondel said during a press preview last week.

The title of the exhibition was derived from Ursula Le Guin's "The Carrier Bag Theory of Fiction." Though the American author is best known for her fantasy and science fiction series, Le Guin discussed a new perspective on cultural development and heroic narrative, in contrast to the male-centric conquering narrative, in the context of human evolution. She claimed the first-ever tool invented by humans was in fact a vessel to hold objects, not a weapon for conquest, suggesting a new perspective on human history other than traditional heroes who attack and conquer.

Park Ga-hee's "Still Life with Flowers, Fish and Hermit Crab" (2018) / Courtesy of Perrotin Seoul

Blondel collected 12 artists from America, Europe and Korea, including Park Ga-hee.

"I started discussion with Ga-hee Park when I came back from Korea. Ga-hee is very open, but comes from a very conservative family. Leaving Korea to study art in the U.S. maybe in search of more gender equality, Ga-hee was a good start to put together this exhibition," Blondel said.

The very first painting that greets visitors to the gallery in Palpan-dong, central Seoul, is Park's "Still Life with Flowers, Fish and Hermit Crab." The colorful still life looks decorative at first sight, but there are some suspicious elements in the painting, such as decaying food and insects, making the viewer uncomfortable.

This is the painting the artist shows to her parents when they ask her what she does in the U.S., instead of her typical paintings featuring intimate domestic scenes with disquieting elements.

"The narratives in Park's paintings are very complex. Even though she is painting with a seemingly naive style, the content is everything but naive," Blondel explained. "Le Guin makes an analogy of how the vessel is another mode of writing history and fiction. I think this exhibit functions like a vessel and Park's paintings are in the same line with so many simultaneous narratives."

Celia Hempton challenges the taboo of painting male genitals as a female artist, painting in pleasing colors and a classical, refined way.

"She is painting an object which is very taboo ― male genitalia. She has been exploring the subject and pushing that practice. Female genitals were extremely controversial in the past, but now completely accepted. I think she is opening the second door to that revolution."

Ruby Sky Stiler's "Seated Father and Child" (2019) / Courtesy of Perrotin Seoul

Genesis Belanger's sculpture "Decorative Vessel" provided inspiration for the exhibit's title. The large vase-like object has a pair of ears wearing earrings, as a criticism on the objectification of women through a useful yet decorative object.

"Belanger is known for pointing at gender stereotypes and patriarchy with humor," Blondel said.

Ruby Sky Stiler subverts traditional concepts of femininity and maternity by bringing the male into the archetypical image of "Madonna and Child."

"Seated Father and Child," made through a unique technique of casting silicon and plastic into tiles, she frees women from the glorification of motherhood.

Nick Doyle's "Fool Me Once Shame on You, Fool Me Twice Shame on Me" (2019) / Courtesy of Perrotin Seoul

Some male artists also contributed to this expiation, broadening perceptions on the theme. Nick Doyle from the U.S. questions the gendered nature of objects.

"Fool Me Once Shame on You, Fool Me Twice Shame on Me" is a luscious bouquet of flowers made in denim, rendered and crafted delicately. However, when examined closely, there are peepholes and nails embedded among the flowers.

"Doyle's works function like riddles. The voyeuristic elements are a reference to peeping Toms in Korea. Denim is an important symbol of masculinity, but it is used to portray toxic masculinity here, which should be deconstructed for healthy feminism," Blondel said.

Other participating artists include Julie Curtiss, Ridley Howard, Jessie Makinson, Sarah Peters, Naudline Pierre, Jansson Stegner and Emily Mae Smith.

The exhibit runs through June 8. Visit perrotin.com for more information.