Eunju Hong studied Fine Arts at the Korea National University of Arts and later attended the Academy of Fine Arts Munich as a DAAD master’s scholarship recipient. She currently lives and works in Korea and Germany.
Installation
view of 《The Postmodern
Child》 © Busan Museum of Contemporary Art
《The Postmodern Child》
understands the figure of the child—inevitably revealed as an object of
discipline—as a continuation of modernity grounded in the concept of universal
validity, and critically examines the crisis into which this
Enlightenment-based mode of thinking has arrived. In order to abandon the
dualistic order of modernity, the exhibition proposes specific conditions of
separation and liberation.
In Part I of the exhibition, the separation from
modernity first reveals how the concept of the child, constructed through
reason-centered thinking, has developed in ways that deny and suppress the
individuality of each child. In Part II, which follows in May 2023, the
exhibition addresses liberation from modernity, suggesting that only when
knowledge long regarded as universally valid is dismantled can diverse forms of
existence truly coexist.
Installation
view of 《The Postmodern
Child》 © Busan Museum of Contemporary Art
The exhibition questions the
assumption that knowledge grounded in universal validity is inherently normal,
correct, and good. From this perspective, it seeks to understand how the gaps
within disciplinary systems—systems that continuously produce specific forms of
existence—have been meticulously structured. Is such knowledge considered
normal, correct, and good because it truly is so, or because we unquestioningly
submit to it? Might the problem lie not with the knowledge itself, nor with the
power that operates through it, but with us—who regard this knowledge and its
associated power as presenting universal truths and legitimate principles?
The sense of unease in defining
the somewhat peculiar exhibition title 《The Postmodern Child》 stems from an anxiety
that redefining its meaning might once again produce a specific form of
existence. While the title clearly poses a fundamental question to the modern
concept of universal validity, the demand that one’s thinking align with that
of others can itself be perceived as a form of coercion.
For this reason, while
the exhibition offers a foundational framework, it ultimately hopes that
diverse reflections on its underlying questions will be experienced and debated
directly through the exhibition itself.