The Sixth Asia Pacific Triennial of Contemporary Art

108 Im Hyok North Korea (DPRK) b.1965 Breaktime (detail) 2009 Ink on paper ( chosunhua ) / 200 x 200cm / Commissioned for APT6 / Collection: Nicholas Bonner, Beijing / Courtesy: The artist and Nicholas Bonner Opposite Kim Yong IL North Korea (DPRK) b.1971 Study for In the face of the flame (detail) 2009 Oil on canvas / 54 x 63cm / Commissioned for APT6 / Collection: Nicholas Bonner, Beijing / Courtesy: The artist and Nicholas Bonner An artist’s week generally sees them work eight-hour days from Monday to Friday, with Thursdays often set aside for technical practice to improve and hone skills. Saturdays are devoted to political study. Unless working on a government commission, artists are free to paint what they wish, although they need approval for trips out of the city. Artists often arrange trips to scenic areas throughout Korea to sketch, and may travel with their spouses, often camping in the countryside or billeted by members of a local community. While the number of works an artist is required to produce in a year is not stipulated, there is an obvious pressure to produce works of high quality. Artists receive a fixed salary, with basic items such as painting equipment and related materials supplied by the studio. Individuals can earn additional money by exhibiting work at the National Exhibition with the Ministry of Culture, which pays fees. Artists are awarded various accolades during their lifetime — titles include ‘Merited’ and ‘People’s Artist’ — while winning the Kim IL Sung prize and obtaining membership of the Korean Artists Union are some of the achievements for which they strive. They are also allowed to specialise, depending on their skill and where their talent lies. For example, some prefer landscape, others chuchehua (art on a revolutionary theme), others wildlife or dance. At some point in their careers, most artists will paint one chuchehua piece for society, revolution and education, even if it is not their speciality. Individual creativity and freedom of expression are most often articulated through choice of subject matter and technique. Mansudae Art Studio The Mansudae Art Studio was established in November 1959 by Leader Kim IL Sung and placed under his direct supervision. In 1970, control of the studio passed to Leader Kim Jong IL, who took a great interest in art and cinema. That the studio is under the guidance of the Leader is considered an enormous honour, and it is therefore the most sought-after for artists to join. In 2009, the Mansudae Art Studio enlisted around 1000 artists, craftspeople, designers, sculptors, ceramicists, embroiderers, mosaic and propaganda artists. Mansudae’s chosunhua department has over 100 artists, while its oil painting department has 80 artists. These departments enjoy a fair degree of autonomy, with final decisions on projects being made by the director. Mansudae is well-known for projects such as the sculpture of the Chollima Horse, completed in 1961; the 22-metre bronze statue of former Leader Kim IL Sung, completed in 1972; and the mosaics of the Pyongyang Metro and various government buildings. Artists who are not commissioned by the studio via state projects can select themes based on their artistic lives and loves. When a request is made by the government or other institutions for a specific work of art, subjects are based on the brief. This was the process undertaken for the 13 commissions for APT6, and it was conducted via consultation with the artists exploring subject matter, styles, scale and media.