The Korean Pavilion is inspired by “Crow’s Eye View,” a poem by the Korean architect-turned-poet Yi Sang (1910 -1937). In contrast to the singular and universalizing perspective bird’s eye view, the crow’s eye view points to the impossibility of a cohesive grasp of not only the architecture of a divided Korea but the idea of architecture itself. Like uncharted patches of an irregular globe, a diverse range of work produced by architects, urbanists, poets and writers, artists, photographers and film-makers, curators and collectors forms a multiple set of research programmes, entry nodes, and points of view. They call attention to the urban and architectural phenomena of the planned and the informal, individual and collective, the heroic and the everyday. Intertwined yet in opposition, spilling over to each other, they reveal the way that a wide range of architectural interventions have reflected and shaped the life of the Korean Peninsula. The Korean Pavilion reveals the Korean Peninsula as both symptom and agent, both archetype and anomaly of the tumultuous global trajectory of the past 100 years.
The exhibition is co-curated by the architectural historians and critics Hyungmin Pai and Changmo Ahn. The exhibitors include Ahn Sekwon, Alessandro Belgiojoso, Nick Bonner (featuring the Mansudae Art Studio and anonymous artists and architects of North Korea), Marc Brossa, Che Onejoon, Charlie Crane, Maxime Delvaux, Jun Min Cho, Ik-Joong Kang, Karolis Kazlauskas and PLT Planning & Architecture Ltd., Dongsei Kim, Kim Hanyong, Kim Kichan, Seok Chul Kim & Franco Mancuso, Kim Swoo Geun, Young June Lee, Chris Marker, Philipp Meuser, Moon Hoon, MOTOElastico, Osamu Murai, Peter Noever (featuring the North Korean architects exhibited in Flowers for Kim Il Sung, MAK, 2010), Kyong Park (featuring Nam June Paik and the artists of Project DMZ, Storefront for Art and Architecture, 1988), James Powderly, Kyungsub Shin, Hyun-Suk Seo (featuring Kim Jong Hui et al.), Yehre Suh, Yi Sang and Dongwoo Yim.
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