The Japanese military “comfort women” have been a subject of transnational feminism that criticizes the patriarchy of war and talks about peace and a symbol connected to the unfinished issue, sexual violence against women.
Kim Eun-ha
This is where the validity of the questions posed by this tangible AI interactive testimony content to the viewer lies: bringing up issues again about what to ask, not what to listen to. That’s because asking well must be accompanied by the constant consideration of the questioner. This, of course, would be to restore asking within the process of listening, not a reconversion or return to asking.
Bae Ju-yeon
This achievement of historical research will serve as a basis for listening to testimonies in depth beyond the narrow standard of “fact verification.”
Lee Jieun
the blanks in written language can connect us to the past more powerfully than the original voice, depending on how we relate to the testimonies.
Song Hye-rim
The movie “Denial” (Mick Jackson, 2017)
Heo Yoon
The first “art teacher” of the “Comfort Women” survivors who live in the House of Sharing. I met and listened to the story of artist Kyung-Shin Lee, the author of “Flowers Unbloomed,” which contains the behind story of the painting class she conducted for five years from 1993.
Purplay Kang Purm
Kim Dae-wol, Head Curator of the House of Sharing
Kim Dae-wol
The photo exhibition , in which the victims of the Japanese Military ‘Comfort Women’ (called ‘Comfort Women’) from South Korea and North Korea join together, was held from March 6 to 11 at Exhibition Hall 2 of the Insa Art Center.
Ahn Hae-ryong
Written by Lee Sun-yi, a research professor at KyungHee University Institute of Humanities
Lee Sun-yi
