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
What can art accomplish beyond aesthetics? Randy Jayne Rosenberg examines how it can preserve marginalized histories, support survivor testimony, and move audiences from observation toward ethical responsibility.
Randy Jayne Rosenberg
At times, a single poster can speak more powerfully than a hundred-page book. Kyeol had a conversation with New York-based artist Chang-Jin Lee regarding her COMFORT WOMEN WANTED project and how art can shed light on questions of gender, identity, and memory.
Chang-Jin Lee
In this interview with Kyeol, artist Chang-Jin Lee discusses the vision behind her work and the power of art to communicate, connect people, and inspire change.
Rose Camastro-Pritchett’s “Comfort Women” project uses art to honor the dignity and strength of survivors of wartime sexual violence. Inspired by her research and personal experiences, she creates intimate, respectful works that connect historical trauma to ongoing conversations about gender-based violence today.
Rose Camastro-Pritchett
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 Women's International War Crimes Tribunal on the Trial of Japan's Military Sexual Slavery in 2000 (hereinafter the ‘Women's International War Crimes Tribunal 2000’), which was hosted in Tokyo, Japan from December 8 to 12, 2000, was a people’s tribunal[1] that held the Japanese government – the perpetrating state - and Emperor Hirohito responsible for war crimes. It was viewed as the most appropriate alternative plan devised at a time when it was no longer feasible to hold a legally effective international court with any cooperation from the Japanese government.
Sim A-jeong
The solidarity practice of Japanese citizens who finally realized the exhibition of the “Statue of Peace” through the “Non-Freedom of Expression Exhibition”—more than a decade in the making.
Kohei Kurahashi (倉橋耕平)
Webzine Readers Talk
Editorial Team of Webzine <Kyeol>
The Berlin Statue of Peace, established in 2020, marked an important milestone in the “Comfort Women” memorial movement as the first public memorial of its kind in Europe.
Jung-Hwa Han
Film researcher Hwang Miyojo sheds light on the documentary film “The Silence” produced by female director Park Su-nam, a second-generation Korean-Japanese. Director Park documented the struggle of Lee Ok-sun, who demanded that the Japanese government apologize and provide compensation, together with 14 colleagues.
Hwang Miyojo
The data that exists on the Japanese Military ‘Comfort Women’ is classified into several categories. First of all, we have the data produced by the Japanese military, which acted as the principal for the organization and operation of the comfort stations. It is the most accurate data as it was created by the directly involved parties. A considerable amount of data has been unearthed that describes the installation and operation of the comfort stations, allowing us to fully grasp the harsh reality and identify the complete responsibility of the Japanese military. However, a large amount of the data created by the Japanese military have since vanished due to the organized destruction of the pertinent materials, which has made it intrinsically difficult to bring the remaining data to light owing to various circumstances.
Byeongju Hwang