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
She deals with the issues of how the victimization of women in the post-colonial Korean society is represented, what type of gaze operates here, and what the gaze ultimately strives to see.
Kim Han-Sang
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)
Historian Harrison C. Kim traces how discourse on “Comfort Women” in North Korea has evolved—at times in dialogue with the outside world—while developing distinct advocacy practices and perspectives.
Cheehyung Harrison Kim
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