Sae-ilkkun, which literally translates to “new worker,” is a Korean word that has come to have a number of connotations throughout its abundant usage in politics; candidacies, new promises, and self-proclaimed dedication to the public are just some of the examples. In accordance with its name, the exhibition Saeilkkun 1948-2020 deals with discourse surrounding elections, politics, and democracy in Korea. Through displays of historical artifacts and youthful art, this exhibition undoubtedly makes the audience reflect upon what democracy means to them, and what they mean to democracy.

Officially translated as The Better Man 1948-2020 Pick Your Representative for the National Assembly, it seems this exhibition was curated in a timely manner to correspond with the general election with a clear intention: to refresh the abstract idea of democracy in the public’s mind. Historically significant artifacts from previous elections, provided by the National Election Commission (NEC), are juxtaposed with art pieces in four different politics-related themes by 21 contemporary Korean artists across several floors.

When viewed alongside ballot boxes and campaign posters, uniquely expressed political perspectives on subjects such as the act of casting a vote and repetitive campaign slogans start to take form within the audience’s mind. It may not be a stretch to say that the exhibition was created with the hope that it will impact the audience’s political ideals concretely enough for it to transition into action.

Looking Back, Moving Forward

One could argue that politics exist to bring about change, and democracy to do so fairly. Some looked into the past to prove a point. For example, 69 Promises by Ahn Kyuchul is a collection of monochrome paintings created from 69 presidential candidacy campaign posters. What is significant, however, is that all the posters were stripped down to the main slogan. Because all the bells and whistles have been removed, it leads one’s eyes to contemplate the always idealistic campaign phrases intended to captivate voters and compare them to the injustice-ridden society. Smartly emphasizing the gap between candidates’ utopian pledges and the often-disappointing post-election reality, the artist urges the audience to look behind the alluring cloud of campaign tactics.

Instead of looking back into the past, some expressed desires to realize a more inclusive future by means of democracy. Korean Dream, an installation of sculptures by Haneyl Choi, embodies the yet-to-be achieved moments of minority group members’ election wins. The installation How Do Animals Vote of Edongshi’s Animal Party Manifesto reaches further into the future; veganism and zoo abolishment may sound familiar but voting rights for animals is an idea probably unheard of to most. Six voting booths, only one of which is for humans and the rest for various-sized animals, stand side by side in this work. Viewers subsequently realize the great extent to which human choices affect animals and how animals cannot influence their own future. In a broader sense, the piece pushes viewers to shift their paradigm from one that is human-centered to one that includes all the agents of this world.

Participation is the Answer

Democracy at times seems daunting to newcomers to politics, but when disassembled, it all comes down to voting and making your voice count for the sake of the nation’s future. Perhaps with the general election so close to the time of curation, The Better Man creators thought it would be better to focus on the facet of democratic politics central to this event: elections. Various pieces were stationed to promote voting. For example, exhibition-goers are each given a ballot to cast into the Weekly Vote, which is held with new social, political, or general issues every week. Another piece, however, is equipped with a particularly convincing metaphor. Mijung Lee’s Getting rounded, getting rounded spots both the visual and semantic similarity between the act of voting and the act of wishing by creating a ballot-box-like sculpture in the image of water and a tossed-in pebble. Lee makes a connection between casting a vote for a better future and the tradition of wishing by accentuating the commotion in the still water.

On a final note, The Better Man focuses on the emergency of listening. The Listener’s Chair is a piece by Kyungwoo Chun which focuses on the present reality. At first, the piece just looks like chairs placed in a circular shape. However, when informed, the audience realizes that The Listener’s Chair is a participatory artwork in which an audience member sits on a chair of their choosing and listens on a device to a unique three-minute story of someone’s life.

Presenting metaphors about wishing and playing back somebody’s words alike, such pieces try again and again to stress the importance of participation in a democratic country. Political participation is not necessarily complicated or difficult. Whether it be voting in a local election or listening to a minority member’s recollection of the discrimination they faced, it all lies in the realm of political participation, the move we make to invoke change within a democratic political structure.

Korea is often cited as a representative case of a country successfully enforcing democracy, which many Koreans are proud of. However, it can be easy to forget how hard-earned and valuable the right to participate politically in a democratic country is amid everyday struggles. By the time we enroll in university, most Korea University (KU) students become eligible to vote. Although whether one vote could really change the course of a nation is something we are constantly doubtful of, we will never really know unless all votes are cast. So, yes, it may be cheesy, and it may be corny, but it really is up to you, the one with the vote, to perhaps tweak the direction of change for a hopefully better tomorrow.

Exhibition Information

Title: The Better Man 1948-2020: Pick Your Representative for the National Assembly

Venue: Ilmin Museum of Art, PRESSEUM

Date: From March 24 to June 21

Opening Hours: From 11:00 A.M. to 7:00 P.M. (Closed on Mondays)

Price: Free of charge