0 「 igin 引 text ー pp. 052-048 Escape from PostwarJapanese Art Another Bad Pl ace lnterview From Museum tO Garden: The PhiIosophy of REAL DMZ PROJECT Sunjung Kim lnterviewed by YOhei Kurose & Hiroki Azuma Sunjung Kim is a leading independent curator in the South Korean contemporary art world. She has been deeply involved ⅲ the internationalization Of South Korean art, successfully curating numerous art festivals and organizing contemporary art exhibitions ln and outside her country. ln the REAL DM Z PROJECT, exhibited ⅲ Cheorwon since 2012 , she has developed a unique approach tO the demilitarized zone that lies between South and North Korea 、 ln this interview, Kim responds tO questlons about the pr0Ject, and the relationship of art tO memory and politics. Kim notes that she began the project to produce an opportunity for people to visit the location in person and think about the DMZ. She explains that it is important tO remember the reality Of division When one imagines the conditions that will follow the reunification of North and South Korea. Thus far the project has been run as an annual art exhibit open for a fixed period. Kim says thatshe now has plans tO build a permanent collection ofworks in Cheorwon that would be open to the public at all times. Festivals like biennales effectively show many works produced in a short period 0f time. She says that this is precisely why she wants tO take the time to carefully produce and exhibit works in this project. There are currently plans tO build a theme park-like tourist venue in Cheorwon. ln response, Kim has proposed the idea 0f a new 、 'garden" that Will preserve the traces and memorres of individuals related to the DMZ. A museum" simply Offers a space tO arrange collected objects. ln contrast, Kim notes that she would like to create a 、 'garden" to nurture traces and 】れ OI'1es. According tO Kim, division is not unique tO South Korea. There are divisions ofvarying kinds between South Korea and itS neighboring countries; furthermore, there are countries situations similar tO that Of South Korea. Kim states tha い he would like to make this prOJect an international endeavor and thus share experiences with artists having similar concerns from around the world. ・ E 1 2 English Translations and Abstracts

because it is a successful example Of dark tourism; rather, it is alSO because the REAL DMZ PROJECT was always there as a critical response. Because I am not an art critic it iS not possible for me t0 decide whether or not the REAL DMZ PROJECT is productive as an art project. However,just by reading the interview with Su 可 ung Kim included in this issue you can see that her strategy is a clever one; it is ロ 4 ″ ) (kokatsu) in the most positive sense Of the term. She is, Of course, critical Of the current state Of tour. She does not, however, criticize the act Of touristization. Rather, after having accepted the ambitions oflocal governments, military violence, and the pleasure 0f commerce, Kim is thinking about hOW tO quietly ect completely different ideas int0 the minds ofvisitors. This is why her 2012 exhibit was incorporated intO the standard visitor's route Of the Cheorwon DMZ Tourand why the 2015 exhibit was held in the downtown area Ofa 1 蝨 or tourist desti nation. The REAL DM Z PROJ ECT is not a negation ofDMZ dark tourism. Quite the contrary: it is the ど x. カ 0 れ豆の 2 ofdark tourism; it is an attempt tO deliver deeper and further the range of the paradox I call the deconstruction Of tourism. The REAL DMZ PROJECT belongs to the world after dark tourism. I realized that if G げ 0 れ were tO dO a special issue on art it would be essential tO have our Japanese readership come tO know the existence Of this world. Five years after the Great East Japan Earthquake, many 0f the remains from the disaster have been removed because they evoke painful memories for the victims. The establishment of disaster-prevention parks and museums is progressing extremaly slowly. China' however, lmmediately preserved the town that was reduced tO rums as a result Of the 2008 Sichuan Earthquake, designating it a memorial park ( B eichuan Earthquake Museum). When I visited in 2011 to gather information it was already attracting large numbers of tourists. 5 ln 2013 1 also visited ChernobyI. For a long time, Ukraine prohibited visitors from entering the 、 rast land surrounding the accident site. From 2011 , however, they began accepting tourists. Visitors are lent a dosimeter, which is intended tO teach them about the harmful effects 0f radioactivity. Based on my experiences ⅲ Sichu an and Chernobyl I proposed that we should turn the site Of the 2011 nuclear accident intO a site for tourists. My proposal was laughed off ⅲ Japan because people thought tourists would not dare tO come before decomm1SSioning had not yet commenced and the danger of radioactivity was still present in the land. However, as have I shown, the reality is that in Korea a conflict zone still under military tension attracts millions Of tourists annually by commodifying that very tension. ln a manner of speaking, the DMZ is far more dangerous than both Chern0byl and Fukushima; even still, tourism has been firmly established there. lt is not an easy task classifying human behavior, whether it be politics or entertainment, seriousness or unseriousness, or 召 X な C 召 or the / 〃〃 . Human beings are full Of contradictions: they can be 厖 0 5 and, at the same time, れ 5 ゾ 0 れ 5 ; the relationship between art and SOCiety must be discussed with such a prenuse in mind. However, somewhere along the way the Japanese people lost the will or power required tO confront these contradictions head-on. The mentality currently dominating inJapan iS neither serious (majime) nor unserious (fumajime) ; rather, it is perhaps best described as sober (kimajime). A sober approach despises more than anything the mixing Of the serious and u nserl()us. The line Of demarcation it draws between politics and entertainment iS clear. Moreover, it tries tO distinguish between E 0 6 English TransIations and Abstracts

0 ⅱ gin 引 text ー pp. 057-077 Escape from Postwar Japanese Art Another Bad Place Article The M irror and the Swamp , or Representation of Division in Media and Art Park Chan-kyong Even now, 66 years after the outbreak of the Korean War in 1950 , South Korea and North Korea are still legally at war with each other. This has not developed into a full-fledged war, but cold-war politics have profoundly influenced South Korean SOCiety as a whole. To discuss the changes thatthe division Of the tWO countries in South media, it iS necessary tO examine hOW South Korean artists are utilizing art, including 用 m. Che On 可 00n ' s M の“面 M 〃立な〃新 presented an archive Of North Korean cultural diplomacy and offered a fresh point ofview subverting the image Of North Korea as an isolated nation. The REAL DMZ PROJECT exhibition, a contemporary art project, initiated a discussion regarding the paradox 0f military power buildup in the demilitarized zone Of the peninsula, thus questioning the meaning Of true demilitarization. South Korean cinema made great strides in the 1990S and has come to take bel ief and doubt as its central themes. The collectively held doubt of the characters in film reflects the core mechanisms Of the South—North division. Park explains the relations between these countries, which depend on each Other for identity formation, using the metaphor Of a "mirror. " BOth countries continue tO select opposing ideologies and systems and the ceasefire line is a ト 0 a "swamp, which drags them into endless competition. Park emphasizes that a new culture and art that resists division must go beyond these paradigms to establish a solid grou nd. 0 genron 3 E 1 5

C ontributors Makoto Aida Born in 1965. Contemporary artist works rned iums Of expression ng painting, photography, sculpture, live performance, installations, novels, and manga. ーれ or SO ー 0 exhibitions i nclude "Monument for N0th ing" (Mori Art Museum, 2012-2013 ). Reiji Ando Born in 1967. Literary critic and associate professor in the Faculty OfArt and Design, TamaArt University. His works i nclude K 襯な襯ト加ね砌 (K0dansha) and 0 れ S ん励社 (Kodansha). Akira lde Born in 1968. Ph. D. ⅲ informatics. Researcher Of Associate Professor ⅱ 1 the Faculty ofManagement at the Otemon Gakuin University. Supervisor of the Dark Tourism magazine D 〃々“ Shigemi lnaga Born in 1957. Professor the lnternational Research Center for Japanese Studies. His works include K g 加 tasogareand & 新ん : ” ( b0th have been published The University of Nagoya press). Translators Michael Chan Born in 1984. Visiting assistant professor at the State University of New York, AIbany. Scholar in modern and contemporary Japanese literature 、 R. OSS Henderson Born in 1989. Graduate student i n Japan ese Literature at the University 0f Wash ington , Seattle, currently completing an i nternship at the Seattle Asian Art Museum. Sunjung Kim Born ⅲ 1965. Director ofthe Art Sonje Center and artistic director ofthe REAL DMZ PROJECT. She has previously served as commissioner Of the Korean Pavilion atthe 51st Venice Biennale and agent for dOCUMENTA ( 13 ). Yohei Kurose Born ⅲ 1983. Artist, art critic, and curator. CompIeted his doctoral course W01 ま in the Department 0f Fine Arts at Tokyo University ofthe Arts. Head of the Chaos*Lounge Art Collective. His works include 、 / 0 ん 0 訪房 - 加匆〃にれ (NHK Publishing). Park Chan-kyong Born ⅲ 1965. Artist and film director. HiS previous positions include director ofAlternative Space P001 and artistic director for Mediacity SeouI 2014. Noi Sawarag1 Born in 1962. Art critic. Professor in the FacuIty of Art and Design ofTama Art University, as well as a research member Of the lnstitute for Art Anthrop010gy of Tama Art University. His works include Nゆ20れ/@に〃イ石乃り社なな (Shinchosha) and G リ社なル加〃 (Bij utsu Shuppansha). Christopher Lowy Born in 1986. Ph. D. candidate inJapanese literature at the University ofWashington ・ His works include "Cho- heimenka-sh ita n ihongo-de-no komyunikeishon-ni-tsuite" ( g に〃 0 れ ど化 . , 4 ) , "Nihongo-no akitekucha" ( S ) ”中ん 0 れ法 1.1 ) , as well as numerous translations. J0hn Person Born in 1979. Assistant professor Atsushi Shinfuji Born in 1982. Researcher at the National Museum ofWestern Art. His contributed works include 〃れ - 加訪 0 (Arina Shob0). Seiichi Tsuchiya Born ⅲ 1975. Art critic. Associate professor ⅲ the FacuIty of Arts and Crafts, Okinawa PrefecturaI University ofArts. He has contributed tO works such as Ka んんい社川“れみりな社 ( Shogakukan ). Melon Uminekozawa Born in 1975. Author. His works include 〃厖 rasuto r た 0 (Seikasha Bunko), Z 0- 訪法 i (Hayakawa BunkoJA), and Z ど〃襯にななれ 0. ハ c ん〃 ! 4 (Gentosha Bunko). The author's A 〃な社″作 0 々の嗔 (K0dansha) was nominated for the 33rd Noma Literary New Face Prize. Hiroki Azuma Born in 1971. Head ofGenron. His works include 0 々社 : 、 / 0 の D 砒〃わゎ 4 ⅲ襯なな (University of Minnesota Press) and G にれラ″ 20 (VerticaI) ⅲ English. ofJapanese Studies at the State University 0f New York, AIbany. His translated works include Hiroki Azuma's G をれⅣ 2.0 (Vertical). KO Born in 1987. Translator. His translated works include ハな〃 0 〃 石阨れ (Kodansha), 臾厖 5 & ん 0 (K0dansha) and various essays for S んム 0 た社 and G に・ 0 ル genron 3 E 2 1

薹 0 、ミ Sys ョ . ・ Co コ、 e ョ po 「 a 「 y Co コ d 洋コ s 、 0 、 the Guo-Qiang, E ヾ e 「 y き ls Museum: http://www. Galle 「 y and CO 「 ne 「 house, May 5-June 19 1990. Representation 0 、、 de コ t 洋 Minneapolis: Unive 「 sity eve 「 ythingismuseum.com (accessed 」 anua 「 y 2 ☆ Aki 「 a Tatehata, ed.. Cubisme. ・ L'Autre 「ミ e ーー 2016 ). 0 ( Minnesota P 「 ess, 199 尸℃ . く三 . 、 esonances ゝ S 、 exh. cat.. Tokyo: 」 apan ☆ Gao MingIu, "Conceptual A 「 ( with Anti-conceptual ☆ Cf. studio Pei-Zhu, "A 「 t Museum ま「 Artist Yue Foundation, 200 、 Kungnip 工 yondae Misulgwan, Attitude: Mainland China, Taiwan. and 工 ong Minjun,": http://www.studiopeizhu.com (accessed ed., Cubism in ゝ s . ・ Unbounded Dia 、 bgues, exh. Kong," G 、 Oba/ Conceptua/ism. ・ POints 0 、 0 「、、 」 anua 「 y 29.2016 ). cat., Seoul: National Museum of Con ( e ョっ 0 「 a 「 y Art, 1950S こ 980S. exh. cat.. New Yo 「 k 】 Queens Museum ☆一 b ミ . 2005. 同展は東京からンウル、シンガポール〔お 0 ( A 「 t, 1999. ℃ . 131. ☆引 C → . Låszlö Glöze 「 ,"Abst 「 aktion als weltsp 「 ache," よびバリ〕へと巡回した。〔東京ヴァージョンのカタ ☆ C → . F 「 ances Bowles, ed.. China 0 コ a 「斗 The Este 、、å Westkunst: Zeitgenössische Kunst seit 1939. exh. ログは以下。『アジアのキュビスムーー・境界なき対話』 Co//ection—Chinese Co コョ po & 、 y ゝ、 7966 ー cat. - GIözer, ed. - Cologne: Museen de 「 Stadt Kö一三 東京国立近代美術館・国際交流基金編、ニ〇〇五年〕 200P exh. Cat., 工 umlebæk: Louisiana Museum of ☆、 b ミ . Dumont 981. pp. 172 ー 217- esp. 192. Mode 「 n A 「 (. 2007. ℃ . 17. ☆工 ans BeIting, "Commenta 「 y on 」 ulius Meie 「・ G 「 aefe," ☆ William Rubin, ed., = P ュ h7 ミ S ョ ' 2 ミ h Ce コゝ ☆四以下も参照。 G 、öba 、ゝ and the Museum—The ゝコミ 0 、 the a 、 and the Modern, 2 く 0 一 s.. exh. 」 ulius Meie 「 -G 「 aefe, Entwick/ungsgeschichte der GIOba 、 Turn 0 、 a コ d ゝ「こコ、コ望ä〔原文ママ〕】 http:// cat., New Yo 「 k 【 Museum of Modern Art; Boston; modernen Kunst, Munich: Piper, 1987 一℃ p. 728 ー 760. New Yo 「 k G 「 aphic Society, 1984. 〔ウィリアム・ルー globala 「 tmuseum. de/site/confe 「 ence/65 (accessed ☆ Belting, ゝ、 ( 工 ( 0 、 y after Modernism, ℃ p. 12 言 26. ビン編『ニ〇世紀美術におけるプリミティヴィズム Feb 「 ua 「 y 13-2009 ). 〔リンク失効〕 ☆工 ans Egon 工 oIthusen,Avantgarde. ・ Geschichte und 「部族的」なるものと「モダン」なるものとの親 ☆」 ulian Stallab 「 ass, ゝ、 ( 、コ co 、 po 、 a ( e The S ( 0 0 、 Krise e e 「ミéや Munich: Oldenbu 「 g言969 C. Finch, 縁性』上・下、小林留美ほか訳、淡交社、一九九五年〕 Contemporary ゝ Oxf0 「 d 【 OxfO 「 d Unive 「 sity P 「 ess, "On the Absence of an Avant-Ga 「 de," ゝ Studies 2004 も . 1. 、 0 「 an Ed 洋 0 、 . ・ 25 Essays in Memory 0 、 M ミ 0 コ S. ☆鮖 A 「 ( hu 「 DantO' Beyond the 8 、ミ 0 80X. ・ The Visua 、 ゝ、 ( s Post- 工 ( 0 ュ ca 、 Perspective, New Yo 「 k 】 ☆訂以下のシンポジウムの期間中に南條史生が行った発 FO き F 「 ederick 工 a 「 tt, ed., New Yo 「 k 】エ . N. Ab 「 ams, Fa 「「 a 「 St 「 aus G 一「 oux 言 992 も . 10. 一言。 "Whe 「 e ls A 「 ( Contempo 「 a 「 y?" ZKM 一 Ka 「 ls 「 uhe, 1975 も . 168. 以下も参照 ( ここに挙げた以外の文献も ☆工 ans BeIting, Das Ende derKunstgeschichte?;A 、 ( Octobe 「 19 ー 20, 2007. 掲載 ) 。 Belting, ゝ、 t a 、 Modernism. History after Mode 、 s ョ . ☆ Chris Gill, "China: Beijing Plans Majo 「 Museum; ☆れラシード・アライーンと彼が編集をつとめる『第三 ☆ V. S. Naipaul, The Enigma 0 、ゝ、、 ~ a/: ゝ ~ 0 ヾ e こコ Exclusive lnterview with the Head of the National のテクスト導 d ミ』誌については以下を参照。 Five Sections, London: Penguin Books, 1987. GaIle 「 y," The 、、 Newspaper 196 (Novembe 「 2008Y And 「 ea Buddensieg,"Visiblity in the A 「 ( Wo 「一 d 【 The ☆的」 ean- 工 ube 「 ( Martin, ed. ・MaミC砂鬲 de 、 a ( e 「希 - exh. p. 22. Voice of Rasheed A 「 aeen," Contemporary ゝ「 t and cat., Paris: Cent 「 e Geo 「 ges Pompidou; Editions du ☆、 b ミ . the Museum, ℃℃ . 5965. Cent 「 e Geo 「 ges Pompidou, 198 卩 223. 以下の ☆ Alexand 「 a Mun 「 0や ed., Cai Gu ? 0 コ、薹åミ ( 0 ☆ Rasheed A 「 aeen, The Othe 、 S ( 0 、 y. ・ゝ、、 0 , ゝ s コ 雑誌に掲載された写真も参照。 Connaissance des Be = e ヾや exh. cat. - New YO 「 k; London: Solomon R. Artists POS 、ー a 、 B ュ - exh. Cat.. London: ゝ詳一 no. 449 ( 」 une 1989Y ℃ . 60. フランスに旅立っ Guggenheim Museum; Thames 工 udson, 2008. 工 aywa 「 d GaIIe 「 Southbank Cent 「 e, 1989. 同 サンバの興奮をわかちあおうと大勢の人々が群れ集 や 242. 以下も参照。 Everything 、 S Museum. exh. 展は以下を巡回した。 Wolve 「 hampton A 「 ( Galle 「ド まっているさまが写っている。以下の表紙も参照〔同 cat.. Beijing: NationaI A 「 t Museum, China 200 Cai Ma 「 ch 10 ー A ℃「一一 2 199P Mancheste 「 City A 「 t 209 グローバルアートとしての現代美術 ( 前 ) / 、ンス・べノレティング

gateway t0 the DMZ Tour and home ofthe Bridge 0fFreedom. According to an official brochur ℃ , lmjingak attracts more than 5 000 , 000 visitors annualy. Within the park is the entrance tO the Civilian Control Zone, but because the facility itselfis free ofcharge it is difficult tO determine exact attendance numbers. An annual count 0f5 , 000 , 000 visitors places the DMZ Tour within the top twenty amusement parks in the world and makes it the third h ighest park ⅲ Korea after L0tte World ( 7 , 600 , 000 visitors) and EverIand ( 7 , 380 , 000 ). 2 T0day the DMZ Tour is clearly a pillar 0f Korea's tourism industry. ThiS sort Of touristization iS, Of course, deeply intertwined with South Korean policy and ideology. Plans for the DMZ Tour were promoted by the so- called Sunshine P01icy implemented from the late 1990S until the end 0f2000S , a policy that aimed at easing tensions with the North. Therefore, publicly at least, the DMZ Tour must always present itself as hopeful for unification and seeking reconciliation with the North. And yet, the reality is much more complex. ln fact, here and there on the tour participants are faced with exhibitions and videos that stress the threat Of North Korea. For example, at the so-called Third Tunnel in Paju, visitors are guided by a seven- minute video. The tunnel itself was discovered in 1978 and is thought t0 have been constructed by North Korea in an attempt t0 invade the South. With a flashy soundtrack playing ⅲ the background, the high-tempo and well-edited video documents skirmishes with the North over the past half-century in a style reminiscent Of a trailer for a big-budget war 61m. Watching the film, one loses sight ofwhether the Korean government iS seeking peaceful reconciliation with the North a final resolution vis-a-vis war. ln any case, the screening r00n1 iS equipped with headphones offering translations intoJapanese and many Other languages, and its purpose as propaganda especially designed for foreign tourists is obvious. The target of the propaganda is not only foreigners. At the Cheorwon Peace Observatory our team passed what seemed to be a group of high school boys being led around by their teacher. The boys, clearly from the countryside, laughed innocently and gave the peace sign when our editor turned her camera on them. ln a few years they, t00 , will be called upon tO serve tWO years Of compulsory military service. A few 0f them might actually confront the 、 'enemy" while stationed at the border. ln this way, c 厖りんな襯 a ト 0 functions as an educational tO for a younger generation Of South Koreans. For the past few years ー have been thinking about things in terms of イ〃 / 0 れ厖、、川、 Tourism as a concept assumes 5 に c 厖り . The term security comes from the Latin 、 c r ″〃、 , comprised Of the Latin prefix ー , meaning 、、 without," and cura, meaning 、 anxiety" or 、 'care. From this etymology we can extract a philosophically interesting analysis Of the practice. Cura corresponds tO care ⅲ English and Sorge ⅲ German. ln Other words, 5 れ厖り suggests a favorable condition without care or SO ・′ . However, Martin Heidegger, the representative philosopher of the twentieth century, argued that it was precisely the existence of Sorge that makes humans humans. He argued that humans always have Sorge toward the world and, because they build relations with the world imbued with that tension, they can exist as an exceptional entity (existence) as a Being-in-the-World (In-der-WeIt-Sein). If humans were to lose such S の or concern for the world then, perhaps, they would 〃 (verfallen) int0 becoming 心り " (das Man) surrounded by な (Gerede). 5 Heidegger's claim (called existentialism) resonated with the E 0 4 EngIish Translations and Abstracts

G 円な 0 れ may very well be its first substantial introduction in theJapanese media. What does the DMZof the title mean? I wrote that the exhibition venues are located near the borderbetween North and South Korea. ln reality, though, わ or. イ in the normal , static sense Of the word iS an inaccurate expression because North and South Korea are te ch nicially still in a state ofwar and as such dO not acknowledge each Other'S existence as nations; therefore, technically, a border as a national border alSO does not exist. lnstead, what lies between the tWO countries iS a ? 〃″″〃 ? ) イ召〃 ~ 〃む〃〃 0 れ〃ど drawn up with the 1953 cease-fire agreement of the Korean War. As part of the same agreement, and in addition tO the military demarcation line, there was a 群〃〃″〃 r たどイ ぇ 0 に establshed. This dem ilitarized zone is often abbreviated as DMZ. The DMZ was intended tO be four kilometers wide running north-south but in the course Of the past 60 years North Korea and South Korea have continued to sporadically encroach each other's so-called "border ”・ as a result, at certain spots this "border" has shrunk tO a mere 700 meters. Even still, it extends 250 kilometers moving east tO west, and this vast land covering a total area of 570 square kilometers has transformed intO a no-man's land where humans may not enter. Though slightly different from Sawaragi s usage, we might say that the postwar condition gave birth tO the DMZ, yet another わ 0 イが化 The REAL DMZ PROJECT was designed to show that reality (the ル ) 0f the demilitarized zone. The military demarcation line Of the Korean peninsula is known the world over as the Site Of one Of the most tense national borders. ln the fall 0f 2010 , a serious conflict erupted at the border above the Yellow Sea that appeared t0 signal the onset Of war; more recently, in the summer of 2015 , landmines buried 1 in the demilitarized zone by North Korea exploded, causing two South Korean soldiers tO suffer serious injuries. lnterestingly enough, howe 、 the South Korean government iS enthusiastiC about turning the DMZ and its surrounding areas intO a tourist attraction. lfyou have visited Seoul before you are probably ah ℃ ady familiar with trips t0 the DMZ, which are referred to as c れ厖り / Ot な襯 (anbO gwangwang) in Korean while tours geared towards foreigners are simply called DMZ んハ . B0th are heavily advertised, with brochures on display at any mid-level hotel and above. Though billed as a tour of the DMZ, in reality you cannot actually enter the demilitarized zone. Just beyond the DM Z , however, is the C ん市〃〃 Control / 0 (CCZ), a space where entry by the general public is limited. Contained within the CCZ are numerous historical sites : remains fr01 れ the Korean War, vestiges from North Korea's attempt tO invade South Korea, and leftover railroad tracks split in tWO at the border. These are all stops on government sanctioned tours ; you can alSO Cli mb an observation deck overlooking the DMZ and peer intO a North Korean townjust over the border. When relations between the tWO countries are stable , visitors are alSO able tO enter into the 、 / 0 わ S 厖り Area (JSA) of the DMZ, or PanmunJeom, and take commemorative phOtOS with North Korean soldiers standingjust over the border. (NeedIess to say the North Korean soldiers never crack smile. ) S11Ch DMZ tours were at one time open on to foreign tourists. From the m id -1990S , however, Korean nationals were permitted tO participate in the tours, which has since grown intO a large tourist industry. Nearly everyday there are tour buses departing from hotels ⅲ SeouI, and a daily DMZ 行〃 is operated by KoraiI (Korea RaiIroad Corporation). About 40 kilometers north ofSeoul is lmjingak, a park known as the genron 3 E 0 5

political crises that began with the Second World War and conti nued throughout the Cold War; it was extremely influential during the m idd le of the twentieth century. Thus, in a sense, the twenty-first century diSPOsition tO only pursue c れ厖り IS equivalent tO nothing Other than tO what was called 〃加 (VerfaIIen) within the twentieth-century philosophical paradigm. contemporaries are constantly seeking security, namely a state in which concern for the world is not necessary. This is especially true for tourists. Tourists go tO safe places where they can walk around a town freely, eat meals, buy souvenirs, and then head back home. They are able to do this because no one expects them tO ShOW any concern for the world, namely the politically and socially complicated reality around them. ln Heidegger's words, however, this is nothing more than a / 〃〃 intO becoming the り . " ln fact, it is precisely so that we might become どンんり " , become surrounded by 記な阨 and eventually experience thefall that we head tO tourist destinations. Thus, we can say that イの夫れ厖辞〃ーー the act of intentionally travelling to places that have at one time had their safety threatened by means Ofwar, disaster, genocide—is a self-contradiction, a paradox Of tourism. You might even call it the イ召む 0 立 r 行れ Of tourism. We flock to the sites of tragedy as tourists. We わど ca ど、 are tourists. That is dark tourism. At such occaslons the lands of tragedy demand concern. They call out for us tO move beyond thefall. But as long as we are tourists we cannot answer their demand. lt iS there that we come tO know the limits of tourism. Yet, and significantly, the reason we were able tO know that limit is because at one time we became tourists; that iS, because we were surrounded by ル and experienced thefall. 、 interest in the DMZ Tourstems from the points outlined above. The 〃ハ [Z 7 な is a typical example of dark tourism ・ J0hn Lennon and Malcolm Foley, scholars Of tourism, Offers three characteristics of dark tourism: 。、 first, that global communication technologies play a major part in creating the initial interest [... ] ; second, that the objects Of dark tourism themselves appear tO introduce anxiety and doubt about the project of modernity [... ] ; third, the educative elements of sites are accompanied by elements Of commodification and a commercial ethic which [... ] accepts that visitation as an opportunity tO develop a tourism product. "4 The 、 DMZ 7わ盟・ perfectly satisfies all three Of these conditions. The tour is widely advertised online, and tourists from all over the world gather there. The propaganda presented on the DMZ Touris flashy video easily mistaken for a Hollywood 61m ; at souvenir shops textbooks are lined up next t0 badges and t-shirts. And, above all else, the destination 0f the DMZ 7わm 、 is that grand failure 0f the project 0f modernity (). e. com munism ) : it is the very negative legacy left behind by the CoId Ⅵ r. The Korean peninsula's demilitarized zone iS perhaps the world's most successful destination for dark tourism. lt is there that politics and entertainment, senousness and unsenousness, and 召 X なー召れむ召 andfall are most tightly drawn together. I have argued in recent texts such as C ん催れ 0 みメ の〃 7 わ襯 Guide ( C んⅢ to わⅲ面んれ な盟・た襯 0 , 207 の , ⅲ c ん K 〃 r 可 ( おんん襯なイん g 2 〃な“ んの法ん法な , 2 似の , and 加ん Co ” 0 ( zv な盟 g な 2 似の that it is within this sort Of self-contradiction or イ 0 立 ? 行 that the buds Of an ethiCS exists for living in a modern world subsumed by capitalism. And this is not all: the reason I am writing about the DMZ Tour is not simply genron 3 E 0 5

1999. Stephanie Ba 「「 on ed., Exi 、 es + Em s. ・ The て改行を一部改めた。 F 、、ミ 0 、 Eu 「 opea コゝ、い ( s 、、 0 ョエミ e ) exh. cat., ☆ Molly Nesbit, 工 ans-U 「 lich Ob 「 ist and R 一「 k 「洋 http://www.chaoslounge.0 「 g/#!untitled/c1p9k LA Count 「 y Museum of A 「 t, Los Angeles, 1997. Ti 「 avanija, "Whatis a Station?" Dreams and ☆黒瀬陽平『情報社会の情念ーーークリエイテイプの条 ☆ Demos, "The Ends 0f ExiIe," 0 やユ (). っ卩 80L Co コミ cts. ・ The Dictatorship 0 、 the Vie e 、 . La 件を問う』 z ブックス、ニ〇一三年、一 - 三一頁 Demos, The Mig 「 ant lmage, 0 や c 洋 .. ℃℃ . 10 ュ . Bienna 、 F 「 Bonami and Maria 以下。 ☆矼工 ou 工 an 「 u and 工 ans-U 「 lich Obrist, Cities 0 コ the Luisa Frisa eds.. exh. cat., Venice: Ma 「 s 三 9 2003. MO ヾや exh. cat., OstfiIde 「 n: Ge 「 d 工 atje Ve 「 lag, ☆黒瀬陽平「—J< について」ニ〇一四年。引用にあたっ 別なる場所 ' にいてなお 1 2 7 新藤淳

ンの読みと同様、クラウスの一節は、抽象表現主義 か、という問いを提起することになる動きである。 ☆ 8 Leo Steinbe 「四 "Othe 「 Criteria," 0 e 「 Criteria, レデイメイドが示唆するひとつの解答は、明らかに の絵画が実際にはそれ自身のアレゴリー化の種子を New Yo 「 k 【 Ox ま「 d Unive 「 sity P 「 ess, ℃卩 84 → . 〔邦訳【 含み持っているのかもしれないと示唆している。 以下の通りだ。すなわち、作品とは物理的な対象ⅱ レオ・スタインバーグ「他の批評基準」 ( 3 ) 林道郎構成、 オプジェというよりは、むしろ一個の問いかけなの☆昭 Rosalind K 「 auss,"Rauschenbe 「 g and Mate 「 ialized 林卓行訳、『美術手帖』一九九七年三月号、一八〇頁 かもしれず、それゆえ芸術制作という行為は、問 lmage," 「 ( 、 0 ミョ一 XIII, 4 (Decembe 「 1974Y ℃ . 37. 以下〕 〔邦訳】ロザリンド・クラウス「ラウシェンバーグ、 いを提起するという思弁的な行為のなかで、完璧 ☆ 9 Emile Benveniste,"Les 「 elations de temps dans 具体化されたイメージ 1 」石田和子訳、『美術手帖』 に正統な形式をとるものとして再考されることに le ve 「 be →「 anqais. = Prob/émes de 、 in ミ s 、ミ ue 一九八四年ニ月号、 - 四八ー一四九頁〕 なるのかもしれない」。 RosaIind K 「 auss, Passages 冪 n a 、 e. 一 . paris: Gallima 「 d, ℃卩 237 ・ 25P 〔邦 ンヴェニスト「フランス語動詞にお 訳】エミール・バ Modern Scu 、で、ミ New YO 「 k 【 Viking, 197A ℃ p. ☆ R01and Ba 「 thes, "The Death 0 「 Author," 、 mage 72 ー 73. Music xt, t 「 ans. Stephen 工 eath, New Yo 「 k 】エ三 ける時称の関係」『一般言語学の諸問題』岸本通夫監訳、 andWang. 1977. p. 148. 〔邦訳】ロラン・バルト「作 河村正夫、木下光一、高塚洋太郎、花輪光、矢島猷三訳、☆貶クラウスが『バサージュ』でおこなっている、抽 者の死」『物語の構造分析』花輪光訳、八八ー八九頁〕 象表現主義のなかのエンプレムの扱いを考えよう。 みすず書房、一九八三年、一一〇三ーニ三三頁〕バンヴェ 「これらの性質ーーー正面性、中心化、字義どおりの☆ K 「 auss,"Rauschenbe 「 g," op. c 洋こ卩 41. 〔邦訳【ク ニストの弁別を映画理論に応用した興味深い例が ラウス「ラウシェンバーグ 2 」石田訳、『美術手帖』 〔支持体の物理的な〕サイズと外形ーーはすべて、 クリスチャン・メッツに見られる。 Christian Metz, 一九八四年四月号、一六七頁〕強調は引用者。 おおかたの抽象表現主義画家たちが成熟期に手がけ -- 工 iStOi 「 e/Discou 「 S (NOte su 「 deux voyeurismes)," ー』の同じ号に掲載 た作品を特徴づけている。ポロックやニューマンの☆新このエッセイは『オクトーバ Le S 一コ、一 a コ ( imaginaire. Paris: Union Géné「 ように、結局はこうしたエンプレム的な特徴内容の されている。 Douglas Crimp, "On the Museum's d'Editions (COIIection 1P18Y 1977 一 pp. 113 ・ 120. いくつかを手放した者たちでさえ、記号またはエン Ruins," Oct0ber, 13 (Summe 「 1980Y ℃卩 41 ー 57. 〔邦 〔邦訳】クリスチャン・メッツ「物語 / 言述 ( ニっ 訳】ダグラス・クリンプ「美術館の廃墟に」吉岡洋訳、『反 プレムのもっとも中心的な側面をもちいて制作を の窃視症についての覚え書 ) 」『映画と精神分析 美学』新装版、ハル・フォスター編、室井尚、吉岡訳、 つづけていた。かっこれが、抽象表現主義が〔見る 想像的シニフィアン』新装復刊、鹿島茂訳、白水社、 勁草書房、一九九八年、八一ー一〇三頁〕 者に対してみずからを〕差し向ける際のモードなの ニ 0 〇八年、一六三ー一七七頁〕 だ。というのも、伝統的な絵や写真を、作者と対象☆ Michel Foucault, "Fantasia the 匚 b 「 a 「 Y. ☆加 Rosalind K 「 auss,"N0tes on the lndex: Seventies のあいだに、観衆からは独立した関係を創出するも Language, Cou コ、 e 「ー Me ョ 0 「 Practice, t 「 ans. A 「 t in Ame 「 ica. : Oct0ber, 3 (Spring 1977Y ℃ . 77. 〔邦 のとして、また特定の誰かに差し向けられているの Donald F. Boucha 「 d and She 「「 y Simon, lthaca: ート 1 」『オリ 訳【ロザリンド・クラウス「指標論パ ではないものとして考えることはできるが、他方で CO 「 nell Unive 「 sity P 「 ess, 1977- p. 92. 〔邦訳】ミシェ ジナリティと反復・ーーロザリンド・クラウス美術評論 ル・フーコー「幻想の図書館」工藤庸子訳、『フーコー 記号あるいはエンプレムは、明確にひとりの受け手 一九九四年、 - 六四頁〕 集』小西信之訳、リプロポート、 コレクション 2 文学・侵犯』小林康夫、石田英敬、松 との関係のなかに存在するものとして考えなければ ☆Ⅱ『近代彫刻のなかの通路』において口ザリンド・ク 浦寿輝編、ちくま学芸文庫、ニ〇〇六年、一六七頁〕 ならないのである。記号 / エンプレムは、誰かに対 ラウスは、レデイメイドの疑問詞的な構造を記述し して差し向けられた指令という形式をとる。いわば☆ Edmund 工 usse 「 l, ldeas, ( 「 ans. - W. R. B. Gibson, ている。「レデイメイドは〔中略〕ある種の戦略的 記号あるいはエンプレムとそれを見る者とのあいだ New YO 「 k 【 CO 三 e 「 - 196 p. 27P 〔邦訳】 u-J ・フッサー な動きを行おうとするデュシャンの企図の一部と レ 『イデーンー 純粋現象学と現象学的哲学の の対峙の空間のなかに存在する指令である」 ( を d.. なったーー『芸術作品』という術語のなかの〈作 ための諸構想』渡辺ニ郎訳、みすず書房、一九七九年、 . 15P152 ) 。「学童に交じりて」に対するド・マ 品〉とは、正確にはどのような本性をもっているの クレイグ・オーウェンス アレゴリー的衝動第 2 部 2 9 1