[MMCA] Modern Korean Embroidery: Birds Trying to Catch the Sun

At the National Museum of Modern and Contemporary Art (MMCA), Deoksugung, the exhibition “Modern Korean Embroidery: Birds Trying to Catch the Sun” profoundly explores the trajectory of Korean modern and contemporary embroidery. Embroidery, one of humanity’s oldest cultural heritages, has been used in various ways in Korea, including daily life, clothing, weddings, rituals, and decorative purposes. This exhibition, running until August 4, 2024, spans four exhibition halls and showcases the dynamic evolution of Korean Embroidery from the late 19th century to the present, providing a rich understanding of its historical and cultural significance.

Embroidery: A Delicate Dance of Threads

For those fortunate enough to be in Korea during this period, I urge you to seize the rare opportunity to attend this exhibition. Large-scale embroidery exhibitions are a unique and precious treat, offering a testament to the delicate nature of fabric and thread-based artworks. This exhibit also highlights the often-overlooked activities and works of Korean women who studied embroidery at the Women’s Art School in Tokyo during the Japanese occupation. Key pieces include works from the Metropolitan Museum of Art (one piece), the Field Museum of Natural History (three pieces), the Japan Folk Crafts Museum (four pieces), and about 170 pieces of modern and contemporary embroidery, paintings, and embroidery patterns from 60 domestic and international institutions and private collections.

Section #1. Embroidered with a Needle Forged a Hundred Times

The first section, ‘Embroidered with a Needle Forged a Hundred Times,’ delves into the historical context of ‘traditional embroidery’ from the late 19th to early 20th century. This was a period of significant changes in embroidery practices, marking the emergence of a new era. The Joseon Dynasty embroidery is divided into court embroidery (gungsu), made by court ladies, and folk embroidery (minsu), created by civilian women. Court embroidery is characterized by refined elegance with designs using natural dye threads, while folk embroidery is known for its vibrant and free-spirited compositions. This section showcases various forms of Embroidery, including daily life, clothing, Buddhist Embroidery (subul), and ceremonial Embroidery, particularly those on folding screens. It also highlights the shift from cottage industry embroidery in women’s quarters to the recognition of embroidery as an integral part of modern industrial civilization, a testament to its evolution and significance. Notably, works by male embroiderers from Anju, Pyongan Province, known as ‘Anju Embroidery,’ are featured, including Ahn Je-min’s “Embroidered Ksitigarbha Bodhisattva” (1917), displayed publicly for the first time.

Section #2. Embroidery as Fine Art

The second section, ‘Embroidery as Fine Art,’ is a journey through the educational transformation of Embroidery into an art form. Traditionally passed down from grandmothers and mothers, Embroidery became a core part of women’s education in schools from the late 19th to early 20th century. The aim was to teach women the ‘elegant arts’ appropriate for them, fostering them as ideal wives and mothers at home and skilled artisans and educators in society. Many Korean women studied Embroidery at the Women’s Art School in Tokyo during the Japanese occupation and returned to Korea to teach future generations. This section is a testament to their dedication and the evolution of Embroidery into an art form. The introduction of the craft section in the Joseon Art Exhibition in 1932 marked a significant step in recognizing craft items as ‘artistic crafts.’ This era’s painterly Embroidery is exemplified in Yun Bong-sook’s work “Paulownia Tree and Phoenix” (1938).

Section #3. Abstract Threads

The third section, “Using the Universe as a Handkerchief,” presents embroidery works that participated in the broader cultural and artistic movements of ‘abstraction’ and ‘revival of tradition.’ A notable event in this period was establishing an embroidery department at Ewha Womans University’s College of Fine Arts. However, by 1980, the department was integrated into the textile arts major, reflecting embroidery’s declining status. The embroidery community actively embraced abstraction, a new visual language considered the most progressive at the time, moving entirely into abstraction from the 1960s onwards. Both formally trained and self-taught embroiderers experimented with various materials and techniques beyond traditional methods. This trend is illustrated by Song Jung-in’s “Work A” (1965) and Kim In-sook’s “Season II” (1975). Despite ongoing efforts, embroidery’s status declined as it was perceived as a material and time-wasting art form needing modernization.

Section #4. The New Traditionalists

The fourth section, “Modernizing Traditional Beauty,” delves into the historical significance of embroidery. It became a significant industrial craft contributing to the national economy and a traditional craft to be preserved and passed down post-Korean War. Despite a period where its status diminished, ‘Oriental Embroidery’ emerged as a significant export symbol of Korean identity in tourism products. This led to the rediscovery of embroidery’s value, culminating in the enactment of the Cultural Properties Protection Act and the designation of embroidery masters as Intangible Cultural Heritage No. 80. The large-scale works by these masters, such as Han Sang-soo’s “Royal Embroidery Peony Screen” (1978) and Choi Yoo-hyun’s “Eight Scenes of Buddha’s Life” (1987-1997), stand as a testament to their unwavering dedication and the historical significance of their art.

Exhibition Information

This exhibition is not just a must-see; it’s an opportunity to witness the rich, complex flow of Korean modern and contemporary culture through the lens of embroidery. It is a tapestry with fine arts and crafts, male and female perspectives, tradition and modernity, East and West, public and private, representational and abstract, handcraft and industrial craft, amateurism, and professionalism. For those seeking a deeper understanding of Korean modern and contemporary culture in the heart of Seoul, this exhibition will offer a deep exploration of the history and a fresh layer of intrigue, stimulating your intellect!

Period: May 1, 2024 – August 4, 2024
Location: 99 Sejong-daero, Jung-gu, Seoul
Opening Hours:
– Tuesday, Thursday, Friday, Sunday: 10 AM – 6 PM
– Wednesday, Saturday: 10 AM – 9 PM
Admission Fees:
– Deoksugung Palace entrance fee: 1,000 KRW
– Museum entrance fee: 2,000 KRW
– Free admission for those under 24 and over 65
– Wednesday and Saturday evening openings (6 PM – 9 PM)
Parking: None. Use nearby parking facilities.
Reservations: National Museum of Modern and Contemporary Art website, onsite purchase.
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