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[190415] Soultree Official - Park Hyo Shin

[박효신 LIVE 2019 LOVERS : where is your love?] ⠀⠀⠀ 오늘 4월 15일(월) 8:00pm 부터 4월16일(화) 23:59분까지 인터파크 티켓에서 박효신 LIVE 2019 LOVERS : where is your love? 정회원 선예매가 오픈됩니다. ⠀⠀⠀ 자세한 내용은 소울트리 공식 홈페이지를 통해 확인해주시기 바랍니다. ⠀⠀⠀ #박효신 #소울트리 #소울트리공지#SOULTREE #PARKHYOSHIN #パクヒョシン #朴孝信 #captaintree#LOVERS_2019

#박효신 #Park Hyoshin #Park Hyo Shin #lovers2019 #soultree #190415

A Response to JR’s “Conflict Zone” US/Mexico Border Installation (Oct. 26, 2017)

Undocumented artists have been invisibilized by the art world and the immigrant rights movement. They have been seen as “unprofessional” for not having MFAs; for being poor and not having the money to quit their jobs and live as “starving artists”; and for being disabled.

However, the immigrant rights movement has also dismissed artists. I have experienced immigrant organizers think of artists at last minute: when a poster is needed, when coding needs to be done, when a dj cancels on an event, etc. Undocumented artists have been invisibilized at multiple fronts: both inside and outside our communities.

When JR installed his piece at the border, I saw undocumented immigrants and art organizations widely share his piece.

I was conflicted.

Although the piece took me back to my crossing, I couldn’t find a convincing statement from the artist.

I urge us to ask: who gets to make art out of experiences of the marginalized? Who is allowed to construct narratives?

I say all this because I cannot look at JR’s work and feel sincerity from him; I cannot and do not trust him. Part of his bio and artist statement express a commitment to making art that identifies and addresses “conflict zones.” At first glance, this form of art-making has the potential to provide a liberatory art praxis. Some might call it “radical.” But, at the expense of whom?

Who must JR walk over to rise?