Seoul: Howard A. Silverstein and Patricia Bleznak Silverstein Photography Studio Abroad

Adrienne Reid 2nd Year, MFA White Bird (single channel video & audio, 6:32 minutes)

University of Pennsylvania Stuart Weitzman School of Design Department of Fine Arts The Undergraduate Program in Fine Arts and Design

The Howard A. Silverstein and Patricia Bleznak Silverstein Photography Studio Abroad 2023

감사합니다

South Korea, a peninsula in the northeastern area of

powerful lecture on the history of Korean cinema. Siren

the Asian continent, is situated between two powerful

Eun Young Jung, one of South Korea’s most celebrated

nations, China and Japan. Despite its proximity, Korean

contemporary artists, who represented South Korea in

culture developed agonistically and continues to thrive.

2019 at the Venice Biennial, presented their inspiring

Seoul, the capital city, is the country’s largest metrop-

“Yeoseong Gukgeuk” work via Zoom leading up to our

olis, with a population of almost 10 million inhabitants

visit. These compelling presentations and extensive

and a population density almost twice of New York

collaborative research prepared our students with the

City. The culinary, fashion, and pop-culture scenes are

context needed to respectfully examine their proposed

thrilling, modern, and energetic while deeply rooted in

projects once in Seoul. ● On March 5th, the group

tradition. Seoul’s contemporary art culture is booming,

landed in Seoul for an immersive and intense 15-day

attracting international attention and success. With

journey. We spent the first few days acclimating and

great excitement, Seoul was chosen as the seventh

absorbing all aspects of South Korean culture, visiting

destination for the Silverstein Studio Abroad Program.

architectural and cultural landmarks from palaces, mu-

● Founded in 2009, thanks to the generous support of

seums, and galleries, to the traditional Bukchon Hanok

Howard A. Silverstein and Patricia Bleznak Silverstein,

Village. Next, we toured the famous landmark Dongdae-

this invaluable opportunity enables students to travel

mun Design Plaza designed by Zaha Hadid, Gwangjang

internationally. After a highly competitive and rigorous

Market, and did a site visit during sunset to the Namsan

application process, fifteen undergraduate and grad-

Seoul Tower to gaze upon this sprawling city. ●

uate Penn students were selected to participate. This

Throughout our journey in Seoul, we were fortunate to

unique course is divided into three phases: pre-travel

have Jeong Eun Kim as our on-location liaison. Jeong

on-campus research, a two-week on-site investigation

was an invaluable part of this trip, a highly respected

of independent lens-based projects, and a final exhibi-

and remarkable woman who takes on many profes-

tion at the Charles Addams Gallery, Weitzman School

sional roles: curator, publisher, and gallerist. Jeong

of Design, University of Pennsylvania. It has been an

led a two-day tour of the robust art scene in Seoul; we

intense yet rewarding experience from the beginning,

visited the National Museum of Modern & Contempo-

and this publication is the culmination of our collective

rary Art, and following she guided us through thriving

journey. ● In preparation for the trip, we spent several

art gallery districts. We also had the great pleasure of

weeks researching various aspects of Korean geogra-

visiting the Museum Hanmi. We were met by Senior

phy, politics, culture, cinema, art & architecture, history,

Curator Sunyoung Kim, who gave us a personal tour

and current issues. We were fortunate to have Dr.

of the exhibition A History of Korean Photography 1929-

Siwon Lee, Ph.D., from the Korean Language Program,

1982. During our first week, Jeong Eun Kim organized

Department of East Asian Languages at Penn, visit the

several visiting artist presentations by leading contem-

class several times to teach us Hangul, providing the

porary Korean photographers at The Reference Gallery

group with a basic understanding of conversational

and Anteroom Gallery. As a result, we had the intimate

Korean, which proved so vital while in Seoul. UPenn fac-

occasion to learn more about the influential works of

ulty member So-Rim Lee from the Department of East

Onejoon Che, Sunmin Lee, and Ahn Jun. ● One of the

Asian Languages and Civilizations also presented a

highlights of our time abroad was a visit to the Demilitarized Zone (DMZ), the 2.5-mile buffer zone between North and South Korea. We had the privilege of meeting with the organizers of The Real DMZ project. This

arts organization produces art and research to raise awareness about the (in)visible borders of the DMZ for an unforgettable and intense experience. ● Throughout, our students had the opportunity to have meaningful conversations and develop relationships with young Korean artists via lively cross-cultural exchanges. We first met with Cho Eunjae and FF Seoul collective for a beautiful opening reception of her work, followed by a fantastic fried chicken dinner. ● We also met with Professor Kyungwoo Chun at Chung-Ang University, who organized a Pecha-Kucha, a lively show-n-tell between his photography students and ours. Following these inspiring student presentations, Professor Chun gave a comprehensive lecture on his multidisciplinary practice and generously gave our students signed copies of his publications. ● After a fulfilling week with dynamic programming, students devoted the second half of the trip to focusing on their Individual Projects, which brought them to diverse and varied areas both within and beyond Seoul, from Jeju Island to Busan.

During that time, they worked tirelessly with care and perseverance, cultivating impressive bodies of work which illuminated the breadth of Seoul and the complex history and culture of South Korea. We are immensely proud of their dedication, stamina, and deep inquiry, and we are thrilled to share their work with you in the following pages. ● — Jamie Diamond and Gabriel Martinez

SEOUL, 감사합니다.

“The world is a book and those who do not travel read only one page.”

— St Augustine Though the liveliness of the city was missed during the

group photos in front of a monument, we often en-

pandemic, Seoul is currently met with a recent boom of

counter the hidden aspects of travel photography with

foreign travelers. With travel now open, visitors of differ-

visual contrasts depicting both carefree relaxation and

ent nationalities are bustling around the central areas

consumption, abundance, and wastefulness. ● Through

of the city to take pictures again. This makes me wonder

the Photography Program within the department of Fine

what the ambiance of Korea will look like now that it has

Arts, 15 students from the University of Pennsylvania

suddenly become so popular globally, with its “it-factor”.

visited Seoul in March of 2023, not as typical tourists, but

To these foreigners, how will Seoul be remembered? Will

as young artists keenly interested in visually investigat-

it be through the traditional and modern landscapes; the

ing and uniquely representing Seoul. When I learned they

K-pop style; or the Korean street food? The joy we gain

were coming to Seoul as their next research travel desti-

from a trip like this is in the sensation of the entirety of

nation I was elated and curious. Just about a decade ago

the experience. ● That said, traveling originally meant

‘Asian Culture’ was mostly considered through a Chinese

pain. The word ‘travel’ comes from the French word for

or Japanese perspective, but the recent surge of Hallyu

labor, ‘travail’, meaning pain, ardor, and laborious effort.

(Korean Wave) into pop culture has further heightened

Voyage in the past was much slower and it used to be an

expectations and emotional ties regarding Korea and the

experience mostly for trade or migration workers who

city of Seoul. Faced with these changes, I was buoyant

would encounter its dangers. Today’s capitalization of

with expectations for this Studio Travel Abroad group

tourism is now full of leisure and excitement, and went

of students. Unlike common travel pictures, the ‘image

into full swing alongside the skyrocketing development

of Seoul’ in the eyes of each student, were thoroughly

of transportation from land routes to seaways and now

researched prior to their visit. The projects were quite

airways. ● In the 21st-century, photography is the perfect

specific too, and the conversations we had were filled

device to stir up desire to see the world again and again.

with familiar yet distant topics from the Korean culture

In the words of documentary photographer Walker Evens,

of eating alone, to the ecology of Demilitarized Zone,

“A photograph collects the world.” In contemporary

Muslim culture in Itaewon, Korean fried chicken, to so

capitalist society, visitors find their way to the touristic

many more interesting and unexpected subjects. Just

hotspots in order to make cliché travel photographs

like that, two weeks were filled with a mix of emotions

that are shared on social media and preserve the travel

from seriousness to excitement and flew by with the

experience. Perhaps these flat landscapes trapped inside

blink of an eye. ● It is probable that they too have tourist

a frame which include fellow travelers, lovers, families,

pictures on their phones like any ordinary traveler, just

and friends are synonymous with ubiquitous tourism

like the ones in Martin Parr’s works. Likely these photo-

pamphlets or magazines. Renowned British documentary

graphs will be shared with their communities through

photographer Martin Parr once said, “Travel pictures

social media but the final works produced for the exhibi-

show a place looking at its best, nothing to do with

tion and catalog are different scenes that concretize the

the reality,” and “most of the pictures we consume are

contemporary cultural and complex landscape of Seoul. ●

propaganda.” In his prominent works such as The Last

Reading the exhibition title SEOUL, 감사합니다 I ponder if

Resort or One Day Trip, with images of shoppers or

to them Korean ‘hospitality’ was a strong memory from the city. I loved seeing Seoul through their eyes and look forward to following their work in the future. ● — Jeong Eun Kim

Adrienne Reid 2nd Year, MFA White Bird (single channel video & audio, 6:32 minutes)

Adrienne Reid cookie Lucifer Eissa Attar Jewan Goo Julian Valgora Julie Flandreau Kathy Tang Leslie Gregory Maura Catherine Dresner-Pfau Mel Brown Rain Gideon Reuben Gordon Sophie Chen Valencia Kandila Yao Wang

Adrienne Reid 2nd Year, MFA White Bird (single channel video & audio, 6:32 minutes)

DISPLACED FROM OTHER REGIONS DUE TO habitat loss, over one hundred endangered species have settled in the Korean Demilitarized Zone (DMZ), the 2.5 mile-wide strip of land buffering the border between North and South Korea where human presence has been minimal since the Korean War. Environmentalists, politicians, and ecotourism organizations frequently narrativize the DMZ as having “returned to nature,” with the animals living there adopted as signs of supposed ecological purity and metaphors of peace.

In fact, more than a million landmines remain buried in the DMZ, a condition that has directly contributed to it becoming a refuge for animals. ● The red-crowned crane and the white-naped crane are among the most iconic of the endangered species inhabiting the DMZ. When I visited the DMZ, I was hoping to see and film animals, especially cranes. I was interested in how animals that are so prevalently rendered as symbols could be represented in a way that moves beyond these narratives in which they are abstracted to support human interests. I was also interested in considering the environment of the DMZ from a nonhuman perspective, as well as how its historical and political conditions affect and are affected by nonhumans. ● Cameras were not allowed in the militarized area, only phones. I ended up recording the landscape of the DMZ in vertical format and low resolution, following a flying bird that might or might not have been a crane. ●

cookie Lucifer aka marta rodriguez maleck 1st year MFA Shadow Party

YOU STUMBLE INTO A TRANS-OWNED BAR IN GANGNAM where the owner plays you Charles Haden on vinyl.

You photograph her perfectly painted nails, in the style of one of the many photo books she shares with you. ● You find yourself in the private room rented by Something Incredible at Julianna’s karaoke. You and them are crooning, and screaming, and whispering, and improving lines, and closing your eyes, and jumping on tables, and having the time of your life. ● You follow your friend’s grinder date from Itaewon to Jung-gu, for a shadow party at Acid House. You bop around. Float around.

Embrace. Laugh. Dance. Drink. You end up in a cab with their friends to Kokkili for the afterparty. ● You hop a flight to Jeju Island and catch a secret butt squeeze between queer lovers. A rainbow reveals itself in a waterfall. The waves crash on lava that boiled over 5,000 years ago. ● If I told you, you always existed, would you believe me? ●

Eissa Attar 1st year MFA / City Planning Temporary Mosque

AS I WANDERED THROUGH THE BUSTLING STREETS OF SEOUL, I STUMBLED UPON A TREASURE — a haven of faith and community nestled in the heart of Itaewon. The mosque in Usadan-ro, or “Muslim Street”,

beckoned to me with its towering structure and radiant energy, drawing in Muslims from across the world, as well as those who work and reside in Korea. ● In Gyeongbokgung Palace, I witnessed a fusion of cultures, as traditional Korean hanboks mingled with hijabs, and in Itaewon Blackpink merch coexisted with hijabi fashion. The entrance to the mosque welcomed visitors with text from the Quran, inscribed in elegant Korean script. It was a celebration of diversity, a vibrant hub where people from all walks of life came together to connect, to pray, and to revel in the beauty of faith. ● As I climbed the hill to the Seoul Central Masjid, I felt a sense of pilgrimage, as if I were journeying towards a sacred site. From the high elevation of the mosque, I could see the entire city sprawling out before me, yet within its walls, I found a sense of protection and belonging. This space, built on the site of an old U.S. military base, has undergone many transformations, yet it remains a constant in the lives of the Muslim community in Seoul. ● But as the keeper of the mosque shared with me, there is also a fear of change, of the gentrification that threatens to engulf Itaewon and turn this precious space into a temporary one once more.

Yet even as this fear looms, hope still blooms, like the flowers that grace the hillsides in spring. For the mosque in Itaewon is not just a physical structure, but a symbol of the power of community, of the resilience of faith, and of the beauty that can arise when diverse cultures come together in harmony. ●

Jewan Goo 1st Year, MFA 1912

MY WORK ADDRESSES BOTANICAL IMPERIALISM. I photograph historical scenes of plant weaponization, the cultural governance involved with plants, and reconstruct this context into dioramas. In this work, I reconstruct Korean histories that exist only in written form spanning from the Japanese colonial period to present day into dioramas built from photographic evidence. ● Based on anthropological history, I investigate Hanabi culture, a representative means of promoting the Japanese imperialistic agenda and reconstruct the year 1912 when the culture was first formed and introduced to Korea. This culture is so familiar to us today that it is more like common sense ecology: the places and landscapes in which we lead our daily lives unquestioningly. I appropriate documentary photographs taken during the reign of the Empire by war correspondents and reconstruct them into dioramas. ● The Japanese colonial government saw the planting of cherry blossom trees as a way to demonstrate their cultural superiority over the Korean people. They believed that the beauty of the cherry blossoms would create a favorable impression of Japan among the Korean population, and to showcase the supposed modernization and development that Japan had achieved under its imperial rule. This was part of a larger cultural governance strategy implemented by the Japanese Empire aimed at assimilating and subjugating Koreans. It became a powerful symbol of Japanese nationalism and identity during the colonial period. The planting of cherry blossom trees in Korea by the Japanese Empire was a reflection of the political and cultural dynamics of the time. ●

Julian Valgora Senior, English Major / Fine Arts Minor Place Remains

IN SEOUL, LAYERS OF URBAN LIFE COMPRESS TO THE POINT OF OVERFLOW. Objects and possessions spill into hallways and

streets, populating the city when people are absent. The inexplicable na-ture of these objects speaks to the density of life tangled within the city, leaving the viewer as an awkward witness to events which have already happened. ● This series offers a glimpse into moments which provoke curiosity yet remain visually out of reach. Each environment betrays an abrupt emptiness, emphasized by forlorn objects which appear both native and alien to the landscape. Their placement, intentional or not, echoes a thought or sentiment which can only be completed by the viewer. As such, these places remain evocative of aimless sensations of urban sonder suspended within all sprawling metropolises. ●

Julie Flandreau Senior, Comparative Literature Major INFINITE LOOP (서울 지하철 2호선) (video projection, 8:20 minutes)

LINE 2, ALSO KNOWN AS THE CIRCLE LINE, IS THE CIRCULAR LINE OF THE SEOUL METROPOLITAN SUBWAY. The most heavily used of the system, it carries over 2 million passengers daily. It is the third longest subway loop in the world, after the Moscow Metro Bolshaya Koltsevaya line and Beijing’s Line 10. The main loop spans 47.7 kilometers. It connects 51 stations, both above ground and below ground. The line has two tracks.

Operating at a speed of around 80 km/h, clockwise and counterclockwise loops run continuously. ● I rode the line every day, for multiple hours, often in the morning.

I was not going to work, not going home, not going to school, not visiting someone. Sometimes I rode the entire loop. Sometimes I got off, changed tracks and rode in the other direction. Sometimes I got off at random and wandered the streets of the area for the remainder of the day. ● This work started as a meditation upon loops, upon direction, upon time. What I saw — the lightning bolt, dizzying layers of light and shadows, the surprise, the disorientation, the awe it made me feel — turned it, also, into one about control. From image to image, I found a reflection, an angle, pressed record on my camera, let the line carry me. Shapes became sharp and blurry in alternance; the eye cannot register every distinct moment, every strange accident. ● To photograph is, in some way, to reveal. Video, too, reveals: not the truth of stillness, but that of motion. There are ghosts in the machine. Their compounded presence haunts the footage, it is saturated with them. Infinite Loop is an audio-visual poem inviting you to see and not to see. To feel wonder.

To surrender to the mesmerizing powers of light, sound and the passing of time. ● (sound by: Em Boltz)

Kathy Tang Staff, Perelman School of Medicine Sky, Street, Metro

THIS PROJECT EMERGED FROM MY INTEREST IN THE CHANGING ATTITUDES RESULTING IN THE RECENT BANNING OF PLASTIC SURGERY advertisements within Seoul’s Metro

system, and a curiosity to what would take their place. Similar to how cigarette packaging now has “plain packs” to reduce the visual appeal of cigarettes, plastic surgery advertising continues in plain yet bold text formats. ● I explore the complex interplay between advertising, culture, and geography in the modern urban landscape of Seoul. In the subways, below ground, you will find the plastic surgery ads that tell the story of how to achieve aesthetic success. At street level and above us on skyscrapers are the looming standards of beauty depicted in fashion campaigns. ● This work repurposes advertising depicting women and created for women. The location of the original images seen high in the sky, from the pedestrian street level, and underground in the metro system are echoed in the installation. ● As an Asian woman, part of the target audience for these ads, I’m aware of their presence and the expectations laid out by them, but I also feel reluctance to yield to these cultural pressures. ●

Leslie Gregory Junior, Fine Arts Major Fabric, Laces, Trims, & Findings

MORE THAN HALF OF THE GWANGJANG MARKET IN SEOUL WAS MADE UP OF BOOTHS SELLING FABRIC, LACES, TRIMS, AND FINDINGS. Walking through the stalls, I was mesmerized and overwhelmed by the maze of colorful booths and diversity of textiles available. I returned to the market multiple times during the trip, talked with the vendors, took pictures, and bought fabric. Many of the vendors in the market specialize in the types of textiles used to create traditional Korean clothing, Hanbok. Since returning to Philadelphia, I have created several wearable pieces made with these fabrics. ● Throughout the two weeks spent in Seoul, I was fascinated by the local style; the everyday wear was captivating and inspiring. Individual components of each outfit seemed to be paired together more intentionally when compared to the typical outfit in Philadelphia. I incorporated elements of current street style in Seoul and referenced the Hanbok styles through use of the traditional fabric. ● I paired the documentary photographs I took in Seoul with textile creations of my own, to relay my experience of South Korean culture and fashion. Printing photographic images from the Market and the Palace on fabric, and then sewing the fabric into wearable pieces connects the imagery with the clothing.

The finished designs are basic styles with a slight twist, creating visual interest when paired together, referencing the minimal yet expressive street fashion in Seoul.

I focused on exaggerating the silhouettes or individual elements within the pieces. The pants have extra wide legs, the jacket has a unique collar, and the skirt has an extra layer of pleats peeking out from the first hem. ● (model photographed by Gibson Erickson)

Maura Catherine Dresner-Pfau Sophomore, Fine Arts Major Seoul @ 7

IN A CITY OF ABOUT 10 MILLION INHABITANTS, MOMENTS OF CALM AND TRANQUILITY ARE FEW AND FAR BETWEEN. Meandering through the darkened and quiet streets at dawn, I was able to interact and photograph the urban sprawl in a more intimate way before Seoul and her inhabitants awakened. ● Through the lens of my camera, I found both adventure and serenity while exploring different districts of the city. With only my metro card, copious amounts of camera equipment, a humble understanding of conversational Korean and a terrible sense of direction, I set out every morning between 4:30–5:00 am to ensure that I would arrive at my destination in time to harness the warm glow that accompanies the magical hues of blue hour. It was daunting to find myself the sole passenger on an early morning bus or subway train as I zoomed to my destination under the cover of night. ● After just a few days within this foreign environment, I realized and appreciated how safe and respected I felt.

My camera has been my passport to both amazing places and experiences. Hidden behind the lens is a community that has shaped my life and allowed me to delve deeper into a world of creativity. ●

Mel Brown 3rd Year, MFA / Social Work

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FADE FADE OUT. OUT. FADE FADE IN: IN:

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FADE FADE IN: IN:

Reun Gideon 2nd Year, MFA / Social Work spring day

CHOI HYUNG-SOOK IS AN ACTIVIST, ORGANIZER, AND THE FOUNDER OF INTREE AND SPRING DAY COUNSELING CENTERS IN SEOUL. Both centers support women through pregnancy, birth, and postpartum with material, emotional, and fi-nancial resources. ● A key part of InTree is their robust online community where mothers can connect with others for friendship and mentorship, sign up for supply boxes (which include infant clothes and necessities, hospital comfort items, food, and baby toys), and learn more about upcoming events and programs hosted by InTree.

Choi and her colleagues include handwritten notes in every care box for their community of over 2,000 members. ● In South Korea, the government provides single mothers who make less than 1.5 million won (1,155 USD) per month with a stipend of 200,000 won (154 USD) to support themselves and their children. Choi advocated for an amendment to the Single-Parent Family Support Act to further reduce the economic burden on single mothers. This has yet to be passed. In conversation with Choi, Jin, and Youri (two other employees at InTree), they quickly explained the government’s push to abolish the Ministry of Gender Equality and Family, which would likely eliminate the monthly stipend and remove protections for those who are most vulnerable. ● Choi also leads the Korean Unwed Mothers’ Families Association (KUMFA).

The mission of KUMFA is “…to enable Korean women to have sufficient resources and support to keep their babies so that mother and child can thrive in Korean society” (https://kumfa.or.kr/). Single mothers in Korea are persuaded to put their kids up for adoption due to lack of support and social stigma. In 2019, 90% of Korean adoptees were from unwed mothers (KUMFA). Choi originally started InTree and Spring Day to give women options.

She believes in autonomy and supporting whatever decision her clients make. ● Throughout our time together, Choi emphasized the importance of solidarity and care in building a more equitable future for all. ●

Reuben Gordon 1st Year, MFA Shocking Cold Noodle Karaoke

language, I was not affected by its meaning and associations. I appreciated the richness of the script’s innate calligraphic gesture and geometric structure. I could look more freely at the signs as oscillating planes, as they

MY WORK IS ROOTED IN THE TENETS OF ABSTRACT EXPRESSIONISM AND THE POETRY OF BEING IN A CITY. Visual fullness and potential for emotion-

al impact are my primary aims. My work is not reliant

on its representational illusions or subject matter, my art does not require particular knowledge to experience it. ● Yet I am usually pulled toward representational content for my paintings and am so often inspired by photographs as an impetus for my compositions. I do not think this is contradictory to my abstractionist priorities because photographs, just as any visual experience, can find their artful success along the same criteria as abstract painting: the combined effects of color, light, line, geometry, and composition. I aim for my paintings to bridge together Ab-Ex formal and emotional energy and photographic illusionism. To be bold and complex as both at the very same time. ● A frequent moment of art within a city is graffiti. Text painted onto a wall where, for the viewer who does not know the writer, painterly gesture is the defining characteristic. This gestural quality is present in all linguistic script, making text-filled objects like signs and billboards artistically fertile. But the meanings of these words can take away from their potential as gesture within a composition. ● In Seoul, as I kept my eyes open for routes to art, I continued fixating on signage, emblazoned with Hangul text. Because I do not know the

related spatially to each other and to the architecture they sat on. ● I found this inspiration most frequently in the Eujiro neighborhood, which is filled with energetic markets selling a wide variety of goods. The contents of the area seemed to be dated to different eras and was serving a wide variety of purposes, including commerce and nightlife. This diversity of purpose may have been what inspired me about the area, as it reminded me of my native New York City. ● Through the truthfulness of direct observation and optical physicality, my process and its result pay a respect to the objects and city they occur from. I am grateful to the city of Seoul for helping me make these works of art. ●

Sophie Chen Senior, Philosophy, Politics & Economics Major The Honbap (혼밥) Series

younger generation of South Korea began to publicly express their desire for solitude and individualism. The restaurant industry also began to adapt to this shift, offering single-person menu options and solo-dining booths. Even barbecue restaurants, which are typically popular for large group dining, began to redesign their spaces to accommodate parties of one. ● I was deeply

DURING OUR TRIP TO SEOUL, I ATE A TOTAL OF 11 MEALS ALL BY MYSELF. As someone who travels alone often, I consider myself quite the seasoned solo diner. The act of eating alone isn’t scary to me; in fact, I enjoy being entirely present with the food and the space. Yet, I felt uneasy about doing this in Seoul. I have always been aware of Korea’s group-oriented culture—you walk down any busy street, and you will find people walking around in groups of two or more. In restaurants, you almost never see a “table for one.” Eating alone in public involved the risk of getting judged as a social outcast. ● However, social norms are gradually evolving in South Korea. Honbap ( 혼밥 ), a term coined by combining “honja” (alone) and “bap” (food), refers to the act of eating alone. This subculture is a part of a greater trend of individualism that has taken over South Korea in the past 2–3 years, emerging alongside other trends in Korean society: the drastic increase in single-person households and the decline in marriage and fertility rates. ● With the COVID-19 pandemic, combined with a growing sense of defiance against the pressures of traditional expectations, the

intrigued by “honbap” as a subculture of rebellion, and how it fits within a distinctly group-oriented cultural context. To find out, I went out and experienced “honbap” for myself, enjoying meals alone in a variety of dining spaces ranging from the convenience store to single-person barbecue restaurants. I photographed the specific spaces where people would dine alone: some enclosed by glass panels, some divided by plexiglass screens, and others simply out in the open. Within these contained spaces intentionally constructed for one, I found a rare sense of peace amidst the bustle of Seoul. ●

Valencia Kandila Sophomore, Cognitive Science Major / Operations, Information & Decisions Major To become a 서울사람

EXPLORING THE RESIDENTIAL AREAS OF GWANAK-GU, I OBSERVED THE WINDOWS THAT LINED THE STREETS, the windows that look out from the banjihas 반지하of Seoul. Repurposed from bunkers created during the Korean War, banjihas are semi-basement apartments, now existing as affordable housing for the residents of Seoul. ● The windows of these banjihas line the bottom of the residential buildings. Some are deliberately covered, some face the street, some are covered by a wall, most get little to no light lying level to the ground.

I asked, what were the stories of the people that looked out these windows? ● Talking to the people living in these spaces, they represent a subset of the South Korean population that are connected through their aspirations, with a common dream to become a 서울사람, to become a Seoul Person. The student going to university, the old man sorting out his recycling, the woman going to work, these people coming from cities all around Korea, united by the Seoul Dream—a dream to succeed in the big city. ● Using the camera as a representation of our eyes, I photographed the view out of the windows of these semi-basement dwellings. The images are deliberately focused on specific areas of the view, on only what is in front of you, as a metaphor for the inhabitants’ lived experience. I want to bring to light the unfiltered visual experience of the view out these windows, a view that the people of Seoul see or one that they choose not to see. The horizon connects each image to the next, flowing through the day from morning to night. ●

Yao Wang Junior, Fine Arts / English Major A Night in Itaewon

IN SOUTH KOREA, SAME-SEX MARRIAGE AND CIVIL UNIONS ARE ILLEGAL, only 38% of the public supports same-sex marriage, and according to the 2019 Franklin & Marshall Global Barometer of Gay Rights, South Korea earned an F for LGBTQ+ human rights.1 In this report, an F is given to countries persecuting their queer communities. ● During my time in Seoul, I visited Itaewon, an established LGBTQ+ neighborhood, multiple times. I used instant Polaroids and digital photography to investigate the complex nature of what is seen, what cannot be seen, and the ephemerality of what is felt. ● From having the honor of meeting and photographing Holland, one of the first openly Queer K-Pop stars, to capturing Polaroids blanks in the private, intimate, and safe spaces of queer life, I wanted to share a story through photography. ● 1 “South Korea’s LGBTQ Community Confronts Crushing Headwinds

in Fight for Equality,” NBCNews.com (NBCUniversal News Group), accessed April 14, 2023

Throughout our stay in Seoul, we were constantly greeted with kindness and openness, making this trip memorable. Thank you to Jillian Choi for introducing us to renowned architect and designer Teo Yang and K-Pop celebrity HOLLAND. We were fortunate to have a private tour of Teo Yang’s exquisite traditional Hanok home/studio. This immaculate dwelling seamlessly blended traditional Korean style with modern design and contemporary art. His team affection-ately welcomed our group into this space with elegant snacks and tea. The group also had the amazing opportunity to meet up with Queer icon HOLLAND! He hung out with us in Itaewon and graciously posed for pictures. ● None of this would have been possible without guidance from Ken Lum and Matt Neff, and we offer a special thank you to Sam Belkowitz, our technical specialist who was invaluable throughout this trip. We appreciate Micah

Danges for his hard work, enthusiasm, and patience with

the Weitzman School of Design and the University of Pennsyl-

printing the work for the exhibition and Pernot Hudson for his

vania at large. ● This catalogue is dedicated to our beloved

keen eye during the exhibition installation. Julia Fox and Kate

Larry Shprintz. A remarkable man: an educator, technical

Lawrence were instrumental in making this trip possible. We

assistant, student, friend, and ardent supporter of the Univer-

would also like to express our sincere gratitude to our friends

sity of Pennsylvania's Fine Arts Undergraduate Photography

who helped make this experience exceptional: Segyeong Bang,

Program. He was a vital part of the community and has left a

Alex Sim from Look-in-Side Gallery, Eddie Seo from Ante-

lasting impression. ●

room, artist Lisa Park, Sawako Fukai, Harri Pälviranta, Dave Grossman and everyone at The Reference. We also wanted to acknowledge several alumni who we had the great fortune of meeting up with in Seoul: Shinyoung Hailey Noh, Ali Lotz, Yae-rin Kweon, and Sky Yoo. ● Our heartfelt appreciation goes to Patricia Bleznak Silverstein and Howard A. Silverstein for es-tablishing this remarkable and distinctive program. It is truly a gift for our students to have this opportunity, and we are all immensely grateful. The Silverstein’s continued support and generosity have enriched the lives of so many students from

— Jamie Diamond and Gabriel Martinez

The Howard A. Silverstein and Patricia Bleznak Silverstein Photography Studio Abroad 2023 Course Co-instructors: Jamie Diamond and Gabriel Martinez Technical Assistant: Samuel Belkowitz Seoul Coordinator: Jeong Eun Kim

University of Pennsylvania

Silverstein Photography Center Lab Manager:

Stuart Weitzman School of Design

Micah Danges

Department of Fine Arts The Undergraduate Program in Fine Arts and Design Marilyn Jordan Taylor Presidential Professor Chair of Fine Arts: Ken Lum Director, Undergraduate Fine Arts and Design: Matt Neff

Exhibition Coordinator: Pernot Hudson Catalog Design: David Comberg Printer: CRW Graphics

Associate Director, Undergraduate Fine Arts and Design: Kate Lawrence Administrative Assistant: Julia Fox Photography Facilities Manager: Samuel Belkowitz

www.design.upenn.edu/fine-arts/undergraduate Copyright © 2023 University of Pennsylvania