The first “art teacher” of the “Comfort Women” survivors who live in the House of Sharing. I met and listened to the story of artist Kyung-Shin Lee, the author of “Flowers Unbloomed,” which contains the behind story of the painting class she conducted for five years from 1993.

She deals with the issues of how the victimization of women in the post-colonial Korean society is represented, what type of gaze operates here, and what the gaze ultimately strives to see.

Film researcher Hwang Miyojo sheds light on the documentary film “The Silence” produced by female director Park Su-nam, a second-generation Korean-Japanese. Director Park documented the struggle of Lee Ok-sun, who demanded that the Japanese government apologize and provide compensation, together with 14 colleagues.

This achievement of historical research will serve as a basis for listening to testimonies in depth beyond the narrow standard of “fact verification.”

The documentary film , directed by Cecilia Kang, a second-generation Argentine of Korean descent, follows the journey of the protagonist, Melanie Chong, as she confronts and grows increasingly aware of the issue of the Japanese military “Comfort women.”

The Japanese military “comfort women” have been a subject of transnational feminism that criticizes the patriarchy of war and talks about peace and a symbol connected to the unfinished issue, sexual violence against women.

This is where the validity of the questions posed by this tangible AI interactive testimony content to the viewer lies: bringing up issues again about what to ask, not what to listen to. That’s because asking well must be accompanied by the constant consideration of the questioner. This, of course, would be to restore asking within the process of listening, not a reconversion or return to asking. 

A Conversation between Gina Kim and Han Sang Kim

In some way or another, testimony literature must provide its own answer to the question of what to represent and how. So what was the answer found by Kim Soom's novel "One Left" (Hyundae Munhak, 2016)?

The photo exhibition , in which the victims of the Japanese Military ‘Comfort Women’ (called ‘Comfort Women’) from South Korea and North Korea join together, was held from March 6 to 11 at Exhibition Hall 2 of the Insa Art Center.