Written by Paek Sun-haeng, Team Manager, The Museum of Military Sexual Slavery by Japan, an affiliate organization of the Daegu Citizen Forum for Halmuni

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

At times, a single poster can speak more powerfully than a hundred-page book. Kyeol had a conversation with New York-based artist Chang-Jin Lee regarding her COMFORT WOMEN WANTED project and how art can shed light on questions of gender, identity, and memory.

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. 

Similar to what the researchers considered in the fourth collection of testimonies, the line placement and long pauses in Emily Jungmin Yoon’s poems would be the mimesis for the testifiers’ persistent pain, long silence, faltering, and hesitation that are manifested through poetic deviation.

Kim Soom’s novel  “One Left”(Hyundae Munhak) is a work that announces a new turning point in the era of testimony. worldview formed ahead of these final moments, and can it present us with meaningful realistic possibilities not only in literary terms but also social and historical ones?

A review of Unsilenced: Sexual Violence in Conflict, the UK’s first exhibition focusing on the issue of sexual violence during modern and contemporary global conflicts.

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.

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)?