No Patience for Monuments

Genesis BELANGER, Julie CURTISS, Nick DOYLE, Celia HEMPTON, Ridley HOWARD, Jessie MAKINSON, GaHee PARK, Sarah PETERS, Naudline PIERRE, Emily Mae SMITH, Jansson STEGNER, Ruby Sky STILER

group show

April 4 - June 8, 2019

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Seoul

1F 5 Palpan-gil, Jongno-gu Seoul South Korea

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artist info

276 people attended the opening.
1 178 people attended the exhibition.
The exhibition was open for 46 days.
Daily average 26 visitors per day including opening, 20 per day excluding opening.

  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
  • Artist:GaHee PARK, Exhibition:No Patience for Monuments
In Ursula K. Le Guin's 1986 essay The Carrier Bag Theory of Fiction, she argues against a masculinist monumentalizing impulse of history, and offers up a different proposition for the way culture can exist and can be formed. This ‘carrier bag theory’ challenges that the first tool was in fact a vessel for gathering, and not an instrument of conquest, and that a male-centric society has conditioned us to negate the former in favor of a broader ‘heroic’ narrative. Le Guin takes this further, proposing the heroic narrative within literature (to vanquish, to conquer) is an obsolete form, and suggests that a more complex structure—based on the vessel—should develop instead. This, she posits, would allow for multiple points of view, and engender a more inclusive panoply of voices within the form. No Patience for Monuments brings together the work of a dozen artists whose work and practices embrace multiple facets of Le Guin's subversive push against the overarching historical narrative. A group of voices that call to question the history of artistic representation, the process of writing—and monumentalizing—this history, and offering a presage of a new way forward.