17:
254:, dressing it and leaving flowers. As a result, memorials have acted as a collective point for citizens to mobilise around, further solidifying activism. The power of such interactions has inspired the erection of additional memorial statues globally, resulting in increased engagement with the comfort women issue – promoting the transnational nature of colonial victimhood. This has raised demands for reparations internationally, counteracting attempts to whitewash the issue – which has been especially important amid Japanese calls for the statues' removal.
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221:– both centred around the lives of two Korean girls forced to become comfort women – are examples of works that invite audiences to be in conversation with survivors. They do so by emphasising the consumption of art as a mode of social participation, encouraging citizens to support the ongoing drive to represent the varied experiences of comfort women.
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emphasises harmony between
Japanese and Korean comfort women and highlights their joint silencing post-liberation. Through this, understandings of Japanese colonialism have been problematised, revealing the shared nature of Japanese and Korean comfort women's experiences and implicating both nations'
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While yet to succeed in securing meaningful reparations, the use of the visual arts alongside traditional means of social activism has ensured comfort women's place within South Korea's collective memory – preventing their erasure. With a focus on the individual level, artworks have centred the
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Alongside the overarching goal of publicising the comfort women issue, the impact of artworks has been categorised in three ways: propaganda art, which disperses a truth; dialogic art, which creates a space to gain more authentic perspectives; and social art, which engages the public.
250:, symbolising victims of the Comfort System – art has been used to bring attention to the comfort women issue and cement victimhood as an aspect of postcolonial Korean identity. Citizens regularly interact with the statue during the Redress movement's
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governments in the perpetuation of trauma – mirroring the transnational advocacy undertaken by Korean and
Japanese feminist groups, and impacting the way that individuals understand the issue.
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shame. Following this, the issue gained momentum, with demands for recognition and compensation emanating from multiple sources, including feminist organisations and legal professionals.
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With the aim of forging communities, social art has worked to integrate advocacy into the everyday lives of citizens. Notably observed through the Statue of Peace – a memorial in
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by influencing public perceptions, ensuring sustained engagement in the absence of sufficient scholarly and governmental support, and contributing to the
Redress movement.
458:"Collective Memory of Japanese Military 'Comfort Women' and South Korean Media: The Case of Television Dramas, Eyes of Dawn (1991) and Snowy Road (2015)"
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However, stemming from both comfort women themselves and artists seeking to disseminate their stories, art was similarly utilised to produce a
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197:, the piece depicts the punishment of an Imperial Japanese soldier. Elevating the voices of comfort women, this worked to publicly oppose
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voices of comfort women, encouraging ongoing dialogue within which the public – both domestically and internationally – can participate.
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is routinely displayed and gifted internationally, the piece has taken on a political role – becoming emblematic of the struggles of
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sought to disseminate true experiences – both depicting comfort women, with flowers used to symbolise their destroyed virginity. As
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makes an effort to avoid portraying comfort women as helpless victims, despite emphasising their coercive recruitment. Similarly,
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accounts, which continue to counter that comfort women were sex slaves. As such, these works functioned as contributions to both
51:-led Redress movement of the 1990s, the cause of comfort women has since been better publicised – in part due to the role of the
586:"The Story "Our Grandmothers" Could Not Tell: Representation of the Comfort Women and the Physical Manifestation of Memory"
35:– experienced trauma during and following their enslavement. Comfort stations were initially established in 1932 within
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394:"The Paintings of Korean Comfort Woman Duk-kyung Kang: Postcolonial and Decolonial Aesthetics for Colonized Bodies"
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comfort women: From on-screen storytelling and rhetoric of materiality to re-thinking history and belonging"
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Blurring traditional binaries, dialogic art has sought to expand discussion on comfort women. Films such as
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Art and
Activism: Exploring the Shifting Roles of Visual Art through Representations of the "Comfort Women"
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67:'s testimony in 1991, comfort women were silenced post-liberation – in South Korea due the nation's
346:"Transnational women's activism in Japan and Korea:the unresolved issue of military sexual slavery"
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290:"From Imperial Gifts to Sex Slaves: Theorizing Symbolic Representations of the 'Comfort Women'"
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Acting as evidence of the impact of
Japanese colonialism, propaganda art has focused on giving
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Stetz, Margaret (2002). "Representing 'comfort women': activism through law & art".
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in promoting healing and the creation of activist communities.
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Khrebtan-Hörhager, Julia; Kim, Minkyung (2020-10-01).
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