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The split film installation ‘Hanging Garden’ by South-Korean multi-media artist Jung Yeondoo (b. 1969) presents a creative, meta-institutional reflection on how (art) history is, and should be told, in Korea today. It consists of two HD color film sequences, which Jung realized in 2009 for the exhibition Platform in KIMUSA in the section ‘Void of Memory.’ Crucial for the two films is a sequential spatial display that allows viewers to see only one film after the other, since the second sequence reveals the making of the first and is intended to work as a kind of punch line in response. The article explores the ironic ‘framings’ that Jung uses to expose the multi-layered ways heritage is constituted in South Korea given the colonial and authoritarian roots of the art museum. The analysis here follows and contextualizes the esthetic revealing of the art museum’s most contemporary instantiation built on the former site of the Defense Security Command (DSC) in Sogyeok-dong Seoul as a ‘hanging garden’ that is ambivalently suspended between official efforts to establish national ‘heritage’ and citizens’ memories about conflicted pasts, in which the site saw the torture of civilians.

Framing the ‘hanging garden' of Seoul – querying heritage transculturally. Jung Yeondoo re-stages (art) history in South Korea in 2009