Grenzgänge

Korea is still a divided country that apparently never found its way out of the Cold War. The differences between the socialist North, which follows a dynastic leadership cult, and the capitalist South, with its developed democracy, could hardly be greater. Encompassing all areas of life, this divergence is also reflected in the art of the two countries: through the vibrant contemporary art scene in South Korea and the socialist-realist tradition of painting in North Korea, two diametrically opposed artistic attitudes exist in parallel, reflecting the incompatibility of the political systems and the stark differences in the way of life of the populations. To mark the exhibition of both North and South Korean works from the Sigg Collection at the Kunstmuseum Bern, a comprehensive, richly illustrated catalog is being published, which sheds light upon the theme of the border in contemporary Korean art from both sides.

The Swiss art collector, consultant, and manager ULI SIGG (*1946) began collecting contemporary Chinese art in the 1970s, gradually assembling the world's largest and most important collection. During his time as the Swiss ambassador to China and North Korea, he succeeded in acquiring some works from the art academies there.