Judul : Tribeca Exhibition Spotlights North Korean Women's Rights, Attracts Prominent Figures
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Tribeca Exhibition Spotlights North Korean Women's Rights, Attracts Prominent Figures
On the 19th (local time), over 300 people gathered at the Tribeca Room Studio in New York, a hub of renowned galleries. Among them were Kerry Kennedy, president of the Robert F. Kennedy Human Rights Center and daughter of Robert F. Kennedy (the brother of John F. Kennedy), and Hillary Braces, executive director of OpenSecrets, which monitors U.S. election funds. The exhibition, titled *‘UNSEEN (Invisible Beings: Speaking of North Korean Women’s Rights and Resilience - 14 Artists)’*, runs until the 27th. Highlighting the human rights of North Korean women, the exhibition has drawn significant local attention, with planned visits from Stephen Schwarzman, chairman of Blackstone Group, Karim Rashid, one of the world’s top three industrial designers, and Kevin Ryan, CEO of investment firm Aleph. It is rare for an exhibition focused solely on North Korean women’s human rights to be held in Tribeca, the heart of New York’s gallery district, and the participation of prominent figures is considered unprecedented.
This exhibition was organized by Amnesty International, the International Human Rights League, and the North Korea Democracy Network, among others, to raise awareness about North Korean women’s human rights, which have recently faded from public attention, coinciding with the UN General Assembly. Fourteen artists, including eight Korean and six foreign artists, participated after expressing willingness to join upon learning of the exhibition’s concept. The planning began in the middle of last year. In July of last year, Lee Kyung-mi, head of MindMagnet, an exhibition planning company with a strong interest in women’s human rights, initiated the project to re-examine the dwindling attention on North Korean women’s rights. During this process, Amnesty International also joined. The selection of participating artists was handled by Dr. Stephanie Kim (Kim Seung-min), who is active in New York.
While some artists had previously created works on North Korean women’s human rights, this was the first time for most. This exhibition notably features significant contributions from foreign artists as well as Korean ones. American artist Tracy Weissman created a hanbok depicting the journey of North Korean women’s exile, endurance, and transformation after researching the Korean Baridegi myth. She particularly drew attention in the gallery with a piece featuring early 1900s French hat decorations—flowers she had collected over years—attached to the hanbok. Weissman stated, “The reborn Baridegi Princess through these flowers symbolizes the restoration of North Korean women’s rights.” Marina Wheeler, who designed the exhibition’s logo, said, “This bleak era, where authoritarian regimes are proliferating globally, serves as a horrific warning of what happens when democracy is stripped away,” adding, “I am honored to participate in an exhibition for North Korean women, whose rights are severely violated under a dictatorship.”
This exhibition holds significance amid dwindling international interest in North Korean women’s human rights. It is particularly meaningful as it amplifies voices from the private sector, not the government, given that last year the UN Security Council’s expert panel, which monitored North Korea sanctions compliance, was dissolved due to Russia’s opposition, and support for North Korean human rights groups has decreased under the Donald Trump administration. Dr. Stephanie Kim, who oversaw the exhibition’s planning, stated, “‘March of Suffering’ period and even afterward, North Korean women sustained their families and communities through grassroots marketplace activities,” adding, “I wanted to showcase their independence and resilience.”
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