What is it about?
This essay examines contemporary Korean artist Lee Wan (b. 1979) and his documentary film Made-In-Series. His work touches on the critical issues of the colonial history of commodities and the connection of this history to neoliberal globalization in Southeast Asia in the "postcolonial" period. My analysis explains how Lee's site-specific, painstaking work criticized working conditions in Asia at large and intended to negate the rule of capital.
Photo by Simon Shim on Unsplash
Why is it important?
I analyzed Lee's piece as a provocative criticism of the restructured international divisions of labor after mainland China joined the newly configured global market economy in the late 1970s. While analyzing Lee Wan's documentary film, this art critique pays special attention to the ethnic, regional, and international divisions of labor that played out in the global labor market.
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This page is a summary of: Defying the division of labour: Lee Wan and the Made-In series, Art & the Public Sphere, July 2018, Intellect, DOI: 10.1386/aps.7.1.79_1.
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