Jazoo Yang is interested in the evolution of cities and the nostalgic poetry that emerges from popular neighbourhoods demolished at high speed in areas of urban redevelopment. Her newest mural project for this years Nuart Festival uses Korean symbols of forced evictions and demolition to raise awareness about all those globally who are exposed to the threat of forced migration.
The title, “1881-1”, refers to the address of a demolished house in Busan in Yang’s native South Korea, which was cleared as part of the city’s sweeping gentrification program. With its economic growth, housing developments in Korea continues at an unprecedented rate and new land is sought after. In the housing process, small villages are frequently demolished to make way for new high-rises, with little compensation to the existing occupants. Their homes are being ripped apart and there is nothing that can be done.
In Busan, there are over 100 redevelopment districts eating away at the city’s landscape day-by-day. The mural holds particular significance in Stavanger East; vast swathes of which have been transformed from a post-industrial ruin into a thriving residential and “start-up” district over the last 10 years.
Each symbol (either a circle, cross or dot) carries a specific meaning: deserted house, demolishment or illegal occupation – indicating whether or not the building is clear and ready for demolition or not. In Stavanger, as in Busan, they’ve been uniformly sprayed in highly saturated, garish red.
Whilst in Stavanger Yang also created a new iteration of her “Dots” series in which she typically covers a home set for demolition with thumbprints. In Korea, the thumbprint, or “Jijang”, has a legal and personally binding power similar to a signature. With just a thumbprint, whole communities are turned over to destruction; people driven to bankruptcy; whilst millions of dollars are exchanged.
Jazoo Yang’s “Dots” series not only highlights the problems with Korea’s housing developments, but brings unity and pride to the villagers who are losing their homes for gentrification. Her series encapsulates the illegal practices happening today and leaves a footprint in Korea’s timeline so no one can forget.
“Alleys, houses, trees, communities and everything that took a long time to embellish are gone in an instant without a trace. The act of imprinting each red Jijang is a promise to remember all of this and a temporal and spatial record.” Jazoo Yang
In Stavanger, the artist marked a dilapidated, land-locked boat with thumbprints, alluding to the evisceration of traditional seafaring industries in Stavanger such as shipping and fishing in favour of the lucrative oil industry, as well as the global migrant crisis and widespread apathy towards the humanitarian crisis arising from forced migration on a mass scale.
Nuart Photographer Brian Tallman draws attention to Jazoo Yang’s work beautifully, as her thumbprints defiantly stand out amongst the darkness.
The murals represent a beautiful collaboration, and an appreciation of different cultures.
Jazoo Yang anapendezwa na mageuzi ya miji na ushairi wa nostalgic ambao hutokea kutoka kwa vitongoji maarufu vilivyobomolewa kwa kasi katika maeneo ya maendeleo ya mijini. "Mfano wa picha ya ukutani ya Nuart ni ""Korean Symbols of Forced Evictions and Demolition"" ambayo inawakumbusha watu wa Korea ya ukatili wa kijeshi." Kichwa cha kitabu hicho, <unk>1881-1<unk>, kinarejelea anwani ya nyumba iliyobomolewa huko Busan, Korea Kusini, ambayo iliondolewa kama sehemu ya mpango mkubwa wa mji wa kuhamisha watu. Pamoja na ukuzi wake wa kiuchumi, maendeleo ya makazi nchini Korea yanaendelea kwa kiwango kisichokumbukwa na ardhi mpya inatafutwa. Katika mchakato wa ujenzi wa nyumba, vijiji vidogo mara nyingi huvunjwa ili kufanyiza njia kwa ajili ya majengo mapya ya juu, kwa fidia ndogo kwa wakazi wa sasa. Nyumba zao zinaharibiwa na hakuna kinachoweza kufanywa. Katika Busan, kuna zaidi ya wilaya 100 za maendeleo ya upya zinazokula nje ya mandhari ya jiji siku kwa siku. Picha hiyo ya ukutani ina umuhimu maalum katika Stavanger Mashariki, ambayo sehemu kubwa zimebadilishwa kutoka kwa uharibifu wa baada ya viwanda kuwa wilaya ya makazi yenye kusitawi na ya kuanza katika miaka 10 iliyopita. Kila alama (ama mduara, msalaba au nukta) hubeba maana maalum: nyumba iliyokuwa imeachwa, uharibifu au uvamizi haramu <unk> inaonyesha kama jengo hilo liko wazi na liko tayari kuharibiwa au la. Katika Stavanger, kama katika Busan, wamekuwa sawasawa kunyunyizia katika sana saturated, garish nyekundu. Wakati katika Stavanger Yang pia aliunda iteration mpya ya yake <unk>Dots<unk> mfululizo ambapo yeye kawaida inashughulikia nyumbani kuweka kwa ajili ya uharibifu na alama za kidole. Katika Korea, alama ya kidole, au <unk>Jijang<unk>, ina nguvu ya kisheria na ya kibinafsi inayofanana na saini. Kwa alama ya kidole gumba tu, jamii nzima hupewa uharibifu; watu huelekezwa kwenye kufilisika; huku mamilioni ya dola yakibadilishwa. Mfululizo wa Jazoo Yang wa "Dots" haukazia tu matatizo na maendeleo ya makazi ya Korea, lakini huleta umoja na fahari kwa wakazi wa kijiji ambao wanapoteza nyumba zao kwa ajili ya gentrification. Mfululizo wake unajumuisha mazoea haramu yanayotokea leo na huacha alama katika mstari wa wakati wa Korea ili hakuna mtu anayeweza kusahau. <unk>Vituo, nyumba, miti, jamii na kila kitu ambacho kimechukua muda mrefu kupamba vimepotea kwa muda mfupi bila kufuatilia. "Kutengeneza alama ya ""Jijang"" ni ahadi ya kukumbuka yote haya na rekodi ya muda na nafasi. ""Jazoo Yang"" katika Stavanger, msanii alionyesha mashua iliyoharibiwa, iliyofungwa na ardhi na alama za kidole, akirejelea uharibifu wa viwanda vya jadi vya baharini huko Stavanger kama vile usafirishaji na uvuvi kwa ajili ya sekta ya mafuta yenye faida, pamoja na mgogoro wa kimataifa wa wahamiaji na kutokuwa na wasiwasi kwa mgogoro wa kibinadamu unaosababishwa na uhamiaji wa wingi." Mpiga picha wa Nuart Brian Tallman anavutia kazi ya Jazoo Yang kwa uzuri, kwani alama zake za vidole vinatokeza kwa ujasiri katikati ya giza. Picha za ukuta zinawakilisha ushirikiano mzuri, na uthamini wa tamaduni tofauti.