Abstract:This article examines visual images of the Sewol Ferry disaster and its traumatic aftermath. It focuses on paintings by Hong Sung-dam, who has grappled with visualizing various moments of historical injustice and trauma in his art—particularly the work Sewŏl Owŏl (2014) and paintings exhibited in the exhibition Dŭlsum, Nalsum (Inhaling and exhaling) (2016). By analyzing Hong's paintings, this article examines communicable and transformative potentials and limitations of visual images in bearing witness to disaster and trauma. It asks how Hong's paintings translate affective feelings of grief, fear, shame, anger, and hope from his multiple perspectives of witnessing as a victim, a survivor, and an observer, and how the paintings may trigger an empathic response that potentially moves viewers to critical thoughts. It shows how the artist urges the viewer to confront the victims' last moments, feel their pain, and listen to their final words. I argue that the uncomfortable but affective images are enacted as a reminder of unjust deaths and facilitate dialogical relations between the artist and the viewer, between the victim and the survivor, and between the living and the dead. However, what is laid bare is the difficulty of representing that which is neither present nor absent, and neither dead nor alive in the state of mourning. Despite some disagreement between the artist and some victims' parents, they all share the same hope that an act of witnessing will lead to remembering what has been done to victims and traumatized survivors, and make possible any productive social changes in consciousness and action. Hong Sung-dam's paintings reclaim the agency of the dead and envision the conditions of possibility for a life in the aftermath of tragedy.

中文翻译：

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见证的艺术：洪圣潭画作中的世越渡轮灾难

摘要：本文考察了世越轮渡灾难及其创伤后果的视觉图像。展览聚焦洪圣潭的画作，他在艺术中努力将历史不公和创伤的各个时刻形象化——尤其是 Sewŏl Owŏl (2014) 的作品和 Dŭlsum, Nalsum (吸气和呼气) (2016) 展览中展出的画作）。通过分析洪的绘画，本文考察了视觉图像在见证灾难和创伤方面的可传播性和变革性潜力和局限性。它询问洪的画作如何从他作为受害者、幸存者和观察者的多重视角来表达悲伤、恐惧、羞耻、愤怒和希望的情感，以及这些画作如何引发共情反应，从而可能使观众产生共鸣。批判性思维。它展示了艺术家如何敦促观众面对受害者的最后时刻，感受他们的痛苦，并倾听他们的遗言。我认为，这些令人不舒服但又充满情感的图像是为了提醒人们不公正的死亡，并促进了艺术家与观众、受害者与幸存者、生者与死者之间的对话关系。然而，暴露的是在哀悼状态下表现既不存在也不缺席，既不死也不活的困难。尽管艺术家和一些受害者的父母之间存在一些分歧，但他们都希望目击行为会让人记住对受害者和受创伤的幸存者所做的事情，并使意识和行动方面的任何富有成效的社会变革成为可能。洪圣潭'