{ "@context": "http://iiif.io/api/presentation/3/context.json", "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json", "type": "Manifest", "label": { "en": [ "Relational Archival Investigation: Identity, Chronology, and Historical Judgment in Korean Experimental Art — selected page images" ] }, "summary": { "en": [ "Selected PDF file page 9 of 16 (printed page 8), section 6: Park Suk-won: a genuine pair and an unwarranted third date." ] }, "requiredStatement": { "label": { "en": [ "Attribution and rights" ] }, "value": { "en": [ "© 2026 Dorian Vale · Museum of One. In Copyright. Author-owned published research pages reproduced under the account holder’s explicit publication instruction. Existing copyright is preserved. Third-party passages retain their attributed sources; this permission does not authorize redistribution of institutional images, manuscripts or private correspondence." ] } }, "homepage": [ { "id": "https://archive.museumofone.art/evidence/rai-main-paper-v1.html", "type": "Text", "label": { "en": [ "Permanent catalogue record" ] }, "format": "text/html" } ], "metadata": [ { "label": { "en": [ "Creator" ] }, "value": { "en": [ "Dorian Vale" ] } }, { "label": { "en": [ "Reference" ] }, "value": { "en": [ "10.5281/zenodo.24088563" ] } }, { "label": { "en": [ "Holding institution" ] }, "value": { "en": [ "Museum of One" ] } }, { "label": { "en": [ "Publication date" ] }, "value": { "en": [ "9 November 2026 · version 1.0" ] } }, { "label": { "en": [ "Document type" ] }, "value": { "en": [ "Published research document — selected pages" ] } }, { "label": { "en": [ "Selection and extent" ] }, "value": { "en": [ "Selected PDF file page 9 of 16 (printed page 8), section 6: Park Suk-won: a genuine pair and an unwarranted third date." ] } } ], "items": [ { "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09", "type": "Canvas", "label": { "en": [ "PDF page 9 · printed page 8" ] }, "height": 1871, "width": 1323, "items": [ { "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09-painting", "type": "AnnotationPage", "items": [ { "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09-image", "type": "Annotation", "motivation": "painting", "body": { "id": "https://archive.museumofone.art/assets/rai-archive/rai-main-paper-v1-p09.png", "type": "Image", "format": "image/png", "height": 1871, "width": 1323 }, "target": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09" } ] } ], "annotations": [ { "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09-text", "type": "AnnotationPage", "items": [ { "id": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09-text-annotation", "type": "Annotation", "motivation": "supplementing", "label": { "en": [ "Published page text — Reviewed extraction; original language retained" ] }, "body": { "type": "TextualBody", "value": "RELATIONAL ARCHIVAL INVESTIGATION\nMUSEUM OF ONE\nRelational Archival Investigation · Research paper\n8\nThese cases matter to the procedure because they prevent the inquiry from equating productivity \nwith discrepancy. The same comparison can establish compatible dates, distinguish presentations, \nretain a material question, or identify a production-year difference. An adequate account reports \nwhat each relation supports rather than counting every difference as a discovery.\n6. Park Suk-won: a genuine pair and an unwarranted third date\nThe Jeok–Eungnyeok case yields a different result. Acquisition entry 76 gives 1974; collection \nrecord 7925 gives 1972 and identifies remaking of the wooden elements in 2016. The record also \nassociates the work with the First Seoul Biennale in 1974. Artist, Korean title, cloth-and-wood \nmaterials, cloth dimensions of 332 × 358 cm, and four closely corresponding wooden elements \nsupport comparison of the descriptions as accounts of one work (MMCA, 2016 Annual Report, 40; \nrecord 7925).\nThe final dimension of the fourth wooden element differs by 0.1 cm, and the variation is retained. \nA small measurement difference alone does not outweigh the conjunction of identifying details, but \nneither is it silently normalized. An accession cross-reference would strengthen the identification; \nevidence of separately identified realizations could alter its scope. The claim concerns the \ndescribed work and its acknowledged remaking, not unchanged materials throughout its history.\nSeparating the 2016 intervention leaves the leading 1972/1974 contrast intact. The public \ncomparison establishes different production-year assignments. It does not determine which year is \nhistorically correct, whether one published description directly replaced another, or why either year \nwas assigned. An exhibition-associated convention, a correction, or different information available \nto the compilers remain possible explanations.\nThe historical stake is specific. MMCA describes wooden elements surrounding a cloth surface \nwith painted shadows, producing an implausible relation between the objects and their \nrepresentations. A 1972 production date would place this arrangement two years before its reported \nSeoul exhibition; 1974 would locate production within the exhibition year. The question is whether \nthe exhibition presented an existing experiment or a more recently made work. The artist’s \ndocumented Myeongdong Gallery exhibition in 1974 identifies another body of contemporary \nmaterial worth examining, but its existence does not establish that this installation appeared there \n(Arts Council Korea, artist record 1172).\nThe same institutional artist record lists Jeok–Eungnyeok 2, dated 1973, in wood and measuring \n240 × 40 × 25 cm. The numbered title, materials, and dimensions do not identify MMCA’s cloth-\nand-four-wood arrangement. Adding 1973 to the paired dates would therefore turn a plausible \nrelation among works into an unsupported identity of one work.\nThat exclusion is one of the investigation’s completed judgments. The 1973 record is relevant to \nthe artist’s practice, but it does not supply a third production year for the MMCA installation. The \nestablished date difference and the rejected third-date extension have different grounds. One \nremains historically open because the needed explanation is missing; the other is withheld because \nthe evidence does not establish the proposed individual identity.\nFurther documentation could revise either judgment. A contemporary photograph could support an \nearlier production date. An accession file could identify the basis of the museum’s assignment. A \nsource linking the separately titled work to the installation could explain their relationship. Each \nwould answer a particular question. None should be made to settle all aspects of the case merely \nbecause it concerns the same artist or series.\n", "format": "text/plain", "language": "en" }, "target": "https://archive.museumofone.art/iiif/rai-main-paper-v1/manifest.json#canvas-pdf-page-09" } ] } ] } ], "rights": "https://rightsstatements.org/vocab/InC/1.0/", "rendering": [ { "id": "https://www.museumofone.art/content/files/2026/11/01_RAI_Main_Paper_Dorian_Vale.pdf", "type": "Text", "label": { "en": [ "Complete published PDF edition" ] }, "format": "application/pdf" } ] }