3. Before the Law

Created in 2012 for Kapfer’s participation at the 6th Busan Biennale (South Korea), the work Before the Law brought the artist a rare opportunity to travel to North Korea. Despite being constantly monitored during this trip, and therefore seeing only a fraction of the country as precisely determined by the Korean government, Kapfer seized the journey to develop a new work. In stark contrast to Western-oriented South Korea, North Korea is an authoritarian dictatorship. Its dynasty has appointed rulers such as Kim Jong-un and Kim Jong-il, repeatedly placing itself in a line of succession of historical leaders from the Korean empire, which lasted until 1910. The instrumentalization of the historical ruling dynasty by the current military dictatorship of the Kim family is the central motif of Before the Law.

The artistic work is both simple and effective, consisting of a true-to-scale reconstruction of elements from various temple complexes. At the entrance to the apse of HALLE FÜR KUNST stands a four-meter-tall tiger, which is a replica of a statue from the presumed tomb of Tangun, a mythical figure from 4,000 years ago, who, according to the legend, founded the first Korean kingdom. Even during the Joseon dynasty, which ruled the Korean empire for more than 500 years from 1392 until 1910, Tangun was referred to as the founding myth of the Korean people. In the 20th century, this narrative was once again used by Korean nationalists during the fight against the official Japanese doctrine, which aspired to legitimize Japanese colonial rule in Korea. In 1993, at the request of Kim Il Sung, the remains of Tangun were discovered.

Behind Kapfer’s tiger lie two replicas of doorknobs from the Kumsusan Sun Palace. Symbols of various types of flowers (Magnolia, Kimjongilia, Kimilsungia) epitomize the figure of the leader and the nation and are hence also icons of power. In Kapfer’s selection of these elements and his examination of certain architectural details is always a significant reference to the present. By using representative architecture, Kapfer manifests how current rulers construct and reinforce self-legitimization by referring back to history.

In addition to their primary origins and architectural context, all three objects in the work are linked by their simple bases made of wooden stacks, inspired by Korean street vendors who convert their stands into night shelters towards dusk. In this arrangement, the two door knobs, positioned behind the tiger, appear as the deceased leaders lying in state, and the apse resembles a state of miniature of the original temple.


Franz Kapfer, Before the Law, 2012/24
Lacquer on wood
385 x 271 x 230 cm (Tiger)
Courtesy the artist

Franz Kapfer, Before the Law, 2012/24
Lacquer on wood
45 x 240 x 200 cm (per lounger 45 x 100 x 200 cm)
Courtesy the artist