Park Jiyeon Strip Video Work

Park Ji‑yeon; “Strip”; video art; feminist performance; gaze; Korean contemporary art; digital media; embodiment; self‑representation

Park Ji‑yeon’s 2022 video work “Strip” foregrounds the body as a site of negotiation between personal agency, cultural norms, and the mechanisms of digital circulation. Using a single‑take, low‑resolution recording of the artist’s gradual undressing within an empty studio, the piece destabilises the conventional male‑gaze by foregrounding the process of exposure rather than the spectacle of the exposed form. This paper situates “Strip” within the recent surge of Korean video art that interrogates gendered visibility, the commodification of intimacy, and the mediated self. Drawing on feminist performance theory (Butler, 1990; Jones, 2018), media‑archaeology (Rogers, 2013), and scholarship on the Korean “K‑culture” wave (Kim, 2020), the analysis demonstrates how Park’s minimalist aesthetic, temporal elongation, and strategic framing operate as a critique of both the pornographic economy and the neoliberal valorisation of “authentic” self‑presentation on social media. The paper argues that “Strip” functions as a performative refusal—a controlled exposure that simultaneously invites and subverts the viewer’s voyeuristic impulse, thereby opening a critical space for re‑thinking embodied subjectivity in the digital age. park jiyeon strip video work

Ji-yeon has also engaged in solo activities outside of T-ara. She has appeared in several variety shows and participated in musicals, showcasing her versatility as an entertainer. Ji-yeon has also engaged in solo activities outside of T-ara

Thesis – “Strip” uses the ritual of undressing as a strategic performance that both acknowledges the inevitability of visual consumption and reconfigures it into a site of self‑determined agency, thereby redefining the relationship between artist, body, and audience.

Structure of the paper – Outline the subsequent sections.