Art Diplomacy
Reuters reported October 3, 2025, on the art exhibition titled "Art Exhibition DPRK: A Country of Great People," now on display at Russia's Museum of Decorative Arts in Moscow. This report is based on a review of current art-related events sourced through the Google News aggregator.
It would be unfair and disingenuous to evaluate the artwork on display through the lens of Western formalism or liberal concepts of artistic identity. Liberal art criticism, as practiced in the West, is an anomaly in itself; for, without the American Constitution, it would not exist -anywhere. Consequently, this art exhibition represents a significant cultural milestone—a Great Leap Forward—for both Russia and North Korea. Few places in the world are even aware of North Korean art, making this event all the more notable.
The political context is key, as international relations—encompassing trade and commerce—stand as they are. As an indicator of the exhibit’s significance, Reuters notes that "direct flights between Moscow and Pyongyang have resumed this summer for the first time since the mid-1990s, alongside a direct train route, which Russia claims is the longest direct rail journey in the world at over 10,000 km (6,213 miles)."
The sheer distance involved is a remarkable achievement for the packing, shipping, and return of an exhibit of this scale, especially within the context of international relations, which have clearly cooled since the fall of the Soviet Union. This development is positive, because, if Russia cannot restore cultural exchange and diplomatic ties with North Korea, no country can.
The Reuters report alludes to the participation of North Korean military forces in the conflict between Russia and Ukraine, with casualty figures cited as evidence of North Korea's capability—and more importantly, its commitment. This latter point warrants closer analysis: What does “commitment” mean, and does it have a place in art? One exhibit attendee wrote in the visitor log, "Any country which stands up for its views and defends its interests is worthy of respect in my opinion."
Standing up for oneself or one's country is not a matter of commitment—it is a duty. Furthermore, the fact that the North Korean military was not obligated to participate in the Russia-Ukraine conflict, yet chose to do so, does not necessarily reflect commitment. Rather, it may have served as target practice for a force that had not seen active combat since the Korean War. No amount of such practice can replace real battlefield experience. For both Russia and North Korea, therefore, the deployment likely represented a strategic, mutual benefit.
It might be conjectured that North Korea's involvement helped protect Russian lives, preventing them from being lost in battle. While one might hope for warm feelings on both sides to thaw frozen diplomatic relations, the reality often demands a more pragmatic approach. As the saying goes, "The tree of liberty is watered with the blood of tyrants," as an analogous example of banal, political realism. Art is a token of cultural exchange, it's “weaponization,” to cite a popular meme. Ultimately, the fact of the art exhibit itself stands as both an achievement and justification.
The art itself, while technically first-rate, lacks any genuine sense of commitment. It appears to be compulsory, driven more by ideology—perhaps “propaganda” is a more accurate word. Russians who may recall earlier times have not seen anything quite like it since the Stalin era. If these depictions of North Korean life, productivity, and family are what the country has to offer, it has a long way to go before it can match the artistic and cultural standards of the rest of the free world.
I would be curious to know if everyone in North Korea smiles—except, of course, when they are shooting or firing missiles. The smiles I see on these faces do not appear to be expressions of joy, but rather a sense of satisfaction derived from revenge. As the saying goes (to repeat another banality): “He who laughs last laughs best” —and, accordingly, for the North Koreans, the conflict is far from over. Most repellent – aesthetically - is the acid-like use of colors seen in the images of the exclusively representational paintings shown in the Reuters report. These paintings seem to be manufactured in the style of mass-produced offset color lithographs, suitable for portraits of "Dear Leader" -to be displayed prominently in the bureau office - and, more fitting as propaganda than for genuine artistic expression.
It can be taken for granted that North Korea harbors hostility toward the United States because of past conflict. Yet, one also wonders where in the exhibition are the images depicting North-and-South Koreans meeting, shaking hands, embracing—symbols depicting hope for reunification? That, one might argue, is the true test of commitment: Is war to be our future, or peace? As it stands, the imagery presented appears to be a defensive and aggressive stance directed against all sides, with the possible exception of Russia, who seeks diplomatic relations with the entire world -including North Korea. Neither the United States, nor South Korea can make the same claim.
Cultural exchange is a powerful - and effective - means of thawing frozen diplomatic relations, as seen in the case of the People's Republic of China. North Korea's technical ability, if these paintings are any indication, is first-rate. Even without reunification with South Korea, North Korea could emerge as an economic and manufacturing powerhouse. At the same time, if these paintings tell us anything, it is that the human condition in North Korea still has a long way to go. Who are the artists, and what are their conditions? Does a dissident class of artists exist? If the exhibit is “official” art, that raises questions about the totality of contemporary North Korean art in its entirety.
While the technical quality of the exhibit's artwork is noted as high, its ideological underpinnings raise questions about its purpose. Critics will argue that the pieces reflect more of a propagandistic message than genuine artistic commitment, with imagery that appears to emphasize North Korea’s defiance -rather than desire for reconciliation. The absence of depictions of reunification or peace between North and South Korea further underscores the nation’s focus on confrontation over cooperation.
Despite these concerns, the exhibition is viewed as a strategic move diplomatically - particularly for Russia - which seeks to improve relations with North Korea, unlike the United States and South Korea. The exhibition “Art Exhibition DPRK: A Country of Great People,” at Russia's Museum of Decorative Arts in Moscow, exemplifies art as a form of cultural exchange, reflecting the museum’s broader mission of fostering international collaboration. The event also fairly prompts reflection on the broader human condition in North Korea, suggesting that while the nation may possess significant artistic and industrial potential, its people still face long-term challenges.