Park Chan-Kyong has been showing works that talks about social issues and reproduction of history such as the division of Korea and Cold War as subject matters in diverse mediums in different genres such as photography, installation and video. His earlier works dealing with images of Cold War ideology are shown along with dissertation-like texts. Afterwards, the artist’s contemplation on modern society expanded and he began to address the religious history that pertains to East Asian nationalism through images and texts. Restructuring photojournalism and media images in critical context and adding literary texts, he opened the possibility of new communication of audience participation. Through this, the artist expresses the illusion and the loss of ‘Korean Utopia.’ Borrowing the images of shamanism, ma-ae-bul (carving of Buddah on rocks and cliffs), pansori (the traditional Korean narrative song) and folk painting, the artist presents dual perspective of seeing it as the ideal to inherit and of seeing it through a modern viewpoint as something different, unfamiliar and sometimes frightening. Park Chan-Kyong’s work reveals the artist’s own philosophical inquiry and critical contemplation regarding political issues, history and its reproduction.