This article was revised, with an eye to self-criticism, on August 24, 2019.
In the heart of Pyongyang, in Jongphyong-dong, Phyongchon District, there is what some have called the “world’s biggest art factory” or likely the “largest art production center in the world.” This is the Mansudae Art Studio, which employs 4,000 people (who are male and female) 800 of whom are artists, with Mansudae Overseas Development Group launched in the 1970s (Munsadae Overseas Projects or MOP is part of this group) as a subset of the studio, with this subset doing works for varying foreign countries, especially in Africa, while the studio as a whole does many works inside the DPRK, honoring the accomplishments of this progressive state. [1] The studio’s Italian liaison and representative of the studio to the “outside world,” Pier Luigi Cecioni, described it as “more of a campus than a factory, more of a studio, the biggest in the world.” More specifically, this art studio, founded on November 17, 1959 (Juche 48), has an area of “over 120,000 square meters, 80,000 of which indoor,” occupying an a 30 acre area, as noted by the firm’s English-language website, with Cecioni facilitating “the studio’s international sales of paintings, prints, and smaller works.” The studio itself is divided into
…13 creative groups, seven manufacturing plants and more than 50 supply departments. The artistic works produced at the Mansudae Art Studio range from oil paintings to bronze sculptures, from Korean Paintings (ink on paper) to ceramics, from woodcuts to embroideries, from jewel paintings (made with precious and semiprecious stones reduced to powder) to charcoal drawings and much more. The Mansudae Art Studio is…a very high-quality art production center. The vast majority of the major artworks of the country have been made by Mansudae Art Studio artists…[most of whom] are graduates of the very demanding Pyongyang University.
Furthermore, artists who work there are members of “state-run studio complexes” with every artist with a “formal ranking,” with the top art institute in the country being “the Pyongyang University of Fine Art with various sections: brush-and-ink, oil, sculpture, ceramics, mural painting and industrial arts.” Young artists who want to go into the university are selected, and “judged sufficiently skilled they will study here,” with a minimum of “five years study,” with a total of “around 150 students a year in the fine art department,” with students, after graduating “are selected by various art studios.” The art looks like “classic Social Realist propaganda,” while abstract painting is prohibited, rightly, “as it is deemed bourgeois and anti-revolutionary,” with a yearbook published every year cataloguing official art production. Artists working at the Mansudae Art Company, whom can be viewed by foreign tourists whom can view “small-scale ceramic sculptures,” work in small studios either with ink or even with oil paint, while other non-artist workers and technicians likely help with woodblocks (a specialty of those in the DPRK), helping production “at least 4,000 top level original works a year. Employees work a week with eight-hour days and are paid depending on the level of production, with art production, at least in 2011 (Juche 100), taking up 40% of the socialist nation’s budget, showing the importance that is put upon it. The studio produces 80% of the country’s art, with a typical artist producing “30 artworks a year, working four days a week,” with Fridays for community service, and their work critiqued by colleagues. However, as Rodong Sinmun makes clear, there are other art groups, like the Korean Central Fine Art Studio, Pyongyang University of Fine Art and Art Studio of the Ministry of Railways which produce works of significance, such as posters “dealing with the Party’s militant call for conducting a dynamic all-people general offensive to attain the five-year strategic goals with the might of self-reliance and self-development.” After all, just look at the architecture in the DPRK to show how important art is there.
One oil painter, Ho Jae-song, working for Mansudae, said that “normally artists work from Monday to Friday, but it depends on the individual artists and what they are doing,” with the artists normally visiting “many places to get inspired, pick up information and make studies” with their visit taking “a couple of weeks, even months,” with those who are members of the studio proud of their work. BBC News even says that “these highly skilled craftsmen, largely anonymous, working for a higher good and not interested in profit inhabit a very different world from artists elsewhere” although they claim, as one would expect from such horrid media, many would not “envy” their work, in their typical propagandistic style. There are claims in bourgeois media that in overseas environments there are “poor working conditions…and the low pay” but this is undeniably slander.
Of course, bourgeois media and analysts declare works coming from MOP (and would undoubtedly say the same about the studio as a whole as well) are “propaganda” with a snarl, claiming it runs afoul of UN sanctions, scrutinized by the murderous empire and UN “experts” as bringing in “significant” money for the DPRK, with “large construction operations” led by Mansudae, with contracts drawn with said governments. Whether this is true or not, is unknown, but it shows that imperialists fear the influence of these monuments, some of which are 160 feet tall! Just take the words of a former IMF adviser, Naranhkiri Tith, who declared that the DPRK is commercializing Angkor Wat (the project there described in the next paragraph), declaring laughably that “I think anything that happens in Cambodia is not normal. That is why Cambodia is called the country of the absurd…North Korea, in my opinion, is another country of the absurd where the government is engaging in smuggling and many other illegal activities to survive.” [2] What the heck does this even mean? The bourgeois media cites clowns like this person all the time, with this being only one example of the Orientalist propaganda spewed by media every day. They definitely won’t mention that in 2013 (Juche 102), a Western named Oliver Laric became “the only individual…to have hired the Mansudae studio to create a private sculptural commission.” The museum in Angkor was the most “ambitious foreign project” for MOP, taking 63 artists, who were flown in the DPRK, “four months to paint the cyclorama,” with Yit Chandaroat, acting director of museums for Apsara, saying that “Mansudae has great talent and a good reputation in artwork, painting and construction,” which is undoubtedly the case. Even Nicholas Bonner, founder of Koryo Studio in Beijing who has worked with Mansudae for 20 years, said that “I don’t see this museum [in Cambodia] as an attempt to project soft power. Mansudae is a massive studio, and they need to keep working to bring revenue in from inside and outside of the country.” Mansudae’s official overseas gallery, called the Mansudae Art Museum is in “Beijing’s art district 798 Art Zone and has been holding exhibitions since 2009.” The head of this gallery, Zhengtai Ji, argued that “Now more than ever we need avenues like art to create understanding between North Korea and the rest of the world,” which is undeniably the case. Other bourgeois media claims that there is a huge market for artwork from the DPRK in China. If this is true, which is may because there was a showing of Mansudae artwork in Shenyang in 2015 (Juche 104), it would be a further reason for a studio there.
These Korean workers have constructed monuments across the African continent celebrating “the rise of young, independent African nations” by merging their style of “socialist realism with African nationalism” (some say they have a “Soviet style“) with historical connections between the countries the monuments appear and those which the DPRK supported national liberation. Currently, 17 African countries have monuments and structures built by these wonderful workers: Angola, Algeria, Benin, Botswana, Chad, Democratic Republic of Congo (DRC), Equatorial Guinea, Egypt, Ethiopia, Madagascar, Mali, Mozambique, Namibia, Republic of Congo, Senegal, Togo, and Zimbabwe! [3] Asian countries being Cambodia, Malaysia, and the Western European country of Germany. In Cambodia, Mansudae constructed a “multimillion dollar culture and history museum in Angkor Wat” called the Angkor Panorama Museum, which opened in 2016, which will be run jointly by the Cambodians and those from the DPRK for ten years, then handed over to Cambodia into its complete control by 2036. As for the African countries, one bourgeois academic, who has an anti-Korea sentiment to his work, even wrote that the monuments “celebrate the rise of young, independent nations” with Mansudae originally having the government of the DPRK as his client, with the latter company offering “cheap” and “attractive” prices to African governments. He adds that the monument in Namibia (National Heroes Acre) honors the fight against racist South Africans, the monument in Zimbabwe (also called National Heroes Acre) honors the fight against British oppressors, and a monument in the DPRK (in the Revolutionary Martyrs Cemetery) commemorates the fight against Japanese colonizers, with the victors “of each of these fights continue to rule the liberated countries and are basing their legitimacy on the independence struggles.” [4] In all, as one bourgeois “watcher” site for the DPRK noted, “Mansudae Overseas Development Group undertook to build bronze statues, monuments and other works of arts, and fit out buildings and parks in over 70 countries and regions,” claiming it brings in “needed” cash to the DPRK, not understanding it is done even more for the reasons of international solidarity. This is demonstrated by the statues, listed by the bourgeois Colors magazine, of
- national heroes in Botswana (2005)
- Joshua Nkomo in Zimbabwe (2010)
- Mozambique’s first president, Samora Machel (2011)
- Angola’s first president Agostinho Neto (2012, with production overseen by “Neto’s wife and daughter”)
- the Tiglachin Monument for the then-Marxist Ethiopian government (1974)
- the African Renaissance monument in Senegal (2010)
- The Unknown Soldier representing Namibians who were killed during the independence war (2002)
- the Monument to Laurent Kabila in the DRC (2002)
The bourgeois media claims that the DPRK has taken in $160 million (a number first floated by the anti-Korean Daily NK and repeated by bourgeois media) “in the last ten years thanks to the construction of sculptures and other edifices in countries across Africa,” saying it is a lot because of the country’s “per capita income.” [5] Yet, if we take the most recent estimated GDP (PPP) put forward by the CIA Factbook lets say, taking it for the sake of argument, being $40 billion, this project would be equal to .04% of that value! That means these projects are chump change generally but still enough to make the work worthwhile, not a big “cash cow” or “cash lifeline” as the bourgeois media likes to describe them, in their lying terms, like they do with everything related to the DPRK. So, what’s the big deal? It has to do with efforts to restrict this progressive state and limit its influence while capitalism continues to maintain its dominance across the world by strangling it. This is evident by the sanctions of the murderous empire levied by the Treasury Department’s Office of Foreign Assets Control (OFAC) in August 2017 (along with 15 other entities) against the Mansudae organization and in December 2016 the managing director of MOP, Mr. Tong-chol Kim, who was born on August 7, 1968, and a”Chinese subsidiary in Namibia” called Qingdao Construction. [6] That same year, the UN sanctioned the DPRK, in an investigation led by one “Hugh Griffiths” who seemed to be anti-Korean (i.e. his statement of “they’re doing an awful lot more than producing statues in Africa”) for Mansudae constructing statues, mainly in Africa, showing that the UN was serving the interests of imperialists and being utter racist, not allowing it to make wonderful “socialist realism” statues celebrating African liberation. Later in 2016 (Juche 106), the UN “blacklisted Mansudae Art Studio, subjecting it to a global asset freeze and travel ban,” further manifesting imperialist efforts to isolate the DPRK.
With this, it is worth quoting Cecioni, who notes the value of Mansudae to the world: “I consider it very important to let people know that … North Koreans do not make only bombs but also art and are common people.” [7] Clearly, the imperialists don’t want the world to know this, which is why the studio is on the list of sanctions, with some artists going to the “Chinese border town of Dandong.” Cecioni also adds that those who work at Mansudae find “abstract and conceptual art…amusing” because they “don’t see it as necessary.” He also added that artists there “have an enviable position” because, “unlike a Western artist they don’t have to worry about selling their work” since they “have a salary…are recognized and have privileges” and ultimately “seem to live happily, they feel part of something.” That is definitely not the case in the capitalist West. In exclusive interview with horrid Vice, Cecioni told more about Mansudae, from his perspective,20 noting that in January 2006 (Juche 105) he became “the representative of the Mansudae Art Studio in the West” with one of the provisions of the agreement to “organize exhibitions of Mansudae Art Studio works in the West” and he has “returned to Pyongyang a few times, and Korean artists have come to visit in Italy.” [8] He added that
The vast majority of the best artists in the country are at the Mansudae. Practically all its artists have a university or a fine-arts degree. When a student distinguishes himself or herself at the university he or she is invited to join the Mansudae. Also, if an artist distinguishes himself or herself in another center he or she might be invited to join. It is a great honor to enter the Mansudae…From what I have seen, from about late elementary school through high school, in the afternoon, students may attend on a voluntary basis after-school programs and institutions in which they follow their interests which can be musical, artistic, sport, acting, and similar. My impression is that the training becomes really demanding at the university: North Koreans are very good and serious university students… The Mansudae Art Studio has a perhaps unexpected economic autonomy. The money that comes from our sales goes to the Mansudae Art Studio… The artists do not absolutely have big egos, nor are they humble. In a way, among the people I frequent, they all consider themselves equal, even though they are fully aware, in art, that some are better than others and that they have different positions work-wise. Western contemporary art in general does not interest them. In fact I saw them find it literally funny in the sense that they laughed at seeing some works, not with disdain but with true amusement. They are very much interested in classic art…I would not say that the purpose of all DPRK art is its political message. The socialist realism works represent North Korea in a positive light and, in a broad sense, want to inspire the viewers to have positive and patriotic feelings and celebrate, especially with some large sculptures and large paintings exhibited in public places, the leaders. The subjects are often related to work, a subject not common in the West. One particular form of socialist realism art are the posters. They are hand-painted, not printed, and they have political or social messages. Many are aimed against the US, seen as past aggressors or potential aggressors. Besides social realism, landscape paintings are very popular. Also paintings of flowers and nature in general. There are also many portraits, mainly of workers. But then there are so many kinds of art—sculptures, ceramics, embroidery, various kinds of paintings, woodcutting, calligraphy, and some others—that I cannot generalize.
Apart from this, in 2015 (Juche 104), a south Korean filmmaker Onejoon Che made a documentary named Mansudae Master Class, which attracted interest in Western art circles, which undeniably has an Orientalist tone to it, since in an interview with him, he calls the DPRK a “dictatorship” and acts like they exploit Africans. [9] Basically, the country is again treated as a “curiosity” in undeniably racist terms.
Even with all of this, Mansudae was able to show their works, in 2007 (and again in 2014) in London, of all places, showing that the imperialist efforts to isolate the country aren’t working in slightest. The same was the case about Mansudae’s exhibition on Australia in 2009 (Juche 98), which was even covered by AP, with a 5-minute-video. Mansudae is following in the tradition of Korean history, with maps of Korea drawn in the 19th century which were “painted with watercolors” and are “wonderfully detailed [and] hand-drawn” maps, with these artists and loyal comrades with the same vibe with their work.
Notes
[1] Caroline Winter, “Mansudae Art Studio, North Korea’s Colossal Monument Factory,” Bloomberg Businessweek, Jun 6, 2013; Statues and ammunition: North Korea’s Africa connections,” CNN, Dec. 14, 2017; “North Korea’s ‘biggest’ export – giant statues,” BBC News, Feb 16, 2017; Thomas Gordon, “A North Korean art factory is making enormous statues,” Dazed, Aug 6, 2014; Hamish Macdonald, “North Korean embassy hosts art exhibition in London,” The Guardian, Nov 3, 2014; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Dec 26, 2017; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Dec 19, 2017; “Floral Tribute Paid to Kim Il Sung and Kim Jong Il,” Rodong Sinmun, Oct 12, 2017; “Floral Tributes Paid to Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Oct 11, 2017; “Floral Tribute to Statues of Kim Il Sung and Kim Jong Il,” Rodong Sinmun, Sept 11, 2017; “Floral Tribute Paid to Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Aug 28, 2017; “Anniversary of Publication of Kim Jong Il’s Work Observed,” Rodong Sinmun, Aug 22, 2017; “Floral Tribute Paid to Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Aug 17, 2017; “Floral Tribute Paid to Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Jul 29, 2017; “Tribute Paid to Statues of Kim Il Sung and Kim Jong Il,” Rodong Sinmun, Jul 10, 2017; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Jun 21, 2017; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Apr 27, 2017; “Floral Tribute to Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Apr 17, 2017; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Feb 20, 2017; “22nd Paektusan Prize Sports Contest among Officials of National Institutions Closes,” Rodong Sinmun, Feb 18, 2017; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Feb 9, 2017; “Floral Tribute Paid to Statues of Great Leaders on Lunar New Year’s Day,” Rodong Sinmun, Jan 31, 2017; “Pyongyang Ice Sculpture Festival-2017 Opens,” Rodong Sinmun, Jan 4, 2017; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il on New Year,” Rodong Sinmun, Jan 4, 2017; “Floral Tribute Paid to Great Leaders,” Rodong Sinmun, Dec 26, 2016; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Dec 20, 2016; “Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Oct 18, 2016; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Oct 12, 2016; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Sept 12, 2016; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Aug 27, 2016; “Floral Tribute to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Aug 17, 2016; “Floral Tribute to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, July 29, 2016; “Floral Tribute to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Jun 21, 2016; “Floral Baskets Laid before Statues of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Apr 27, 2016; “Floral Tribute to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Apr 16 2016; “Floral Tribute to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Apr 11 2016; “Floral Baskets Laid before Statues, Portraits of Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Feb 18, 2016; “Floral Tributes Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Feb 11, 2016; “Floral Tribute Paid to Kim Il Sung, Kim Jong Il,” Rodong Sinmun, Jan 2, 2016. In Angola, the studio has constructed the António Agostinho Neto culture center, Cabinda Park, and the Peace Monument along with a basketball stadium and athlete academic center “in the Congo, a government office building, Luba Stadium, and conference halls in Equatorial Guinea.
[2] Patrick Winn, “North Korea propaganda unit builds monuments abroad,” PRI (reprinted from Global Post), Aug 3, 2011; Amy Qin, “An Art Powerhouse From North Korea,” New York Times, Jan 25, 2016; Guandong Hu, “Mine workers, idyllic landscapes, tigers: North Korean artists have made tens of millions of dollars for Pyongyang,” Quartz, Nov 14, 2017; Nicola Smith, “Flourishing North Korean art trade in China under threat from sanctions,” The Telegraph (reprinted in Yahoo! News) Oct 5, 2017; “North Korea’s Mansudae: The propaganda factory,” MSN News, Feb 17, 2016;
[3] Wikipedia, “Mansudae Overseas Projects,” accessed Feb 6, 2018, lists 11 African countries as places with monuments, but also says “as of 2015, Mansudae projects have been built in 17 countries: Angola, Algeria, Benin, Botswana, Cambodia, Chad, Democratic Republic of Congo, Egypt, Equatorial Guinea, Ethiopia, Germany, Malaysia, Mali, Mozambique, Namibia, Senegal, Togo, Zimbabwe”; Derek Henry Flood, “Symbolism merges for Mali and North Korea,” Asia Times, Feb 2, 2013; Statues and ammunition: North Korea’s Africa connections,” CNN, Dec. 14, 2017; “North Korea and the World” project by the East-West Center and the National Committee on North Korea (NCNK); Tycho van der Hoog, “North Korean monuments in southern Africa: Legitimizing party rule through the National Heroes’ Acres in Zimbabwe and Namibia,” Masters Thesis summary (archived here), Leiden University, July 1, 2017, full masters thesis (67 pages), accessed February 5, 2018, archived here; Nicola Smith, “Flourishing North Korean art trade in China under threat from sanctions,” The Telegraph, Oct 5, 2017; John Russell, “North Korean Art Market Growing,” VOA, Oct 10, 2017; Sebastian Strangio, “N Korea’s multimillion-dollar museum in Cambodia,” Al Jazeera, Feb 22, 2016. VOA claims that the DPRK has “built statues and markers in at least 15 African countries.” In the full masters thesis, van der Hoog claims he didn’t have time (or ability) to do research in Zimbabwe, but did research in Namibia, which had “old black and white photos of SWAPO officials who were visiting Pyongyang before independence,” further noting that “North Korea not only funded and supplied the liberation movements [in Zimbabwe and Namibia, but], high ranking officials also visited the Asian country and North Korean military instructors were active in the exile camps in Africa, where they trained guerrilla soldiers.” This academic specifically describes the memorials in Namibia and Zimbabwe. One site, says that “as of 2015, Mansudae projects have been built in 17 countries: Angola, Algeria, Benin, Botswana, Cambodia, Chad, Democratic Republic of Congo, Egypt, Equatorial Guinea, Ethiopia, Germany, Malaysia, Mali, Mozambique, Namibia, Senegal, Togo, Zimbabwe.”
[4] Other large projects in Namibia built by Mansudae include the “Independence Memorial Museum, the State House and a military museum in Okahandja” while in Zimbabwe, they also built a “grand statue of Joshua Nkomo in Bulawayo,” in Angola they have engaged in “56 construction projects” as one bourgeois scholar points out. It is claimed that Mansudae “has an office in Windhoek” although this relies on the UN report which only took information from 9 African countries, with 43 not submitting “the required National Implementation Reports,” which the bourgeois scholar still thinks gives the report legitimacy! He also claims that “among the African countries that are often mentioned as hosting North Korean laborers are Algeria, Angola, Equatorial Guinea, Ethiopia, Libya and Nigeria.” They also argue that the DPRK “may form an inspiration for Namibia and Zimbabwe, and other countries.” One article in bourgeois media says that Other North Korean statues, mostly of African revolutionary leaders, were sold to Mozambique, Zimbabwe, Botswana, Benin and Congo” (Kevin Shieff, “North Korea’s surprising, lucrative relationship with Africa,” Washington Post, Jul 10, 2017).
[5] “Mansudae Overseas Development Group Projects,” North Korean Economy Watch, Jun 23, 2010; “Foreign Currency Earning Constructions in Africa,” Daily NK, Jun 21, 2010; “Korea, North,” The World Factbook, CIA, accessed Feb 5, 2018; Kevin Shieff, “North Korea’s surprising, lucrative relationship with Africa,” Washington Post, Jul 10, 2017.
[6] U.S. Department of the Treasury Press Center, “Treasury Targets Chinese and Russian Entities and Individuals Supporting the North Korean Regime,” Aug 22, 2017, accessed Feb 5, 2018, it was later reprinted by the US Embassy in Russia; “Notices,” Federal Register, Vol. 82, No. 164, Friday, Aug 25, 2017; U.S. Department of the Treasury Press Center, “Treasury Sanctions Individuals and Entities Supporting the North Korean Government and its Nuclear and Weapons Proliferation Efforts,” Dec 2, 2016, accessed Feb 5, 2018; John Bat, “Treasury slaps new sanctions on groups allegedly supporting North Korea,” CBS News, Aug 22, 2017; “Notices,” Federal Register Volume 82, Number 164, Friday, Aug 25, 2017; Bill Gertz, “U.S. Sanctions Chinese, Russians for Illicit Trade With North Korea,” Free Beacon, Aug 23, 2017; “Sanctions on North Korea Inc. Hit Kim’s Secretive ‘Office 39’,” Bloomberg News, Aug 10, 2017; Guandong Hu, “Mine workers, idyllic landscapes, tigers: North Korean artists have made tens of millions of dollars for Pyongyang,” Quartz, Nov 14, 2017; Sue-Lin Wong, Giselda Vagnoni, Fanny Potkin, “White tiger, dark horse: North Korean art market heats up,” Reuters, Oct 4, 2017; Nicola Smith, “Flourishing North Korean art trade in China under threat from sanctions,” The Telegraph, Oct 5, 2017; Reuters, “North Korea’s art market is on the rise despite UN sanctions,” New York Post, Oct 5, 2017; Liu Zhen, “8 ways North Korea evades UN sanctions,” Business Insider (reprinted from South China Morning Post), Sept 19, 2017; Eric Talmadge, “Statue export ban hits at Pyongyang’s soft power, hard cash,” AP, Dec 27, 2016; Salem Solomon, “Sanctioned and Shunned, North Korea Finds Arms Deals in Africa,” VOA, Mar 22, 2017; U.S. hits Chinese and Russian companies, individuals with sanctions for doing business with North Korea,” Washington Post, Aug 22, 2017; Xi En Lee, “North Korea still has plenty of options as it faces new sanctions and a frosty Beijing,” CNBC, Nov 23, 2017; Steve Allen, “4 Ships Banned from All Ports for Violating NKorea Sanctions,” Newsmax (reprinted from AP), Oct 9, 2017; “Kim Jong Un’s personal ‘slush fund’ known as ‘Office 39’ hit by sanctions,” Washington Post, Aug 10, 2017; “North Koreans ban statue exports” (title is totally inaccurate, the UN banned the exports, not the DPRK), Sun Gazette, Feb 6, 2018. The latter article said that Mansudae “has generated an estimated 38,000 statues and 170,000 other monuments for domestic use and, according to the website of its overseas representative office, it is divided in 13 creative groups, seven manufacturing plants and has more than 50 supply departments.” One Treasury Dept report claimed that “the Mansudae Overseas Project Group of Companies has been reported to conduct business in countries including Algeria, Angola, Botswana, Benin, Cambodia, Chad, the Democratic Republic of the Congo, Egypt, Equatorial Guinea, Ethiopia, Malaysia, Mozambique, Madagascar, Namibia, Senegal, Syria, Togo, and Zimbabwe.”
[7] Sue-Lin Wong, Giselda Vagnoni, Fanny Potkin, “White tiger, dark horse: North Korean art market heats up,” Reuters, Oct 4, 2017; John Russell, “North Korean Art Market Growing,” VOA, Oct 10, 2017; Lawrence Pollard, “North Korea’s biggest export? Giant statues. To African dictators,” PRI (reprinted from BBC News), Feb 17, 2016; David Sim, “Cash-strapped North Korea turns to art to beat sanctions, but all that is about to change,” International Business Times, Oct 4, 2017.
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