Today marks the inauguration of the “China-DPRK Friendship Year,” which also coincides with the 60th anniversary of bilateral diplomatic relations.  Surely this will be the DPRK’s only chance at a “friendship year,” so, to mark the beginning of what will be a long, nauseating year in public relations coverage, I examine the aesthetic features of some DPRK photography sanctioned by the Korean Central News Agency (KCNA); these have all been released on Xinhua.com, China’s media equivalent. Stark, almost Brutalist qualities mark these photos, recalling the regime that created them.

Click on each photo for related Xinhua article.

Both nations have a history of enforcing civic and aesthetic harmony. Wen Jiabao stands here with his DPRK counterpart, Kim Yong Il. What a patriotic name Mr. Kim has! There is something very “progressive” about this photo, note that instead of posing with a traditional painting as backdrop, we are treated to red and yellow color combination (Chinese flag? Olympic opening ceremony 西红柿炒鸡蛋 anyone?).

Ah… that’s more like it. You can’t help but notice the turbulent ocean waves depicted in this classical backdrop, and the matching key-lime, flowered carpet, Kim sits so perfectly in-between those blossoms, with his feet just dusting the petals of each. In DPRK history, the stones that are breaking those waves surely have some courageous, patriotic symbolism. Note to woman in turquoise: there’s only one person who should be standing out in this photo (nice beige jumper).

Examine the flourishing art scene in the DPRK, evidenced in the photo of this very well-attended “poster art” exhibition, for example. Note to typical Western art fans: Socialist Realist poster art is best when viewed with glazed over eyes, and when moving in packs.

Getting good mileage out of those military dress uniforms, the “State Merited Chorus” performs for the New Year. Note the various medals and badges adorning their uniforms, and some high ranking fellows in the first row.

Just as the PRC will inevitably do this coming October, the DPRK celebrated its 60th anniversary with lavish celebrations, parades and displays of “unity” in Kim Il Song Square–indeed more proof that the visual impact of the masses will always exceed the power of one. Unfortunately we can’t see what these glowing formations are spelling out, but we can appreciate the fountain on the roof of that state building.

“Inspection” images are important tools in Socialist media, thankfully the North Koreans are keeping this tradition alive. In a photograph of his visit to a newly built swimming pool, we are inevitably haunted by an image of the despondent-looking Kim in swimming trunks.

In this “undated picture” released by KCNA on March 21, 2009, Kim poses with his army in Pyongyang. Those Korean traits are stark composition, and almost perfect symmetry in the composition. The central vertical axis is mathematically precise: national flag, Kim the elder, Kim the son. The horizontal composition is almost exactly 50/50, blocked off with some staunch Socialist Realist monumental architecture.

Now for a close up; these front row soldiers are sporting serious bling, and Kim poses, as always, looking fine in his beige jumper and pimp glasses.

Hooray! Wen Jiabao cannot contain his feverish excitement over another year of cultural exchange; first it was France, then Italy, Russia, Ireland, and now the DPRK. When you think of the aesthetic brought to us by the DPRK, think Harmony, Balance, Symmetry, and exacting, consistent proportions. Observe the rules: wherever possible, align Kim with the central axis of the photo. No one else may be in the center of a photograph, and if there are two figures (neither being Kim), distribute them in equal halves.