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The 1993 Whitney Biennial was the culminating point of multicultural debates in the U.S. ; it also crossed the national border to Korea for the first time in Biennial's history. This paper reviews in brief the manner in which the 1993 Whitney Biennial in New York responded to the cultural debates by incorporation of the Other in the “Western Tradition” and then, examines the new status of American art that was redefined by the process of cultural translation to the other country, Korea.
At first, I examine the new status of American art that was redefined by the process of cultural translation to Korea. In order to analyze the dissemination process, I study the similarities and dissimilarities between the two stagings of the exhibition in New York and in Seoul. My notion of the discursive event and dissemination of identity and difference is based on a Derridian reading of Foucault, combining Foucault's notion of “event” with Derrida's conception of “differance” and “dissemination.” An analysis of the transportation of the art works from New York to Seoul enables a study of the motivations and constraints to accelerate as well as prevent the dissemination of art works in the 1990s. In one sense, globalization seems to promote easy transportation of art works and artists to any country. But, on the other hand, there is still another set of limits and constraints that began to be involved in translocating art works in the 1990s. The result in Seoul was difference, distortion, and reproduction of some of the art works from its original in New York.
The process of dissemination raises further the question of “translation” : not only “translation” in its basic sense as the transfer from one language to another, but translation that calls for cultural explication of other cultures. Here, the question of cultural translation goes beyond the ordinary parameter of linguistic translation. I therefore analyze how the art works and surrounding discourses were translated and understood by Korean curators, critics, and audience. This analysis shows the impossibility, as well as the necessity, of translation.
Then, I explore the manner in which the two exhibitions of the Biennial acted as cultural commodities as well as the occasions for cultural diplomacy. In examining these issues, I also discuss the role of the world-famous Korean video artist Nam June Paik in mediating the 1993 Whitney Exhibition. The 1993 Whitney Biennial played an important role in enabling Korea to hold its own international Biennial, that is, the 1995 Kwangju Biennial two years later by quickly adopting the same theme of identity that was not “multicultural” but was “third-world,” “local,” and “global.” Thus, the 1993 Whitney Biennial must be conceived as an account of a cultural moment experienced by Korea : internationalization/globalization and the transition from being the cultural consumer to the cultural producer.
At first, I examine the new status of American art that was redefined by the process of cultural translation to Korea. In order to analyze the dissemination process, I study the similarities and dissimilarities between the two stagings of the exhibition in New York and in Seoul. My notion of the discursive event and dissemination of identity and difference is based on a Derridian reading of Foucault, combining Foucault's notion of “event” with Derrida's conception of “differance” and “dissemination.” An analysis of the transportation of the art works from New York to Seoul enables a study of the motivations and constraints to accelerate as well as prevent the dissemination of art works in the 1990s. In one sense, globalization seems to promote easy transportation of art works and artists to any country. But, on the other hand, there is still another set of limits and constraints that began to be involved in translocating art works in the 1990s. The result in Seoul was difference, distortion, and reproduction of some of the art works from its original in New York.
The process of dissemination raises further the question of “translation” : not only “translation” in its basic sense as the transfer from one language to another, but translation that calls for cultural explication of other cultures. Here, the question of cultural translation goes beyond the ordinary parameter of linguistic translation. I therefore analyze how the art works and surrounding discourses were translated and understood by Korean curators, critics, and audience. This analysis shows the impossibility, as well as the necessity, of translation.
Then, I explore the manner in which the two exhibitions of the Biennial acted as cultural commodities as well as the occasions for cultural diplomacy. In examining these issues, I also discuss the role of the world-famous Korean video artist Nam June Paik in mediating the 1993 Whitney Exhibition. The 1993 Whitney Biennial played an important role in enabling Korea to hold its own international Biennial, that is, the 1995 Kwangju Biennial two years later by quickly adopting the same theme of identity that was not “multicultural” but was “third-world,” “local,” and “global.” Thus, the 1993 Whitney Biennial must be conceived as an account of a cultural moment experienced by Korea : internationalization/globalization and the transition from being the cultural consumer to the cultural producer.
목차
Ⅰ. 들어가며
Ⅱ. 1993 휘트니비엔날레 뉴욕(1993. 3. 4－6. 20)
Ⅲ. 1993 휘트니비엔날레 서울(1993. 7. 31－9. 8)
Ⅳ. 나가며
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