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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The opening of the National Museum of Contemporary in Korea’s new building in the suburban Seoul in 1986, rather a remote place for a museum, signaled a new age in the history of art museums in Korea, by consolidating art professionals’ long wish to build their own ‘sanctuary’ or ‘hall of fame’ in a grand scale.
This study begins with the premises that the very idea of “white cube” remains with the ideal of ‘place of art’s own sake’ not with the physical site, and that the idea of “white cube” has been working in the formation of the museum. The focus of the study is on how the making of the “white cube” was affected by the politics of the 5th Republic, led by President Chun Doo Whan who had arisen to power via a military coup, drove Korea to the Cold War ideology, and subsequently to a series of spectacles in order to disorient people’s attention from democracy-demanding demonstrations and to pompously convince them to believe that they were living in a better country.
For that, four aspects of the museum building process were discussed: the efforts of the former directors who served the museum in the 1980sto secure the finance and the site of the new building, and to implement new policies of special exhibitions the complicated ambition of the then-rather-unknown architect Kim Tae Soo who had been selected to design the museum after a long stay and education in the U.S. the spectacle-making strategy of the 5th Republic such as 1986 Asian Games and 1988 Olympic Games, and the establishment of a series of other professional sports games that overshadowed the museum building spectacle and finally the contributionof Nam June Paik, who had eagerly answered a calling from his homeland and donated one of his largest pieces The More The Better to the new museum.
Thus, the “museal desire” of the Korean art world was met with the President’s plan of cultural spectacle along with other sports-related spectacles. In the age of spectacles, however, the presence of North Korea and its threat to hinder those spectacles surfaced above all the events. The museum building was comparably successful in the art world but was neglected in the politics of Cold War.
This study begins with the premises that the very idea of “white cube” remains with the ideal of ‘place of art’s own sake’ not with the physical site, and that the idea of “white cube” has been working in the formation of the museum. The focus of the study is on how the making of the “white cube” was affected by the politics of the 5th Republic, led by President Chun Doo Whan who had arisen to power via a military coup, drove Korea to the Cold War ideology, and subsequently to a series of spectacles in order to disorient people’s attention from democracy-demanding demonstrations and to pompously convince them to believe that they were living in a better country.
For that, four aspects of the museum building process were discussed: the efforts of the former directors who served the museum in the 1980sto secure the finance and the site of the new building, and to implement new policies of special exhibitions the complicated ambition of the then-rather-unknown architect Kim Tae Soo who had been selected to design the museum after a long stay and education in the U.S. the spectacle-making strategy of the 5th Republic such as 1986 Asian Games and 1988 Olympic Games, and the establishment of a series of other professional sports games that overshadowed the museum building spectacle and finally the contributionof Nam June Paik, who had eagerly answered a calling from his homeland and donated one of his largest pieces The More The Better to the new museum.
Thus, the “museal desire” of the Korean art world was met with the President’s plan of cultural spectacle along with other sports-related spectacles. In the age of spectacles, however, the presence of North Korea and its threat to hinder those spectacles surfaced above all the events. The museum building was comparably successful in the art world but was neglected in the politics of Cold War.
목차
Ⅰ. 주제 해석과 연구의 초점
Ⅱ. 한국미술계의 갈망
Ⅲ. 김태수 - 재미 건축가의 야망
Ⅳ. 제5공화국과 문화정책
Ⅴ. 백남준 - 비디오 아트 대가의 애국심
Ⅵ. 결론
참고문헌
Abstract
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