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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2009.12
- 수록면
- 249 - 268 (20page)
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This paper explores a particular set of artistic practices engaged with the rehabilitation of the social role of art in what can be called post-Minjung era. This era was marked by the enervation of Minjung art, a politically engaged art movement that vigorously resisted the oppressive military regime of the 1980s but fell into lethargy in the ostensibly democratized 1990s. The late 1990s witnessed the emergence of collective attempts to resume the discussion of the social role of art, which had been interrupted since the early 1990s when Minjung art lost its political and aesthetic efficacy. The resumed discussion was led by some members of artist collective Forum A which was founded in October 1997. They regard- ed it as an imperative to make what can be called as “activist”, “socially-engaged,” or “critical” art enter the 90’s Korean art scene. The discussion on this topic took place in variable venues provided by Forum A, such as exhibitions, seminars, workshops and the tabloid-format journal Forum A. In order to formulate new aesthetic strategies for responding to the changing social and political circumstances, the members of Forum A examined the legacy of Minjung art, recognizing its accomplishments as well as limitations, and they turned to the Western avant-garde practices such as the conceptual art and institutional critique of the 1960s-70s and the Situationist International of the 1950s-60s.
By focusing on Seongnam project (1998) and Cheonggyecheon project (2003-), this paper examines how these projects developed their aesthetic strategies of interventionist practices in dialogue with Minjung art as well as the Western precedents of North American Conceptualism and French Situationism. Employing a variety of artistic forms, including photo-text documentations, films and videos, installation, and diagrams, the urban practices adopted an anthropological model of project art based on fieldwork, challenging dominant socio-spatial orders operating in the specific urban sites, mostly marginalized areas. And yet, at the same time they sought to explore how the users of the sites appropriated their own physical or socio-economic spaces that have been imposed on them. By looking at these urban practices, this paper claims that they were engaged critically in the discussion of the term “public,” contesting its supposed equality and neutrality by exposing that the discourses of public art, public space, and publicness can only be effected though exclusions. And yet, this paper also put in a sharp relief a significant change lying in the development trajectory between Seongnam Project and Cheonggyecheon project, which was prompted by the latter’s attempt to go beyond a nostalgic impulse embedded in the former’s representation of the marginalized urban areas.
By focusing on Seongnam project (1998) and Cheonggyecheon project (2003-), this paper examines how these projects developed their aesthetic strategies of interventionist practices in dialogue with Minjung art as well as the Western precedents of North American Conceptualism and French Situationism. Employing a variety of artistic forms, including photo-text documentations, films and videos, installation, and diagrams, the urban practices adopted an anthropological model of project art based on fieldwork, challenging dominant socio-spatial orders operating in the specific urban sites, mostly marginalized areas. And yet, at the same time they sought to explore how the users of the sites appropriated their own physical or socio-economic spaces that have been imposed on them. By looking at these urban practices, this paper claims that they were engaged critically in the discussion of the term “public,” contesting its supposed equality and neutrality by exposing that the discourses of public art, public space, and publicness can only be effected though exclusions. And yet, this paper also put in a sharp relief a significant change lying in the development trajectory between Seongnam Project and Cheonggyecheon project, which was prompted by the latter’s attempt to go beyond a nostalgic impulse embedded in the former’s representation of the marginalized urban areas.
목차
Ⅰ. 머리말
Ⅱ. 성남 프로젝트, 새로운 미술실천의 모델
Ⅲ. 노스탤지어와 상실감을 넘어서
Ⅳ. 플라잉시티 〈청계천 프로젝트〉, ‘표류’하는 이들에 대한 미술
Ⅴ. 맺음말
참고문헌
Abstract
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