지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The (International) Incheon Women Artists’ Biennale was held by the joint organization of the City of Incheon and the Biennale Organizing Committee from 2007 to 2011. It originated from a local group exhibition by the Incheon Women Artists’ Association in 2004, and the local project was developed into the international sphere through the Pre-International Incheon Women Artists’ Biennale in 2006. The structure of the Incheon Women Artists’ Biennale consists of three sections. The Main Exhibition invites women artists from the world and the Tuning Exhibition includes selected works of both female and male artists around the world. The Participation Exhibition not only features works of established women artists in Korea, but provides one-person shows to the local women artists who have few opportunities to show their works, in return to their financial support of the Biennale.
While it was described by an art magazine as the world’s first and only international biennale solely devoted to women’s art, there were constant controversies concerning the Incheon Women Artists’ Biennale. In consequence, the City of Incheon decided to withdraw any engagement in the Biennale from 2013. Rather than evaluation of the exhibitions, disputes converged into the identity of the Biennale Organizing Committee, and how women’s art legitimately could represent the City of Incheon which had been rapidly rising as an economic and cultural hub of East Asia.
In this paper, I attempted to explore the Biennale as a sign in order to grasp the essence of controversies. It was a sign in which diverse voices and positions of different interest groups were in conflict with each other, or even remained in silence: Some males, with a radical inclination who were concerned in local art world, severely criticized the conservative attitudes of the leading members of the Biennale Organizing Committee, their poor knowledge on feminist art and contemporary art, and eventually the legitimacy of women’s art for the city; conservative males, from the local as well as the cultural center of metropolitan city of Seoul, supported the Committee practically and emotionally; many feminists, who had led feminist arts in Korea, tried not to speak out their opinions on the Biennale. They opposed the Biennale by keeping in silence. By investigating the Incheon Women Artists’ Biennale as a sign full with conflicting voices, I could partly uncover the problems of cultural politics involved in biennales proliferating in recent years in Korea.
While it was described by an art magazine as the world’s first and only international biennale solely devoted to women’s art, there were constant controversies concerning the Incheon Women Artists’ Biennale. In consequence, the City of Incheon decided to withdraw any engagement in the Biennale from 2013. Rather than evaluation of the exhibitions, disputes converged into the identity of the Biennale Organizing Committee, and how women’s art legitimately could represent the City of Incheon which had been rapidly rising as an economic and cultural hub of East Asia.
In this paper, I attempted to explore the Biennale as a sign in order to grasp the essence of controversies. It was a sign in which diverse voices and positions of different interest groups were in conflict with each other, or even remained in silence: Some males, with a radical inclination who were concerned in local art world, severely criticized the conservative attitudes of the leading members of the Biennale Organizing Committee, their poor knowledge on feminist art and contemporary art, and eventually the legitimacy of women’s art for the city; conservative males, from the local as well as the cultural center of metropolitan city of Seoul, supported the Committee practically and emotionally; many feminists, who had led feminist arts in Korea, tried not to speak out their opinions on the Biennale. They opposed the Biennale by keeping in silence. By investigating the Incheon Women Artists’ Biennale as a sign full with conflicting voices, I could partly uncover the problems of cultural politics involved in biennales proliferating in recent years in Korea.
목차
Ⅰ. 여는 글
Ⅱ. 《 인천여성미술비엔날레》의 설립과 전시 체제
Ⅲ. 《 인천여성미술비엔날레》를 둘러싼 논쟁들
Ⅳ. 닫는 글
참고문헌
Abstract
참고문헌 (36)
참고문헌 신청
1. [기타자료] - 김재열 / 2012 / 인천여성비엔날레 방향찾기 / 인천일보
2. [기타자료] - / 2006 / 다양성 속의 조화(Pre-국제인천여성미술비엔날레 카탈로그) / 인천여성미술비엔날레 조직위
3. [기타자료] - / 2007 / 다양성 속의 조화(국제인천여성미술비엔날레 카탈로그) / (사)인천여성미술비엔날레 조직위
4. [기타자료] - / 2007 / 문을 두드리다(국제인천여성미술비엔날레 카탈로그) / (사)인천여성미술비엔날레조직위
5. [학술대회논문] - / 2011 / 말과 행동 - 인천여성미술비엔날레 발전을 위한 제언 / 2010인천여성미술비엔날레 국제심포지엄 책자
2. [기타자료] - / 2006 / 다양성 속의 조화(Pre-국제인천여성미술비엔날레 카탈로그) / 인천여성미술비엔날레 조직위
3. [기타자료] - / 2007 / 다양성 속의 조화(국제인천여성미술비엔날레 카탈로그) / (사)인천여성미술비엔날레 조직위
4. [기타자료] - / 2007 / 문을 두드리다(국제인천여성미술비엔날레 카탈로그) / (사)인천여성미술비엔날레조직위
5. [학술대회논문] - / 2011 / 말과 행동 - 인천여성미술비엔날레 발전을 위한 제언 / 2010인천여성미술비엔날레 국제심포지엄 책자
이 논문의 저자 정보
이 논문과 함께 이용한 논문
천경자의 여인상 연구 : 시기별 특징과 변화를 중심으로
권경아
한국근현대미술사학
2016
.07
신자유주의 시대 미술의 두 가지 가능성 : 데미안 허스트와 펠릭스 곤잘레스 토레스
이승현
현대미술사연구
2015
.06
21세기 서양미학의 동향과 전망을 위한 시론 2-아방가르드 이론의 재검토 : 부클로 및 포스터의 뷔르거 비판과 뷔르거의 응답을 중심으로
김종기
현대미술사연구
2015
.06
한국여성미술의 산실, 그 진정한 거듭남을 위하여 : 제43회 사단법인 한국여류화가협회전《한국여성미술-역사를 돌아보다》/4.9~4.16/예술의전당 한가람미술관
고충환
더원미술세계
2015
.04
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-609-000582263