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.
이용수
DBpia Top 10%동일한 주제분류 기준으로최근 2년간 이용수 순으로 정렬했을 때
해당 논문이 위치하는 상위 비율을 의미합니다.
초록· 키워드
오류제보하기
The 2002 Gwangju Biennale invited twenty-six artists’ initiatives and groups for its 《Project 1》. The groups’ acceptance of the invitation seemed ironic since the largescale Korean biennial had become a spectacle to highlight cultural development and economic confidence to the rest of the world and aspiring to be like the Venice event while the invited groups formed their reputation by critiquing mainstream art institutions’ practices in favor of alternative attitudes. By agreeing to join the biennial, these group initiatives took the risk of abandoning their own values. How can this abrupt change of value system be interpreted and reconciled?
Inspired by the ‘New Institutionalism’ which grew strong in some of the European museums, this paper finds answers by examining how contemporary curators came to assume the role of the avant-garde by transforming the mission and the practices of the museums and biennials. I trace how the avant-garde spirit showered not only artists who were normally categorized as practitioners of Institutional Critique but also curators who emerged in the 1990s via the diverse contemporary art exhibitions such as international biennials. Also, I examine non-exhibition practices by museums such as Rooseum in Malmo, Sweden and the Baltic Center for Contemporary Art in Gateshead, UK to illustrate the progress achieved with the idea of the New Institutionalism. My conclusion is that it is noteworthy to pay attention to the diagnosis of European critics who see the small-scale, not-for-profit spaces in Asian countries as the alternative to the failed New Institutionalism in European museums.
Inspired by the ‘New Institutionalism’ which grew strong in some of the European museums, this paper finds answers by examining how contemporary curators came to assume the role of the avant-garde by transforming the mission and the practices of the museums and biennials. I trace how the avant-garde spirit showered not only artists who were normally categorized as practitioners of Institutional Critique but also curators who emerged in the 1990s via the diverse contemporary art exhibitions such as international biennials. Also, I examine non-exhibition practices by museums such as Rooseum in Malmo, Sweden and the Baltic Center for Contemporary Art in Gateshead, UK to illustrate the progress achieved with the idea of the New Institutionalism. My conclusion is that it is noteworthy to pay attention to the diagnosis of European critics who see the small-scale, not-for-profit spaces in Asian countries as the alternative to the failed New Institutionalism in European museums.
목차
Ⅰ. 들어가면서 : 2002 광주비엔날레
Ⅱ. 예술가의 제도비판
Ⅲ. 신제도주의의 등장과 전개
Ⅳ. 나가면서 : 신제도주의의 향방
참고문헌
Abstract
참고문헌 (1)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-600-002952019