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
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While China had not made a full transition from its socialist system to a liberal system notwithstanding the market economy it adopted, the post-Cold War period dawned on it equally in the 1990s. The resolution of the National People’s Congress in 2002 to allow farmers to own private property then marked the beginning of the after-post-Cold War period in the country. Abstract art was generally considered in China as an American-centered legacy of the Cold War, but the scope of the discourse on this genre of art broadened significantly in the 21s century. That is, efforts have begun to be made to regard abstract art as part of China’s own national tradition. In particular, Ava Hsueh’s solo exhibition, entitled Flowing Reality, held at the National Art Museum of China in 2011 embodied the changing pattern of the acceptance and interpretation of abstract art in China.
Hsueh, who was born in Mainland China, but immigrated to Taiwan, had her training in the pre-1970s academic tradition of Taiwanese art that synthesized elements of Japanese and Chinese styles. After studying at National Taiwan Normal University, Hsueh left for the United States in the mid-1980s, and experienced the last modernist debate in the abstract art community there. Since her return to Taiwan in the late 1990s, Hsueh has been working not only as an abstract artist, but also an art administrator and teacher. Her ability to build connections in across the Taiwan Strait was on full display in her solo exhibition organized with the help of the Chinese government. It is quite interesting that Chinese regard Hsueh’s work in a light different from the one accorded to other Taiwanese artists in the past. Her solo exhibitions show works that clearly differ from the “political pop” or the “post-1989 art” previously condoned under the socialist regime, but that are clearly capable of expressing a unique Chinese identity. Her Flowing Reality exhibition, in particular, captured how abstract art in Taiwan storve to return to its origins in the after-post-Cold War period. The images of desolation featured at the exhibition represent how the physical and psychological effects of desolation compel one to seek to return to one’s homeland in China against the grains of the external and superficial reality.
Hsueh, who was born in Mainland China, but immigrated to Taiwan, had her training in the pre-1970s academic tradition of Taiwanese art that synthesized elements of Japanese and Chinese styles. After studying at National Taiwan Normal University, Hsueh left for the United States in the mid-1980s, and experienced the last modernist debate in the abstract art community there. Since her return to Taiwan in the late 1990s, Hsueh has been working not only as an abstract artist, but also an art administrator and teacher. Her ability to build connections in across the Taiwan Strait was on full display in her solo exhibition organized with the help of the Chinese government. It is quite interesting that Chinese regard Hsueh’s work in a light different from the one accorded to other Taiwanese artists in the past. Her solo exhibitions show works that clearly differ from the “political pop” or the “post-1989 art” previously condoned under the socialist regime, but that are clearly capable of expressing a unique Chinese identity. Her Flowing Reality exhibition, in particular, captured how abstract art in Taiwan storve to return to its origins in the after-post-Cold War period. The images of desolation featured at the exhibition represent how the physical and psychological effects of desolation compel one to seek to return to one’s homeland in China against the grains of the external and superficial reality.
목차
Ⅰ. ‘후냉전 후’의 중국 추상화의 역사적 의미
Ⅱ. 문화 냉전의 초상, 대만 추상미술과 쉐바오샤
Ⅲ. ‘후냉전 후’의 중국 추상과 쉐바오샤의 ‘유동현실’
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ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2015-600-001354548