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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
In 2012, the Pontifical Council for Culture of the Vatican City officially declared its first ever participation in the 55th Venice Biennale. It was very significant that the Vatican independently took part in the exhibition of the de facto contemporary fine arts. This reformative action of the Vatican was originated from the spirits of the 2. Vatican Council. The Vatican pavilion showed the three separate spaces that each signify three sub-themes; creation-uncreation-recreation. The three sub-themes were expressed by three variations to interpret a overhead theme represented in the Genesis Book 1 to 11 of the Old Testament. The preparatory committee commissioned the media art group “Studio Azzuro”, photo-artist “Josef Koudelka”, and installation artist “Lawrence Carroll” to work for the exhibition.
Now the Vatican have to confront the Anti-Christian art which are maybe easily seen in modern and contemporary arts. Does the Vatican only want to enhance the cultural interactions with the public like all other contemporary arts strive for? Or does the Vatican only try to dictate the theological Catholic dogma to the public through modern visual languages in outside of Church? As the Vatican continues to emphasize, the former case would magnify the dynamism and varieties of the Biennale and extend the public’s understanding for the Catholic Church. But if the case were the latter, positive consequences would not be expected. The latter case could not sincerely mean a true reformation or change of the Church, but only a highly manipulated modification of approaching methods.
Now the Vatican have to confront the Anti-Christian art which are maybe easily seen in modern and contemporary arts. Does the Vatican only want to enhance the cultural interactions with the public like all other contemporary arts strive for? Or does the Vatican only try to dictate the theological Catholic dogma to the public through modern visual languages in outside of Church? As the Vatican continues to emphasize, the former case would magnify the dynamism and varieties of the Biennale and extend the public’s understanding for the Catholic Church. But if the case were the latter, positive consequences would not be expected. The latter case could not sincerely mean a true reformation or change of the Church, but only a highly manipulated modification of approaching methods.
목차
I. 들어가는 글
II. 가톨릭교회와 현대미술
III. 현대미술과의 화해를 향한 바티칸의 시도들
VI. 제55회 베네치아 비엔날레 바티칸관의 구성과 그 의미
V. 나가는 글
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-609-001249412