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초록· 키워드
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Joo Jaehwan, known as the minjung(the people) artist during the 1980s’ prodemocracy movement, articulates the subjectivity(or subject-formation) and worldviews of those underrepresented and oppressed in everyday lives and makes their ways of being and interaction into something meaningful to contemplate. His 1990-2000 collages and installation are mostly made of everyday rubbish and found objects on the streets, while his oil painting represents the eccentric shapes of humans and other organisms—who are considered the "other"-in the mysterious night scenes. As a result, his art is called as "aesthetic of contemporary life", "poor art", "art of stationary store", or "the realist spirit of literary prose." In short, his art is not cousidered as the art of the elite but the art out of expressive urgency and necessity of everyday lives with anti-modernist, conceptual character.
Although Joo"s works of the 1990-2000 is defined in terms of "aesthetic of everyday life", this aesthetic is not developed out of abstract notion of reality but based on the concrete reality in which people live and experience in bodily terms in the age of the global capitalism and information technology. This paper pays attention to the psychological, corporeal and existential reality of those disenfranchised under the rapid socio-economic changes which they faced in the late 1990s. The over-arching concepts of Joo"s 1990-2000 works are "human/body" and "communication." He creates a human body out of materials relevant to communication, exchange and transportation with collage technique. In so doing, he explores the relationship between(the media of) communication and human body as well as the networked environment where the body is located and is part of in his various works.
This paper discusses the following topics: 1) how did his 1980s" works capture the traces and existence of the "other" or periphery, pushed against from the space of modernism and modernity; 2) in the age of global capitalism and media technology in the 1990s, how do his works treat the issue of subject-formation and of alternative worldviews, expressed by the "other"s way of being and their world views; 3) through the question of the relations between the corporeal body of the "other" and their subject-formation, how the notion of art"s communication is explored in his works. This article demonstrates Joo"s corporeal aesthetic is at the core of his exploring the world of the underpresented and their subjectivity as well as art"s communication. Hence, this article will expand the prior understanding of art"s communication and aesthetic politic in Joo"s and other socially-engaged art.
Although Joo"s works of the 1990-2000 is defined in terms of "aesthetic of everyday life", this aesthetic is not developed out of abstract notion of reality but based on the concrete reality in which people live and experience in bodily terms in the age of the global capitalism and information technology. This paper pays attention to the psychological, corporeal and existential reality of those disenfranchised under the rapid socio-economic changes which they faced in the late 1990s. The over-arching concepts of Joo"s 1990-2000 works are "human/body" and "communication." He creates a human body out of materials relevant to communication, exchange and transportation with collage technique. In so doing, he explores the relationship between(the media of) communication and human body as well as the networked environment where the body is located and is part of in his various works.
This paper discusses the following topics: 1) how did his 1980s" works capture the traces and existence of the "other" or periphery, pushed against from the space of modernism and modernity; 2) in the age of global capitalism and media technology in the 1990s, how do his works treat the issue of subject-formation and of alternative worldviews, expressed by the "other"s way of being and their world views; 3) through the question of the relations between the corporeal body of the "other" and their subject-formation, how the notion of art"s communication is explored in his works. This article demonstrates Joo"s corporeal aesthetic is at the core of his exploring the world of the underpresented and their subjectivity as well as art"s communication. Hence, this article will expand the prior understanding of art"s communication and aesthetic politic in Joo"s and other socially-engaged art.
목차
I. 서론
II. 모더니즘 공간에서의 타자/주변인들과 그들의 ‘몸’
III. 주변인의 삶을 구성하는 소통의 매체와 탈주의 가능성
IV. 글로벌 미디어와 신자유주의 시대의 미술의 소통
V. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2018-605-001175599