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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.12
- 수록면
- 183 - 201 (19page)
- DOI
- 10.46834/jkmcah.2018.12.36.183
이용수
초록· 키워드
오류제보하기
The National Museum of Modern and Contemporary Art, Korea(MMCA) was found in 1969 by “National Culture Promotion Policy”- a large scale national project for culture and politics. After its establishment, however, MMCA played a minor role in the art scene because as a national museum MMCA administered only governmental art exhibitions for a long period of time. Nevertheless, a great change was brought about to MMCA by a mega national project - 1988 Seoul Olympics. As the host country of the Olympics, the military government of Korea at the time wanted to showcase a world class national museum of contemporary art as an attempt to conceal its undemocratic practices and boast the country’s rapid economic growth. For such reasons, a large amount of national financial and human resources swiftly went into MMCA and this led the relocation of MMCA to Gwacheon in 1986. Facilities for exhibition and storage were equipped at the newly relocated MMCA and inflow of a director and curators with expertise laid the foundation of the museum in every aspect such as exhibition, education and art collection. The inauguration art exhibition of MMCA did represent the direction the national museum had to seek at the time but it also exposed its limits of the ability in organizing art exhibitions as if it was reflecting the difficult situation MMCA had been in. For example, each and every art tendency in the world art scene was shown at the exhibition like Olympics and although they were banned by the “National Security Law” of Korea art works from former Soviet Union and socialists states in Eastern Europe were put on the exhibition. Such was not due to the judgment on artistic value. Rather it was the result of the then new military government’s culture policy that was aimed to show off that Korea had achieved cultural democratization and could successfully host mega international exhibitions.
Once again another grand national project - Daejon Expo ’93 – was led by Kim Youngsam “civilian” administration in 1993. At this time, to correspond with “globalization” which was a national culture policy, MMCA hosted the Whitney Biennial with enthusiasm. MMCA also used the Biennial as an opportunity to solidify its status as a national museum. In other words, by taking advantage of the influence of the Korean political field not only did MMCA secure finances for hosting a grand scale international exhibition but it also showed a change by appropriating the symbolic power of the Whitney Museum of American Art. The unconventional and experimental themes and art works of the Biennial eventually had a profound impact on expanding and introducing new themes and styles in the art scene in Korea. The national museum at last exhibited a powerful cultural power through a form of art exhibition.
As aforementioned, the impact of political field in Korea represented by administrations was huge on the establishment of MMCA and its early art exhibitions. However, national projects such as “1988 Seoul Olympics” and “Daejon Expo ’93”, in irony, functioned as stages in which for MMCA to secure expertise and to obtain autonomy in the artistic field. At these times art exhibitions that were tied to the national culture policies represented future direction of MMCA and the limitations of reality at the same time.
However, MMCA redistributes eventually the public financial and human resources received by the government to Korean people in a form of culture through art exhibitions and thus contributes to the reproduction of power. This signifies the effort of MMCA makes as a national museum to contribute to cultural politics in Korea.
Once again another grand national project - Daejon Expo ’93 – was led by Kim Youngsam “civilian” administration in 1993. At this time, to correspond with “globalization” which was a national culture policy, MMCA hosted the Whitney Biennial with enthusiasm. MMCA also used the Biennial as an opportunity to solidify its status as a national museum. In other words, by taking advantage of the influence of the Korean political field not only did MMCA secure finances for hosting a grand scale international exhibition but it also showed a change by appropriating the symbolic power of the Whitney Museum of American Art. The unconventional and experimental themes and art works of the Biennial eventually had a profound impact on expanding and introducing new themes and styles in the art scene in Korea. The national museum at last exhibited a powerful cultural power through a form of art exhibition.
As aforementioned, the impact of political field in Korea represented by administrations was huge on the establishment of MMCA and its early art exhibitions. However, national projects such as “1988 Seoul Olympics” and “Daejon Expo ’93”, in irony, functioned as stages in which for MMCA to secure expertise and to obtain autonomy in the artistic field. At these times art exhibitions that were tied to the national culture policies represented future direction of MMCA and the limitations of reality at the same time.
However, MMCA redistributes eventually the public financial and human resources received by the government to Korean people in a form of culture through art exhibitions and thus contributes to the reproduction of power. This signifies the effort of MMCA makes as a national museum to contribute to cultural politics in Korea.
목차
Ⅰ. 국가와 국립현대미술관의 관계와 특성
Ⅱ. 국가 프로젝트와 국립현대미술관의 위치 짓기
Ⅲ. 문화정책의 과제와 전시의 상동성
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (22)
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