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자료유형
학술저널
저자정보
Soyi Kim (University of Minnesota)
저널정보
숙명여자대학교 아시아여성연구원 Journal of Multicultural Society : OMNES OMNES 제9권 제1호
발행연도
2019.1
수록면
34 - 58 (25page)
DOI
10.14431/omnes.2019.01.9.1.34

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초록· 키워드

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A New York-based Korean American artist, Anicka Yi, parallels the language of pathogens with patriarchal fear of feminism expressed through excessive hygiene, by growing female bacteria that she swabbed from women in her personal and professional networks and letting the microbes emanate a pungent smell in the gallery space. Her contagious and malodorous biological materials proliferate in and colonize the audience’s body as well as the air of the gallery space. In so doing, they mount a challenge to anthropocentrism and the masculine set of cybernetic art practices popularized from the 1960s in the U.S. according to art historian Caroline Jones. However, Yi’s work’s critical affiliation to her identity as a Korean American woman artist doesn’t necessarily fit in the western feminist art history. It rather poses an ethnic irony in John Kim’s term: The impossibility of reading Yi’s work in isolation from her ethnic background combined with the equal impossibility of reducing the one to the other. Yi’s purposeful opting-out of direct references to her own and other Asian women’s life narratives ironically underpins her gesturing toward attesting to the continuity of particular life forms that survive through erasure, objectification, and essentialization, in western hegemonic representation.

목차

Abstract
Introduction
Smell Disturbs the Hierarchies
The Abject, Monster, and Bacteria
First Facet of Yi’s Irony: Feminist Risk in Science and Art
Yi’s Ambiguous Identification as the Second Facet of Her Ironic Scheme
Conclusion
References

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