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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제58호
- 발행연도
- 2024.6
- 수록면
- 119 - 142 (24page)
- DOI
- 10.14380/AHF.2024.58.119
이용수
초록· 키워드
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Since the 15th century, advancements in navigation and cartography have transformed the oceans into spaces where empires intersect, leading to the continuous expansion of territorial boundaries and marking the onset of globalization. The ocean transitioned from being a “wall” separating lands to a “bridge” connecting them, making the Earth resemble a folded sheet of paper with continents linked together. In this perspective, the ocean is no longer merely “water” but an “extension of the land,” reflecting a land-centric worldview. Thus, moving away from this terrestrial centrism towards a maritime perspective becomes an essential and unavoidable question. This urgency is especially evident in the critical re-evaluation of modernity within Asia. When we begin to consider Asia as a method, how can we conceptualize an Asia that is not defined in relation to Europe but rather emerges from a complex network of relationships? How can we explore Asia’s internal logic, dismantling the boundaries of nation-states and ethnic divisions, and move towards the interactivity of maritime regional networks, thereby uncovering its inherent historical dynamics? How can the ocean’s indications of the unknown, the undifferentiated, and the formless state of flux, as well as its cycles and transformations, constitute a unique media theory?
This essay begins by examining the recent phenomenon of “ Water Heritage Fever “ in Taiwanese contemporary art exhibitions. It explores Taiwan’s reevaluation of its island characteristics, including coastal ports, ocean currents, tides, trade, immigration, species, and ecosystems. The aim is to challenge the entrenched continental perspective and shift towards a maritime perspective characterized by interaction and fluidity. The discussion then moves to the 2023 Gwangju Biennale in Korea, specifically the “Soft and Weak Like Water” exhibition, which emphasizes the “soft” and “flexible” perspectives of Asia through the concept of water. Additionally, the Jeonnam Museum of Art’s exhibition “Alternative Sea for Asia,” located near the South Sea, aims to dismantle the divisive roles that the sea plays within geographical, political, and ideological frameworks, reconsidering how to construct a space that transcends temporal and spatial limitations. Finally, the paper concludes with an analysis of Taiwanese artist Yin Zi-Jie’s work “The Sailor Man,” which engages in a conversation with the cartoon “Popeye the Sailor Man.” The work explores how cross-ocean plundering actions can be transformed into ethical acts of giving. Through the storage and transfer of energy within the artwork and the shifting meanings in its interpretation, the sea, in its multiple media transformations, not only dissolves historical and political boundaries but also creates a dynamic space of potential and uncertainty.
This essay begins by examining the recent phenomenon of “ Water Heritage Fever “ in Taiwanese contemporary art exhibitions. It explores Taiwan’s reevaluation of its island characteristics, including coastal ports, ocean currents, tides, trade, immigration, species, and ecosystems. The aim is to challenge the entrenched continental perspective and shift towards a maritime perspective characterized by interaction and fluidity. The discussion then moves to the 2023 Gwangju Biennale in Korea, specifically the “Soft and Weak Like Water” exhibition, which emphasizes the “soft” and “flexible” perspectives of Asia through the concept of water. Additionally, the Jeonnam Museum of Art’s exhibition “Alternative Sea for Asia,” located near the South Sea, aims to dismantle the divisive roles that the sea plays within geographical, political, and ideological frameworks, reconsidering how to construct a space that transcends temporal and spatial limitations. Finally, the paper concludes with an analysis of Taiwanese artist Yin Zi-Jie’s work “The Sailor Man,” which engages in a conversation with the cartoon “Popeye the Sailor Man.” The work explores how cross-ocean plundering actions can be transformed into ethical acts of giving. Through the storage and transfer of energy within the artwork and the shifting meanings in its interpretation, the sea, in its multiple media transformations, not only dissolves historical and political boundaries but also creates a dynamic space of potential and uncertainty.
목차
Ⅰ. 머리말: ‘육지’에 대해 ‘바다’는 무엇을 의미하는가?
Ⅱ. 워터 헤리티지 열풍: 근원을 생각하는 운동
Ⅲ. 바다에 기생:
Ⅳ. 바다의 회복력: <남해>는 현장이 부재한 야외 행동
Ⅴ. 바다의 윤리: 우의를 나눈 공동체 <바다 위의 소풍
Ⅵ. 바다의 운동성: <세일러 맨>의 능력 이전과 증여
Ⅶ. 맺음말: 함께하는 아시아, 물이 되자, 친구여
참고문헌
ABSTRACT
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