20세기 모더니즘 다시읽기- 베를린 올림픽(1936)과 미술전시<조선미술전람회| 퇴폐미술전>을 중심으로 -

김승호,하형주 동아대학교 석당학술원 2022 石堂論叢 Vol.- No.84

20세기 전반기 모더니즘시기에 일본의 식민주의와 독일의 나치주의는 미술과 체육을 정치적인 도구로 활용한다. “1936 베를린 올림픽”은 나치정권의 문화정책을 구현한 것이자 식민지시대 조선의 현실을 국제적으로 선언한 체육행사다. 반면에 <퇴폐미술전>과 <조선미술전람회>는 식민주의와 인종우월주의를 구현한 프로파간다전시다. 이 두 전시가 하나는 조선의 근대화라는 명목아래 추진된 관전이자 여전히 미해결된 과거사의 문제로 남아있고, 다른 하나는 모더니즘의 기수로 평가받던 전전의 아방가르드예술가들과 그들이 혁신적이자 실험적으로 고안한 결과물들을 퇴폐로 낙인찍은 미술전시이다. 이 연구는 “20세기 전반기 모더니즘”의 프로젝트로서 베를린 올림픽(1936)과 미술전시(<조선미술전람회>|<퇴폐미술전>)을 다시 들여다본다. 1930년대 나치정권의 선전도구였던 <퇴폐미술전시>와 내선일체를 위한 선전도구였던 <조선미술전람회>는 모더니즘 미술에 인종주의와 식민주의를 부각시켰고, 종족우월주의를 위한 도구로 체계적이자 조직적으로 기획된 “1936 나치 올림픽”은 인류의 제전이자 평화를 추구한 모더니즘올림픽 역사에 오점으로 기록된다. 1936년 베를린 올림픽의 마라톤에서 금메달을 수상한 손기정을 둘러싼 이야기가 1992년 바르셀로나 올림픽의 마라톤경기에서 황영조가 우승하면서 과거의 기억과 더불어 식민지시대가 회자된다. 미술전시의 경우 조선총독부가 주관한 조선미술전람회가 최근에 들어와 탐구의 대상이 되는 반면에, 불편한 기억 속에 은닉되었던 <퇴폐미술전>에 대한 비판이 68세대로부터 수면위로 부상한다. 1936년 베를린 올림픽과 미술전시(“선전”/“퇴폐미술전”)은 20세기 모더니즘의 프로젝트를 사회(집단)학과 심리(개인)학적 투사(projection)를 요구한다. 모더니즘의 프로젝트로서 올림픽과 미술전시는 부정의 변증법을 들여다보는 기제(機制)이자 미술전시(선전과 퇴폐미술전)과 기억, 올림픽(1936년 베를린)과 기억은 사회학적 성찰의 과제다. 프랑크푸르트 철학자 하버마스(Jürgen Habermas)는 모더니즘(Modernism)은 인류의 보편주의를 바탕으로 발전한 프로젝트라고 규정한다. 모더니즘에서 산출된 인류의 평화와 자율성이 정치사회적으로 활용된 것에 대해 하버마스는 ‘모던과 모던의 기획자체가 좌절된 것이 아니라 모던의 기획을 동반했던 오류들과 모던을 지양하려 했던 극단적인 기획의 잘못에서 배워야 한다.’(Kleine Politische Schriften, 1957)라고 경고한다. 모더니즘이라는 보편주의의 토대위에 예술과 체육이 자체의 고유한 의미에 따라 발전되어야 했음에도 불구하고, 정치적 이데올로기에 함몰되면서 20세기 전반기 모더니즘의 프로젝트가 미완이라고 선언한다. 20세기 전반기 모더니즘미술이 <퇴폐미술전>과 <조선미술전람회>에서 종족주의와 식민주의를 위해 조작되고 극단적으로 기획됐다. 1936년 베를린 올림픽은 식민주의를 공식화하고 종족우월주의의 도구로 활용되면서 모더니즘의 프로젝트는 올림픽과 기억 그리고 미술전시와 기억으로 해석된다. During the period of modernism in the first half of the 20th century, Japanese colonialism and German Nazism used art and sports as political tools. “1936 Berlin Olympics” is an athletic event that embodies the cultural policy of the Nazi regime and internationally declares the reality of colonial Joseon. On the other hand, <Degenerate Art Exhibition> and <Joseon Art Exhibition> are propaganda exhibitions that embody colonialism and racial supremacy. These two exhibitions, one of which is a spectatorship promoted under the name of modernization of Joseon and which still remains as an unresolved issue of the past, and the other, of the avant-garde artists of the prewar era, who were evaluated as standard bearers of modernism, and the results they devised innovatively and experimentally, are presented. It is an art exhibition branded as decadent. This thesis examines the Berlin Olympics (1936) and art exhibitions (<Joseon Art Exhibition>|<Degenerate Art Exhibition>) as a project of “Modernism in the first half of the 20th century”. The <Degenerate Art Exhibition>, a propaganda tool for the Nazi regime in the 1930s, and the <Joseon Exhibition>, a propaganda tool for the unification of Korea and Japan, highlighted racism and colonialism in modernist art and systematically and systematically promoted it as a tool for racial supremacy. The planned “1936 Berlin Olympics” will be recorded as a stain on the history of the Modernism Olympics, which pursued peace as well as a festival for mankind. The story surrounding Sohn Ki-jung, who won the gold medal in the marathon at the 1936 Berlin Olympics, and Hwang Yeong-jo, who won the marathon at the 1992 Barcelona Olympics, talk about the colonial era along with memories of the past. In the case of art exhibitions, while the Joseon Art Exhibition organized by the Japanese Government-General of Korea recently entered and became the object of inquiry, criticism of <Degenerate Art Exhibition>, which had been hidden in uncomfortable memories, surfaced from the 68th generation. The 1936 Berlin Olympics and art exhibitions demand social (group) and psychological (individual) projections of the 20th century modernist project. As a project of modernism, the Olympics and art exhibitions are a mechanism to look into the dialectic of negation, and art exhibitions (Joseon Art Exhibition and Degenerate Art Exhibition) and memory, and the Olympics (Berlin, 1936) and memory are tasks for sociological reflection. Frankfurt philosopher Jürgen Habermas defines Modernism as a project developed based on universalism of mankind. Regarding the political and social use of the peace and autonomy of mankind produced by modernism, Habermas said, 'It is not that the modern times and their planning itself were frustrated, but the errors that accompanied the modern planning and the mistakes of the extreme planning that tried to abolish the modern times. You have to learn from (Kleine Politische Schriften, 1957). According to him, despite the fact that art and physical education had to be developed according to their own unique meaning on the basis of universalism called modernism, the project of modernism in the first half of the 20th century was re-examined as a memory while declaring that it was incomplete as it was buried in political ideology. Modern art in the first half of the 20th century was manipulated and extremely planned for tribalism and colonialism in <Degenerate Art Exhibition> and <Joseon Art Exhibition>. As the 1936 Berlin Olympics formalized colonialism and was used as a tool for racial supremacy, the project of modernism is interpreted as the Olympics, memories, and art exhibitions and memories.

나치시대의 미술사와 박물관

송혜영 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-

본 논문은 나치시대의 미술사와 박물관이 어떤 성향으로 전개되고 어떤 정책을 추진해나갔는지를 다음의 세 가지 관점에서 조명한다. 즉, ‘민족’과 ‘인종’이 가장 중요한 핵심어로 등장하는 나치시대 미술사의 학문적 성향, 나치시대의 박물관이 주요 정책으로 내세운 민중교육운동의 대표적 예인《독일미술대전》과《퇴폐미술전》, 유럽의 모든 걸작을 소유하고자 했던 나치의 문화재약탈과 히틀러의 최종목표였던 ‘린츠박물관’을 고찰한다. The purpose of this study is to research which tendencies art history and museums in the Nazi period were unfolded in and which policies they promoted. Nazi ideology results in racism to advocate Aryan superiority through suggesting anti-Semitism and anti-Bolshevism. Like reflecting this fact, art history in the Nazi period represented as the key words of 'nation' and 'race' was developed in the tendency to harmonize with Nazi ideology from a viewpoints of nationalism out of the objectivity of pure study, and, mainly, concentrated on German art from the Middle Ages to the Baroque period. Therefore, A great number of scholars in art history had to leave Germany, and, as a result, the center of art history to have originated from the German area was extended to Courtauld Institute in London and American famous universities as the English area. The art in the early 20th century to position currently itself as the classic of modern art was regarded as decadent art by the Nazis, and relevant works in all museums and galleries were confiscated. Especially, the works of Die Bruecke were severely suppressed through 'decadent art' exhibition, but, on the contrary, German expressionism happened to well known to the international world of artists on this opportunity in the late 1930's. In addition, the New York painting circles positively accepted the modern art the Nazis suppressed, so to get the chance to lead postwar modernism. Even though the nazis established museums and art galleries with the justification of popular educational movements on purpose to enlighten the mass of people, they actually intended to propagate Nazi ideology as 'Great exhibition of German art' and 'decadent art' exhibition. Nazi Germany, that started a war, tried to possess the whole great works of the occupying nation, and, especially, Hitler promoted to establish Linz museum on a international scale. But, despite of Hitler's ambitious plan, leaning to German art, the large limits of Linz museum are found in the collection lists to have denied the experimental art of contemporary. After Nazi defeat, the universities and the museums in Germany had to make all efforts to recover self-regulation, and all the museums and art galleries in Europe, to return to the condition prior to a war. The Nazi period in which the ideology ruled everything left an instruction that only freedom is an absolute condition of all scholarship and arts in the end.

에밀 놀데와 독일어 접두사 ‘우어(Ur)’와의 관계

김혜련 서양미술사학회 2002 서양미술사학회논문집 Vol.17 No.-