1980년대 퐁피두센터 기획 전시와 패권주의

조광석 현대미술학회 2007 현대미술학 논문집 Vol.1 No.11

In the mid-1980s, postmodernism is a complicated term that has not only emerged as an area of academic study but also including art, architecture, music, film, literature, sociology. It is a concept that appears in a German and Franch academie study. At that time in France, the national government takes a leading role in supporting the arts as a system of cultural depending on the scale and complexity of projects. Centre George Pompidou 'le Musée national d'Art Moderne(MNAM)' exhibited often emerging ideas and developments in recent art production, to reflect the diversity of contemporary artistic practice. In 1987, at MNAM, exhibited <L'époque le mode la morale la passion, Aspects de l'art aujourd'hui, 1977-1987)> with direction Bernard Blistène, Catherine David and Alfred Pacquement. In 1989, curator Jean-Hubert Martin set out to create a show that was opposed manners and customs of the people's practices <Les Magiciens de la terre> within the contemporary art world as a replacement for the format of the traditional Paris Biennial. This two exhibition are, like postmodernism, follows most of these same ideas, rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions. <L'époque le mode la morale la passion>, the exhibition includes some of the finest modern European masterpieces like Pattern Painting, Peinture-graffiti, Bad-painting, Trans-avant-garde, Figuration Libre, Neo- expressionnisme. And Some of photographers Gibert & George, Jeff Well, Cindy Sherman, Video artists also some of artist of installation. The central importance of the subjective point of view when experiencing this exhibition, points toward a regard for traditional modernism. <Magiciens de la Terre>, the Primitivism is only a fine art of native cultures as it fell into a similar Modernist trap of providing. An art of Primitivism stated that it was only interested in displaying tribal works that influenced Modern artists and studying how this phenomenon functioned within the Modernist discourse. Many of the non-western works selected were second-rate artists in style and content of artistic movements that originated in the West. It was felt that these exhibitions were exemplary of the diversity of human cultures, and their work only strengthened French hegemony.

1980년대 퐁피두센터 기획 전시와 패권주의

조광석(Jo Kwang-Suk) 현대미술학회 2007 현대미술학 논문집 Vol.11 No.-

In the mid-1980s, postmodernism is a complicated term that has not only emerged as an area of academic study but also including art, architecture, music, film, literature, sociology. It is a concept that appears in a German and Franch academie study. At that time in France, the national government takes a leading role in supporting the arts as a system of cultural depending on the scale and complexity of projects. Centre George Pompidou 'le Mus?e national d'Art Moderne(MNAM)' exhibited often emerging ideas and developments in recent art production, to reflect the diversity of contemporary artistic practice. In 1987, at MNAM, exhibited 〈L'?poque le mode la morale la passion, Aspects de l'art aujourd'hui, 1977-1987)〉 with direction Bernard Blist?ne, Catherine David and Alfred Pacquement. In 1989, curator Jean-Hubert Martin set out to create a show that was opposed manners and customs of the people's practices 〈Les Magiciens de la terre〉 within the contemporary art world as a replacement for the format of the traditional Paris Biennial. This two exhibition are, like postmodernism, follows most of these same ideas, rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions. 〈L'?poque le mode la morale la passion〉, the exhibition includes some of the finest modern European masterpieces like Pattern Painting, Peinture-graffiti, Bad-painting, Trans-avant-garde, Figuration Libre, Neoexpressionnisme. And Some of photographers Gibert & George, Jeff Well, Cindy Sherman, Video artists also some of artist of installation. The central importance of the subjective point of view when experiencing this exhibition, points toward a regard for traditional modernism. 〈Magiciens de la Terre〉, the Primitivism is only a fine art of native cultures as it fell into a similar Modernist trap of providing. An art of Primitivism stated that it was only interested in displaying tribal works that influenced Modern artists and studying how this phenomenon functioned within the Modernist discourse. Many of the non-western works selected were second-rate artists in style and content of artistic movements that originated in the West. It was felt that these exhibitions were exemplary of the diversity of human cultures, and their work only strengthened French hegemony.

복합문화공간 전시 관람 활성화 연구 - 유럽 복합문화공간의 사례를 중심으로 -

조정란,정금희 유럽문화예술학회 2021 유럽문화예술학논집 Vol.12 No.2

산업화 이후 과학기술의 발달이 가져온 다원화된 사회 현상은 문화예술계에도 많은 변화를 가져왔 다. 문화예술 향유 욕구의 확산과 더불어 발전해 온 복합문화공간은 공연, 전시, 교육, 회의 등이 한 곳에서 진행되어 사람들의 다양한 욕구를 충족시키는 역할을 수행하고 있다. 우리보다 선진 문화예 술을 자랑하는 유럽의 대형 복합문화공간의 전시 현황을 살펴보고 이에 대한 시사점을 통해 나날이 늘어나고 있는 복합문화공간 전시에 대한 방향을 살펴보는 것은 장르의 통합을 특징으로 하는 현대문 화의 발전방향을 위해서도 의미 있는 일이 될 것이다. 이 연구는 유럽의 복합문화공간 중 파리의 퐁피두센터와 런던의 바비칸센터의 전시 사례를 중심으 로 하여 전시 관람을 통한 복합문화공간 활성화 방안을 모색하기 위해 진행되었다. 유럽 최대 규모의 소장품을 자랑하는 퐁피두센터의 대규모 기획 초대 전시와 바비칸센터의 적극적인 작가 지원 등은 예술의 전당이나 국립아시아문화전당과 같은 국제적 규모의 국내 복합문화공간의 전시 운영에도 많은 시사점을 주고 있다. With the development of science and technology after industrialization, the diversified social phenomenon has brought many changes to the cultural and artistic world. In addition to the spread of the desire to enjoy culture and arts, attempts were made to enjoy various contents in one place. The cultural complex is played in one place, with performances, exhibitions, education, and conferences serving various needs of people. Although research on the contents of cultural complex should be conducted more diverse than a single professional institution that only shows one content, not much research has been done so far. It would be meaningful for the development of modern culture, which characterizes the integration of genres, to look at the current status of large cultural spaces in Europe, which boast advanced cultural arts. With the aim of promoting revisit of cultural complex, this paper focuses on exhibitions of the Pompidou Center in Paris and the Barbican Center in London among European cultural complexes, The large scale exhibition of the Pompidou Center, which boasts Europe's largest collection, and the active support for artists of the Barbican Center, which transcends countries and genres, have many implications for revitalizing the international cultural complex. However, it is difficult to apply their exhibition cases to most cultural complexes in Korea, which are operated on a small budget. As a result, if the benefits of cultural complex are utilized to the fullest by operating exhibition-linked programs using various facilities, exhibition will be the best content for revitalizing cultural complex.

경영자립의 관점에서 본 미술관의 공공성 확보를 위한 대안 모색: 영국과 프랑스의 미술관 법인화를 중심으로

안필연 유럽문화예술학회 2018 유럽문화예술학논집 Vol.9 No.1

Seeking any kind of independence in art museum management is generally thought to damage publicness. Since publicness is regarded as the value that comprises the base of an art museum’s existence, financial independence as a big part of management independence is placed on the back burner in art museum administration. That being said, the publicness required of art museums in the 21st century is obviously different from that of the past. Thus, the matter of compatibility between publicness and management independence is no longer a matter of choice. We have to become aware of a rapid change in the ecosystem pertaining to a problem in order to approach it. The concept of publicness, an inviolable value of an art museum, is changing more than anything else. As demand by those who enjoy culture and art is diversified, art museums have become unsatisfied with its conventional roles of preservation, research, and education. The conflict between publicness and management independence is increasing as a gradual reduction of public funds works as a factor to stimulate management independence in art museums. England and France have sought after management independence and publicness through the conversion of national and public art museums into corporations. Both nations have run art museums in the form of corporations with autonomy even though a distinction exists in terms of concrete methods. They guarantee the autonomy and independence of art museums through a strategy of incorporation as the solution to tackling the two contrasting assignments of publicness and management independence. It is important to establish a model for national and public art museums’ management independence that is intrinsic, innovative, and functional. It is time to make a more forward-looking endeavor to overcome hardships through alternatives for management independence and understand urgency in reality such as the reduction of public funds. For this to be successful, it is necessary that a variety of subjects both inside and outside the world of art engage in a process of discussion and exploration and communicate with one another. 일반적으로 미술관에 있어서 경영자립은 공공성을 훼손하는 것으로 여겨진다, 공공성은 설립주체와 상관없이 미술관의 존립근거가 되는 가치이기에, 경영자립의 큰 부분을 차지하는 재정자립은 미술관 행정의 우선순위에서 멀어지게 되었다. 그러나 21세기의 미술관에게 요구되는 공공성은 과거의것과는 분명하게 다른 성격의 것으로, 공공성과 경영자립의 양립문제는 더는 선택의 문제가 아니게되었다. 문제에 접근하기 위해서는 이를 둘러싼 생태계의 급격한 변화를 인식해야 한다. 우선 미술관의침범할 수 없는 가치인 공공성 개념이 변하고 있다. 문화와 예술에 대한 문화향유자의 요구가 다양화되면서, 미술관도 보존과 연구, 교육 등의 전통적인 역할에 머물 수 없게 되었다. 이에 더해 점진적인 공적 자금의 축소가 국공립미술관의 경영자립을 재촉하는 요인으로 작용하면서, 공공성과 경영자립 간의 갈등은 더욱 심화되는 추세다. 이에 대응하기 위해 영국과 프랑스는 이미 국립미술관의 법인 전환을 통해 경영자립과 공공성을 도모해 왔다. 구체적인 방법에는 차이가 있지만, 양국은 미술관에 자율성을 부여하는 법인의 형태로 미술관 운영을 하고 있다. 공공성과 경영자립의 대립하는 두 과제를 관통하는 해법으로서 법인화라는 경영자립 전략을 통해 미술관의 자율성 및 독립성을 오히려 보장해나가고 있는 것이다. 중요한 것은 영국과 프랑스의 경영자립 전략을 참고하여 우리만의 고유하고 혁신적인 동시에 기능적인 국공립 미술관의 경영자립 모델을 구축하는 것이다. 이를 위해서는 공공지원금의 축소라는 추세적 현실의 급박함을 인식하고, 경영자립의 대안을 통해 난관을 헤쳐 나가는 보다 전향적인 시도가 필요할 때다. 이를 위해서는 논의와 모색의 과정에 예술계 안팎의 다양한 주체들의 참여와 소통이 전제되어야 한다