1980년대 한국화의 상황과 갈등

이민수(李旼修) 한국미술연구소 2014 美術史論壇 Vol.- No.39

Interests in `ours` such as `tradition`, `reality` and `Korean(韓國)` are increased when there is a situation stimulating them, in other words, when external influence is appeared or the condition is given. `Korean painting(韓國畵)` should be also grasped. In the mid-1950s, Cheongkang Kim, Young-ki(晴江 金永基, 1911~2003) advocated `national painting(國畵)` and `new Korean painting(新韓國畵)` when our traditional painting circles were about to advance to international stage. And then, Korean artistic circles in the 1970s after the 1960s encountered regular situation of contemporary art, globalization of art and development of artistic market. So, developmental aspect of Korean painting in the 1980s shows a series of responses from interests in `ours` to our `reality`, furthermore, `contemporaneity`. Active experiences and seeking including `ink wash painting movement` in Korean painting area of the 1980s were very noticeable and there were lots of discussions about them. But, it means that external conditions and situations were more deepened. Actually, representative modifiers attached to Korean painting of the 1980s were `depression`, `problems` and `prospect` and it`s supported by the fact interests of people and artistic circles in Korean painting were rapidly reduced from 1986. Finally, Korean painting was thoroughly excluded in Olympiad of art and Korean contemporary art exhibition which were planned as a part of 1988 Seoul Olympics cultural event, so `alienation of Korean painting` was visualized. This thesis intended to go back to the 1980s when fierce discussions about Korean painting were displayed and consider the aspects so as to diagnose the process of `alienation of Korean painting`. It can be an essential process to continue following discussions in connection with current situation of Korean painting.

1980년대 한국의 ‘여성주의’ 미술

김현주(Kim Hyeon-joo) 현대미술사학회 2008 현대미술사연구 Vol.23 No.-

The history of feminist arts in Korea has now exceeded twenty years. Writing the history of feminism implies cultural discussions as well as activist movements for women’s rights. So is the case of writing the history of feminist art. Most Korean art historians wrote that the feminist art of 1980s was led by the female activist artists engaged with Minjung art, and from the early 1990s, it was substituted by cultural inclinations. Considering that art practices in feminism had begun around the mid eighties, 1980s was a relatively short period in the history of feminist art in Korea. It is the 1980s, however, where we could notice strong resistance and dynamism in the process of adopting the completely new art practices and discourses. Those were the years in which not only old and new terms such as ‘y?ryu misul(여류미술)’ ‘women’s art’ and ‘feminist art’ were vaguely used, but also activist and cultural movements in feminism were confronting and compromising. Most of the studies on art in the 1980s concentrate on ‘Women’s Art’ which were prominent at the time. Refusing to be called as y?ryu(여류) or feminists, the term was designated by the female artists who took part in the activist movement in liberating working class women. As a result, alternative art practice in feminism, whose agendas cover gender differences, femininities, and female sensibilities in mind, was hardly visible. This paper explores alternative feminist art practices in the 1980s which are different from Women’s Art. By bringing an unrevealed exhibition in 1988 「Uri botmur?l t?ja: y?sung heabang-si-wa k?rim?i eu man’nam(우리 봇물을 트자: 여성해방시와 그림의 만남)」to light, this paper proposes it was not unfolded in unilateral dominance of Women Art, as it was discussed in most previous studies. On the contrary, this study discloses that more than one voice was conflicting during the period. The exhibition was organized by “Alternative Culture”, also known as “Tomoon”, a feminist group which was founded in 1984. It was realized through one year of collaborations among four female artists, Suknam Yun, Tjinsuk Kim, Youngsook Park and Jungyop Chung and female poets of Tomoon. Main subjects of this exhibition entail the reality of women’s subjugation, the awareness of self and feminist consciousness, and the practice of women’s liberation through experienced maternity and the bond of sisterhood. These were all ‘women problems’ proposed in the feminist cultural movement during the 1980s, and the four women artists tried to interpret poems, exploring to find unique ways to visualize them. The positions that the four artists took were different from those of male artists who did not accept the differences of women and men, and from the ones of female artists who ignored the differences among women as well. Even though it failed to attract attention, the exhibition has a profound significance because it is both the earliest fruition of cultural collaborations among feminists in other fields and a proof of alternative feminist art practices. Nevertheless, this exhibition has been neglected for twenty years. This paper discusses the exhibition in scrutiny, suggesting another mapping of 1980s’ feminisms in art. In conclusion, it makes clear that the different levels of feminisms in art coexisted in the 1980s - one is the Women’s Art engaged into the women’s liberation movement in particular circumstances in Korea, and another is the feminist art intervened to cultural transformation with the awareness of gender differences.

1980년대 송수남의 한국화, 전통과 현실 사이의 표상

이민수(李旼修) 한국미술연구소 2015 美術史論壇 Vol.- No.40

In the 1980s, two tendencies which were newly emerged in Korean world of art can be ‘Korean Painting(韓國畵)’ and ‘Minjung Art’. Those two tendencies have something in common. Both of them concentrated on the concept of ‘tradition’ which has been focused since nationalism cultural policy of the Park Junghee regime started to be implemented in the 1960s. It’s surely interesting that those two parties with different interests and conditions have the cross point in the problem, ‘realistic reflection of tradition and succession’. This researcher intended to examine this problem of Song Soonam’s Korean painting of the 1980s among the Korean paintings by taking this cross point as a starting point of this research. The main body is organized as follows. First of all, this researcher examined from Song Soonam’s early work to the work of the 1970s when he worried about form and contents of Korean paintings after the first private exhibition of 1969 and the background. Especially, it was importantly considered that interests in paintings of the latter part of the Joseon Dynasty, such as Jungsun(謙齋 鄭敾) and Kim Hongdo(檀園 金弘道), were rapidly increased after the tradition cultural policy of the Park Junghee regime. Next, among the tendencies of Korean paintings appeared by effects of Jingyeong landscape paintings(眞景山水畵), Song Soonam’s series 〈Nature and City〉 in the 1980s were compared with Lee Jongsang’s series 〈Dokdo〉. Therefore, this research examined how main interests of Korean paintings at that time were related to politic·social·cultural context. Finally, this researcher intended to mention the field of Minjung Art whose tradition was interested as much as Korean painters, compare the meaning of ‘reality’ they commonly emphasize and draw the differences so as to understand Song Soonam’s Korean paintings of the 1980s more generally and ultimately, approach the substance of Korean paintings.

1980년대 민중미술 : 반(反)풍요와 반(反)개방

김현화(KIM hyun-wha) 한국미술사교육학회 2011 美術史學 Vol.- No.25

민중문화운동은 1980년 5월 광주학살사태 이후 대중적이고 예술적인 반응을 크게 불러일으켰다. 많은 미술가들은 미술을 통해 전두환 정권에 대항하고자 했다. 민중미술은 민중의 사회적 문화적 운동으로부터 유래되었으며, 또한 사회주의 미술의 미학적 원칙에 기본을 두었다. 김정헌, 김경인, 손장섭, 주재환 등과 몇몇의 비평가들은 전두환이 정권을 장악하는 시점인 1979년 12월에 그룹 ‘현실과 발언’을 창립했다. 김봉준은 1982년부터 ‘두렁’ 그룹을 이끌고, 이종구는 뜻을 같이하는 동인들과 함께 1982년에 ‘임술년’을 창립했다. 임옥상, 노원희 등도 1980년에 ‘현실과 발언’에 가입한다. 우리는 이것들을 ‘민중미술’이라 부른다. 민중미술은 사회적 소통과 정치적 참여를 추구하는 리얼리즘에서 출발하였다. 1980년대 모더니즘 미술의 대유행 속에 있었던 민중미술가들은 구상화로서 출발하였으며 추상미술을 거부하였다. 민중미술은 한국 전통예술과 모더니즘과의 관계를 통해 정체성이 확립되었다. 민중미술가들은 기본적으로 구상적인 이미지를 추구하였지만 하이퍼리얼리즘이나 전통적인 구상미술과 같은 것을 추구하지는 않았다. 민중미술은 사회적 현실에 근본을 둔 것이다. 혼란과 격변의 시기인 1980년대 10년 동안, 한국 경제는 다국적 자본주의와 후기 산업사회로 접어들게 된다. 민중미술은 노동자와 농민들로 대변되는 민중들이 정치적 투쟁의 주체임을 분명히 하였다. 민중미술가들은 정부에 빈부격차를 좁히고 모두가 평등하게 사는 더 나은 사회를 만들 것을 촉구했지만 산업화, 현대화, 도시화를 거부하였다. 민중미술가들은 경제개발을 위해 외세와 협력하는 것을 거부하고 순혈주의와 자연을 보존하는 것이 민족생존의 길이라고 생각했다. 민중미술가들은 외세에 굴복하지 않고 민족적 정체성을 지키고자 했다. 민중미술은 막스-레닌주의 관점에 기본을 둔 사회주의 미술이지만 사회현실의 혁명을 위한 것이 아니라 민중을 행복하게 만들고자 사회를 개혁시키기 위한 이상적인 미술이라 할 수 있다. 민중미술가들은 노동자와 농민이 지식인계층을 지배하는 유토피아를 실현하고자 했다. 조르주 바타이유는 노동은 무엇보다 인간 존재의 근본임을 주장하였다. 바타이유처럼 민중미술가들은 역사의 처음부터 끝까지 첫 번째는 노동와 노동자임을 강조한다. 민중미술에 있어 유토피아는 노동자들을 위한 세계이다. 민중미술은 무엇보다 순수미술이다. 1980년대의 사회 시스템과 민중미술과의 관계는 후에 한국현대미술의 방향을 결정짓는 중요한 요소가 되었다. Minjung cultural movement has called forth the popular and artistic response after the Gwangju Massacre in May of 1980. ‘Minjung Art’ was originated from the social and cultural movement of Minjung(the populace), and was founded upon the aesthetic principles of Socialist Art. A lot of artists were inspired to line up against the military government by Chun Doo-hwan. Some painters, such as Kim Jung-heun, Kim Kyong-in, Son Jang-sup, Joo Jae-hwan, Oh Yoon, etc., and several art critics organized the Group 〈Hyun-sil and Bal-un〉 in December of 1979 when the General Chun Doo-hwan seized power in a military coup. Kim Pong-jun led the 〈Du-rong〉 Group since 1982; Lee Jong-gu launched the Group 〈Im Sul lun〉 in 1982; the famous painters, such as Im Ok-Sang and Nho Won-hee, etc., became the members in the Group 〈Hyun-sil and Bal-un〉 in 1980. It is called ‘Minjung Art’. Minjung Art started out at the Realism that agonized over social communication and political participation. Minjung Artists who were in jungles of Modernism Art in 1980s started creating the figurative painting and represented the defiance against Abstract Art. Minjung Art has arisen from the relationship between the Korean Traditional Art and Modernism. Minjung Artists used figurative images as a reference source, but unlike Hyperrealism, or Figurative Art in the tradition. Minjung Art is based upon Realism Art in the conte×t of intending to communicate with society. During the decade of the 1980s, termed as a period of confusions and Upheavals, Korean economy rapidly shifted to a multinational capitalism and to a post-industrial society. Minjung Art tried to show that the populace is the main body of political struggle through the reappearance of idealized laborers and famers. Minjung Artists has been urging the government to make Korea a better country for every one, narrowing the gap between the rich and the poor. However we are mortified to find the Minjung Art blaming the industrialization, modernization and citification. Minjung Artists refused to negotiate with foreign power for the economic development, prefering instead to preserve the nature, the pure blood. Minjung Artists intended to show that our people shared a national characteristic of not succumbing to oppression. Minjung Art has its roots in Mar×ism. Minjung Art is the Socialist Art, based on the Mar×-Leninistic view, for not an revolution of social reality but an ideological art seeking for the reforms of the society to make happiness for Minjung. Minjung Artists is looking for a Utopia that the laborers, Farmers would dominate the intelligentsia. Georges Bataille insiste that Work, beyond all doubt, is the foundation of the human being as such. Minjung Artists maintain that From one end of history to the other, the first place belong to Work and workers. In Minjung Art, the Utopia means the World for workers. Minjugn Art, is above all else, the Fine Art. The relationship between the systems of society and Minjung Art in the 1980s became the essential factor in determining the direction of Korean Modern Art afterwards.

텍스트와 실천 사이에서

양은희(Yang, Eun-hee) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.27 No.-

Feminist ideas were introduced into Korean art in the 1980s via small-scale exhibitions by women artists who became aware of women"s social position out of their leftist democratization movement. Such exhibitions as "From a Half to One" (1986) and "Women and Reality" (1987) triggered the issues of "women"s art" and "feminist art" which began to be widely circulated in art magazines and journals in the early 1990s. Yet, the circulation dwindled and was eventually reduced to women with feminist convictions. This paper examines the reception and development of feminism in Korean art based upon the analysis of texts produced after 1980s, and envisions the future of the discourse in Korean art based upon the interviews that I carried out targeting female art professionals including curators and critics. I begin by tracing how the term "feminist art" and its related concepts settled in the critical vocabularies at the time that postmodernism gained popularity among Korean intellectuals, and how critics and art historians approached the feminist agendas in their practices including academic writings and exhibitions. I continue by introducing the result of the interviews that I conducted of twelve female professionals active in the art and the academia: the critical diagnoses on the feminist legacies of the 1990s and the reluctant and cynical responses on feminism among the younger generation of women intellectuals as well as the sporadic yet eager attempts to maintain feminist ideas in publications. Finally, I conclude by reiterating and highlighting the need for feminist criticism in spite of these sporadic attempts to maintain its public relevance while the patriarchal mechanism remains entrenched.

1980년대 소그룹 난지도와 메타복스의 설치미술: 표현매체로서의 물성, 그리고 현실과 전통

이윤수 한국근현대미술사학회(구 한국근대미술사학회) 2023 한국근현대미술사학 Vol.46 No.-

This paper aims to focus specifically on restoring the installation works of Nanjido and Meta-Vox, two small art groups in the 1980s that have only been discussed as an example of post-modernism and as a background for Korean contemporary art since the 1990s. It also aims to examine their characteristics and aspects. In particular, it reconsiders their works by raising questions about their limitations as pointed out by literature, such as “following the search for materiality as before” and “expanding only the formal level.” Their installation art originated from a desire to challenge the rigidity of the Korean art scene, which was divided into Dansaekhwa and Minjung Art. While their works are relevant to the influence of neo-expressionism, an international trend at that time, they also have a distinctive characteristic that sets them apart from overseas art: their method of using the materiality of everyday objects as the main means of expression. This characteristic stems from appropriating the materiality that was a main characteristic of Korean art in the 1970s. Moreover, in terms of content, the works of Nanjido reflect the reality of the time, which was urbanized and industrialized, and the works of Meta-Vox explore various Korean traditions. In this way, Nanjido and Meta-Vox endeavored to overcome the rigidity of Korean art through the “appropriation of materiality” and “reflection of reality and tradition,” in contrast to previous evaluations by literature. Their works were essential in the context of the Korean art scene at the time, demonstrating their attempts to explore new art and transform Korean art from within the inner context, not just through the imitation of overseas art. 본 연구는 그동안 한국 포스트모더니즘의 사례 그리고 1990년대 이후 동시대 미술의 배경으로서만 다루어진 1980년대 미술 소그룹 ‘난지도’와 ‘메타복스’의 설치미술을 구체적으로 복원하고 그 특징과 양상을 고찰하는 것을 목적으로 한다. 특히 그동안 그들의 한계로 지적되었던 기성세대의 특징인 물성 탐구의 답습 그리고 형식적 층위만의 확장이라는 평가에 의문을 제기하고, 두 소그룹의 설치미술에 대해 재고하고자 한다. 일상 사물의 물성을 표현의 주요 수단으로 삼은 그들의 설치미술은 단색조 회화와 민중미술로 양분된 한국미술계의 경직성에 대한 반감 그리고 자유로운 미술 표현의 갈구로부터 시작되었다. 이들의 미술은 당시 국제적 조류였던 신표현주의의 영향과 무관하지 않지만, 그 해외미술과 차별되는 지점이 존재한다. 그것은 물성을 표현의 수단으로 삼았다는 것이다. 이와 같은 특징은 난지도와 메타복스의 작가들이 1970년대 한국미술의 특징인 물성을 전용함으로써 만들어진 것이었다. 그리고 내용적인 면에서, 난지도는 도시화·산업화된 당대 현실을 반영하였고, 메타복스는 다양한 전통을 탐색하고 적용하는 특징을 보였다. 이처럼 난지도와 메타복스는 기존의 평가와는 달리 ‘물성의 전용’과 ‘현실의 반영과 전통의 적용’을 통해 한국 현대미술의 경직성을 타계하려 하였다. 이는 당시 한국미술계의 맥락에서 발생할 수밖에 없었던 것으로, 단순한 해외 미술의 도입을 통해서가 아닌 내적 흐름 안에서 새로운 미술을 탐색하고 한국 현대미술을 전환하고자 했던 그들의 시도를 보여준다.

1980년대 한국 현대도예 작품연구

이인진(Lee, in - chin),김진아(Kim, jin - ah) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.4

In 1980s, progressive, experimental, and creative ceramic art rapidly grew up owing to the development of technology and the increase of ceramic art population. Therefore, this paper purported to examine the inside of the modern ceramic art, differently from the existing efforts of having described only the external circumstances of the modern ceramic art, and further, it attempted to prepare systematic theoretical foundations for the modern ceramic art. The subject of this study is the works that were made and released through private exhibitions in 1980s, and craftsmen’s works, which reproduced Goryeo celadon porcelains, white porcelains, and grayish-blue-powdered porcelains, were excluded from the subject of this study. experts’interpretations of the works, it tried to infer the tendency of the works of the modern ceramic art in that period. Therefore, this paper examined Korean modern ceramic art in 1980s in three parts. That is, in the first chapter, it simply examined the circumstances of Korean modern art and ceramic art in that period, and in the second chapter, it examined the characteristics of Korean modern ceramic art in 1980s, together with the tendency of the works. In the last chapter, it studied more in detail about the characteristics and the meanings in the works in that period

1980년대 창작민화와 채색화 운동

오슬기(Oh, Sul-kee) 한국민화학회 2022 한국민화 Vol.- No.17

1980년대 한국화단에서는 1970년대 단색화에 대한 저항과 민중미술의 부흥, 그리고 서양에서 유입된 사조와 다른 우리만의 고유한 정체성을 찾는 과정에서 민화에 대한 관심이 고조되면서 민화 차용 경향이 확산되었고, 소장파 작가들 중심으로 시작된 채색화운동이 저변을 확대하면서 채색화 인구가 크게 증가했다. 같은 시간, 현대민화 작가들은 이전에 공방 중심으로 국내외 수요의 재현민화를 대량으로 생산하던 체제를 벗어나 작가로 변모하면서 창작민화를 선보이기 시작했다. 그들은 단체를 조직하고, 전시를 개최했다. 특히 나정태, 이규완, 정하정 3인의 《민화, 오늘의 시각과 방법》전은 당시 화단에서 유행하던 3인전의 형태이자 시리즈 전시로 추상표현주의나 콜라주와 같이 전통민화에서 차별화된 현대적 방법론을 적극적으로 도입해 작품에 녹여내면서 한국화단의 민화에 대한 편견을 깨는 계기를 마련했다. 또한 채색화운동을 이끌던 최병식이 《민화와 채묵》전을 기획하면서 채색화운동에 참여하던, 제도권 교육을 받은 젊은 작가들이 현대민화 작가들과 함께 전시에 합류해 영향을 주고받는 장이 마련되었다. 이 전시는 현대민화 작가들이 도제식 교육과 재현민화의 모사 작업에 대한 당시 화단의 평가절하를 딛고 일어서 이후 미술 전공 작가들과 다양한 단체전을 개최하거나 개인전을 열면서 창작민화를 발전시키는 시발점이 되었다. 현대민화 작가들이 1980년대에 다양한 방법론을 적극적으로 받아들이면서 그간의 모사 작업을 넘어 새로운 시도를 작품에 투영시키고자 노력했다는 사실은 미술사에서 몇 가지 중요한 의미를 가진다. 우선 1980년대는 단지 현대에 그려진 작품이 아닌, 현대만의 특성, 즉 현대성을 담아야 한다는 엄격한 의미에서의 ‘현대민화’가 본격적으로 시작된 시점으로 인식 되어야 한다. 또한 그들의 활동은 당시 한국화단을 아울렀던 채색화 확산과 궤를 같이 하며 1990년대 민화 차용 유행에 영향을 미쳤다. 따라서 1980년대 채색화운동 이면에는 현대민화 작가들의 창작민화가 존재했고, 그들의 활동이 1990년대 화단에서 폭발적으로 증가된 민화 차용의 기반을 형성했다고 평가할 수 있겠다. 이를 통해 자칫 민중미술이나 형상주의로 지나치게 간소하게 요약되는 1980년대 한국미술의 다양성과 역동성을 입체적으로 이해하는 토대가 마련되기를 바란다. In the 1980s, with the resistance to Monochrome Painting of 1970s, the revival of Minjung Art, and the increased interest in Minhwa in the process of finding our own identity different from art introduced from the West, the Korean painting industry showed increase in using Minhwa in artworks, and the colored painting population grew significantly as the Colored Painting Movement, which started with young artists, expanded its base. At the same time, modern Minhwa painters began to introduce Creative Minhwa as they were transformed into artists from artisans with the system of mass production centered on workshops to meet the domestic and foreign demand. They organized groups and held exhibitions. In particular, Na Jung-tae, Lee Kyu-wan, and Chung Ha-jung’s ‘Minhwa, The Modern Viewpoints & Methods’ exhibition, a series exhibition presented in then-popular form of three-person exhibition, provided an opportunity to break prejudice against Minhwa, actively introducing modern methodologies differentiated from traditional Minhwa such as abstract expressionism and collage. Also, ‘Minhwa and Chaemuk’ exhibition, where young art majored artists who were also members of the Colored Painting Movement participated together with Minhwa artists, was directed by Choi Byung-sik, one of the leaders of the Colored Painting Movement, providing a place for them to interact with each other. The exhibition was the starting point for modern Minhwa artists to develop Creative Minhwa by holding various group exhibitions with art majored artists or solo exhibitions, overcoming the devaluation of Replicated Minhwa in the painting industry at that time. The fact that modern Minhwa artists actively accepted various methodologies in the 1980s and tried to project new attempts beyond the replicated work has several important implications in the Korean art history. First of all, the 1980s should be recognized as the time when Modern Minhwa in the strict sense of containing modernity, rather than works painted in modern times, began in earnest. In addition, their activities were in line with the spread of colored paintings at that time, influencing the trend of utilizing Minhwa in artworks in the 1990s. Therefore, behind the Colored Painting Movement in the 1980s was Creative Minhwa by modern Minhwa artists, and their activities formed the basis for explosive trend of using Minhwa in artworks in the 1990s. Through this, it is hoped that this will lay the foundation for a deeper understanding of the diversity and dynamics of Korean art in the 1980s, which tends to be simply summarized as Minjug Art and Figurative art.

한국 페미니즘 미술의 역사, 담론의 재구성 : 1980년대 ‘여성미술’과 1990년대 ‘포스트모던 페미니즘 미술’

조혜옥(趙惠玉) 한국미술연구소 2020 美術史論壇 Vol.- No.51

This study focuses on the period when Korean feminist art and criticism, which had begun in close relationship with Minjung misul in the mid-1980s, encountered postmodernist discourses in the 1990s. The trend of New Art History and cultural studies persuaded art historians and critics to participate in the discourse of Korean feminist art. However, what emerged was a history based on binary opposition that constructed a generational framework for feminist art. An ideologically driven political movement of ‘Yeoseong misul (Women’s Art)’ in the 1980s was set against an ideologically free and formally experimental ‘postmodern feminist art’ in the 1990s. To challenge this historiography composed of conflict and linear development, the essay first analyzes two exhibitions of Yeoseong misul: “Let’s Open the Floodgate” (1988) and “Women and Reality” (1987-1994). Feminist art in the 1990s developed alongside exhibitions, in which Kim Honghee played a critical role as a curator. Also, Kim wrote the first history of Korean feminist art within the generational framework, from which most other writers take their cue. However, the teleological historiography dividing generations and emphasizing development needs to be reexamined. This paper investigates Kim’s “Woman, the Difference and the Power” (1994) and “Patjis on Parade” (1999) in this context. On the other hand, the practice of feminist artists who participated in the cultural research group Hyunsilmunhwayeongu in the 1990s, along with “Let’s Open the Floodgate” and “Women and Reality” in the 1980s, reveals the two generations were neither clearly divided nor in conflict. But rather, the feminist artists gathered and scattered to meet the demands of each time and society, resisting dominant ideology. This study, by dismantling the generational framework, attempts to propose the possibility of an art history that articulates difference without becoming the subject of rigid categorization or a totalizing thought system.

한국 근현대 미술에서의 민족주의와 코스모폴리타니즘: 글로벌 미술의 단초 찾기

양은희 명지대학교(서울캠퍼스) 인문과학연구소 2015 인문과학연구논총 Vol.36 No.1

The Korean contemporary art scene indicates that artists are conscious ofglobalization and the transnational art systems supported by cosmopolitan artists andprofessionals in the rest of the world. Yet, the current phenomena are indebted to thelong dualistic history of nationalism vs. cosmopolitanism since the colonial period whenthe concept of modern art was imported from the west and became the platform fornational identity against empirical cultural advances. It would not be an exaggeration todescribe nationalism as having determined the forms and logic of art trends since that time, while artists aspired to becoming familiar with art outside Korea. This paper examines the presence of the globalization process in Korean art or theimplementation of the so called ‘global art’ in the consciousness of artists in Korea. Moving away from the binary structures of nationalism and cosmopolitanism, I focusinstead on the dynamics of the two attitudes located in the texts and practices since the1920s. Close scrutiny reveals that while most of the discourses on Korean art dwelled inthe vicinity of nationalism as if it occupies the core of artistic identity, they alsoacknowledged art as an independent arena or common resource for bonding with theworld outside Korea. This paper traces such paths as discourses on ‘local color’ before1945, Dansaekhwa movement of the 1970s, and Minjung Misul of the 1980s, andemphasizes the ‘cosmopolitanization’ of Korean art and art systems throughout theperiods which eventually enabled the embrace of globalism through the newlyestablished museums and biennials in the 1990s.