퍼포먼스, 시간 그리고 전복 : 김구림의 영화실험 키워드

최종한(Choi, Jonghan) 한국영상제작기술학회 2021 영상기술연구 Vol.- No.37

Kim Ku Lim(born 1936), who is recently evaluated as a potential artist and pioneer in experimental art, was born in Sangju , Gyeongsangbuk-do, and has a major position in the history of con temporary Korean art as a leader in experiment al art. Having maintained the spirit of denial of existing values and customs, he has continued experimental works, including painting, engraving, sculpture, installation art, performance, earth art, video art, and mail art, and has been involved in experimental plays, experimental films, music, and dance. In 1969, Korea"s first mail art, 〈Relics of Mass Media〉, was introduced, and major 〈Meaning of 1/24 Second〉 was produced in Korean experimental film history. In addition, he was a major founding member of the Korea Avant-garde Association (AG) and carried out avant-garde art activities emphasizing concepts and processes through AG activities. The artist"s individual exhibition "YIN AND YANG" was held at the Gana Art Center. Starting with the first individual exhibition in 1958, Kim Ku Lim has been considered the most avant-garde writer in Korea. This is because he has maintained a great trend in the times when he was mainly active and in general, Korean artworks that were popular at the time, and works that have largely deviated from the mainstream. It is no exaggeration to say that artist Kim Ku Lim rather maintains the trend of overseas art and the trend of the East than Korea at that time and now. In addition, Kim Ku Lim has been working on unfamiliar and experimental films such as 〈Meaning of 1/24 Seconds〉, 〈Untitled〉, and 〈Civilization, Women and Money〉, which are considered representative works of early Korean experimental films. The above experimental film works were created without exchanges with the Korean film industry, so they serve as precious Rosetta Stone that explains the history and characteristics of early Korean experimental films. In this study, This study would like to examine the identity of Kim Ku Lim"s cinematic experiment, which shows a world of work that is clearly distinguished from other artists. I would like to analyze what the avant-garde spirit penetrates his film works and what the main subject consciousness, formal implications, and characteristics are. This is because these questions can explain Kim Ku Lim"s avant-garde and experimental spirit, and can be a keyword that can converge his experimental film world.

이승택 작품 연구: ‘비조각’ 개념을 중심으로

이인범 미술사학연구회 2017 美術史學報 Vol.- No.49

This article is an analysis of Seung-taek Lee’s art works. Lee’s early works had their roots in sculpture, but he would later explore various genres under the name of non-sculpture—ranging from drawing, modern painting, objet, performance, installation, and photo-picture. Lee has been considered one of the most representative figure for Korean experimental art, as evidenced by the numerous exhibitions and research under his name. One of the most notable exhibitions was the Seung-taek Lee Invitiational Exhibition in 1997, which attempted to highlight the 50 year history of Korean experimental art. Despite his importance in Korean experimental art, most exhibitions and research papers fail to consider the full picture and chronological importance of Lee’s artwork. Instead, they would only focus on the experimental aspect of Lee’s art by looking at each piece separately. Furthermore, these exhibitions and research papers would often rely on non-credible records, casting even more doubt on credibility. This article will first thoroughly analyze the existing literature on Lee’s artwork. Based on the information, I identify four phases of Lee’s art as follows: 1) while embracing the western practice of sculpture, Lee would experiment with traditional Korean objects such as totem poles and pottery, or with ordinary industrial objects such as wood, glass, vinyl, and steel. Lee would also experiment with anti-sculpture installation art with non-material elements such as smoke, fire, and wind to reflect on the memories of cultural anthropology (1955-1971). 2) Lee also combined natural objects and artificial objects—such as sculptures, white porcelain, books, currency—by using a “rope” to contemplate on their existence via methodical and conceptual thoughts (1972-1983). 3) Under the name of non-sculpture, Lee intervened in various aspects of reality such as shamanism, self-burning, environment, division of the country, and sexuality via installation and performance art (1984-Early 1990s). 4) Finally, Lee shifted his focus from 3-dimensional experimental art with objet and sculpture to a photo-picture experiment with collage, montage, painting, and drawing (1990s and after). As a result, the existing literature that focuses on the experimental aspect of non-sculpture is ironically very limited in identifying the experimental nature of Lee’s non-sculpture art. In addition, by treating photo activity as just a byproduct of installation art, the previous literature fails to account for the importance of photo-picture, which was the main focus of Lee starting from the 1990s. Lee’s art is created in the context of the national division and Korean War, industrialization, and post-industrialization, and the rapidly changing objects within this time period. There is much more to his art than the experimental aspect, which warrants a more fundamental approach examining the relationship between objects and life. 이 글은 이승택(1932-)의 작품세계 연구다. ‘조각’에서 출발한 그는 ‘비조각’을 내걸며 드로잉·회화·오브제·퍼포먼스·설치·‘포토픽쳐’ 등 여러 장르를 넘나들며 실험적인 활동을 펼쳤다. 그는 한국 실험미술 50년을 조명하고자 한 한국문화예술진흥원 《이승택 초대전》(1997)을 비롯한 여러 전시와 연구들을 통해 한국 미술계를 대표하는 실험미술의 아이콘으로 평가되어 왔다. 그럼에도 불구하고, 전시나 연구들이 십중팔구 그의 작품 전모나 시기별 전개를 간과한 채, 단편적 형식적으로 그 실험성에만 주목하고, 그마저 엄정하지 못한 1차적인 기록들에 의존하고 있어 매우 제한적으로 설득력을 지닌다. 이 글은 우선 그의 작품에 관한 선행 기록들이나 연구들을 엄밀히 검토하여 다음과 같이 그 전개를 4시기로 나누고 각 시기별 특징을 정리하고 있다. 1) 서구 ‘조각’을 적극적으로 수용하면서도, 장승·옹기 같은 민속 오브제나 각목·유리·비닐·양철 같은 산업화 시대의 일상 재료로 형태실험을 하고, 연기·불·바람 같은 비물질적인 재료로 반조각적인 설치 퍼포먼스로 문화인류학적 삶의 기억을 불러내는 시기: 1955-1971, 2) 조각·백자·책·화폐나 돌·나뭇가지 같은 인공물과 자연사물들을 ‘줄’로 묶어 그 존재를 방법적·개념적으로 묻는 시기: 1972-1983, 3) ‘비조각’ 개념을 내걸며 설치·퍼포먼스로 무속·분신·환경·남북분단현실·섹슈얼리티 같은 삶의 현실에 개입해 들어간 시기: 1984-1990년대 초, 4) 지금까지의 3차원적인 오브제·조각 매체 실험에서 무게 중심을 사진콜라주·몽타주·페인팅·드로잉 등 이미지 실험으로 옮긴 ‘포토픽쳐’작업을 한1 990년대 이후 등. 그 결과 ‘조각’을 향한 ‘비-조각’적 실험에 주목했던 지금까지의 연구들이 정작 그 실험성의 성격을 드러내는 데서도 한계를 드러내고 있으며, 게다가 사진작업은 단지 설치·행위의 기록으로 부수적으로 취급함으로써 이승택이 일찍부터 추구했고 특히 1990년대 이후엔 몰입하다시피 했던 ‘포토픽쳐’에 관한 평가가 간과되었다는 점이 확인된다. 더불어 남북분단과 전쟁, 산업화, 후기산업시대 등으로 전개되며 급변하던 사물들의 체계를 배경으로 펼쳐진 이승택의 작품은 실험성만이 아니라, 인위성과 자연성, 오브제와 삶 사이에서 살아있는 새로운 사물의 질서 모색이라는 보다 근본적 관점에서의 접근이 요청된다.

중국실험미술의 정치적 표현 연구

리춘송 ( Chunsong Li ),양지현 ( Jeehyun Yang ),김규정 ( Kyujung Kim ) 한국영상미디어협회 2013 예술과 미디어 Vol.12 No.1

실험미술은 미적체험을 목적으로 하는 미술에 대 해 부단히 도전을 하며 저항하고 새로운 미술적 가능성을 추구하는 구체적 실천 미술 행위이다. 중국 실험미술은 1970년대 말기 문화대혁명이 끝남으로 서 나타난 자유로운 정치 환경에서 발생 되었다. 단 일 리얼리즘의 표준, 미술제도, 정치제도에 도전을 내건 급진적 실험미술은 천안문사태로 제약을 받았으나 1990년대 시장계제로 인한 물질적 삶의 발전으로 이데올로기적 갈등은 심화되었고, 실험미술과 정치제도 및 체제는 공존하게 되었다. 테크놀로지의 발전과 글로벌화는 현재의 미술이 점차 물질기반에 서 메시지기반으로 전환되는 양상을 보이는데 이러 한 변화는 이전의 미술과 다르게 사회와 더욱 긴밀 한 관계 안에서 발생되고 있다. 중국 실험미술이 이러한 기술적, 사회적, 그리고 정치적 관점에서 어떻게 변화되어왔고 이에 따른 표현방식을 전개시켜 왔는지 살펴보는 것이 중요하다. 중국 실험미술은 1990년대 이후 냉소현실주의, 정치 팝아트 같은 일 부 서구 미술작품의 취향을 영합하고 시장경제논리 에 편성하거나, 공익 광고나 독립다큐멘터리같은 미술형식을 통해 정치와 경제 그리고 사회적 비판성에 중심을 둔 표현방식을 전개시켜 왔다고 볼 수 있다. 본 연구는 중국실험미술이 정치 및 사회적 관 점에서 출현된 배경과 시대별로 표현된 다양한 미술형태들을 살펴보고 비교하여 사회성 및 미술적 이념에 대한 의의와 표현방법 그리고 대중과의 관 계 및 중국현대 미술의 정체성과 발전 가능성을 밝히는 것이다. The Chinese experimental art is a kind of continual challenge. It is confronted with the skill of purpose of aesthetic and actual practice embodying in pursuit to new possibility. Chinese experimental arts were started from the late 1970s. Hence, at the closing of "The Cultural Revolution", there appearance of open and free political environment in China; and then the experiment arts, which challenging to the single realism and political and arts institution, began to enfeeble its effects after the June 4 Tiananmen Incident. However, experimental arts became concomitant of the ideology at 1990s, which the ideological irreconcilable contradiction was impaired with the improvement of standard of corporeal living. The development of science technology and globalization are making artistic basis turning into information form from corporeal living. This change designates difference in close relationship between art and society. Therefore, it is comparatively important to study society, relative expression of the experimental arts. However, Cynical Realism, Political Pop and other style of arts are now questioned about catering Western and marketing rules. Therefore, the Independent documentary, which possesses comparative independent attitude and less influences by political, economic agent, might be utilization of showing the society and relative expression of the experimental arts. This study aimed to research the political and economic background of Chinese experimental arts and the difference art forms in each difference period, and to compare among the latest comparatively influential works; and besides, the study revolved around some Independent documentary, which has critical, social, and expressible idea of artist. In addition to, this study aimed to clarify the connection between Independent documentary and the people, and the presence and development of the experimental arts in China.

강국진의 실험미술(1960-1970)

이은주(Lee Eun joo) 한국조형디자인학회 2018 조형디자인연구 Vol.21 No.3

본 논문은 1960년대부터 1970년대 펼쳐진 강국진의 실험미술이 해프닝에서 액션-오브제 아트(Action-Object Art)로 변이하는 과정에서 보이는 예술형식을 현대미술사적인 맥락으로 재평가하는데 그 의의가 있다. 강국진은 실험예술 행보를 시작한 1967년 《한국청년작가연립전》에 총 4점의 작업을 출품하고, 총 3편의 퍼포먼스에 참여했다. 이번 연구에서는 첫째, 무엇보다 집단적으로 참여했던 <가두시위>와 <비닐우산과 촛불이 있는 해프닝>에 비해 이론적 조명이 미흡했던 강국진의 개별 퍼포먼스 <색물을 뿜는 비닐주머니> 해프닝을 관객의 유·무 보다는 퍼포머의 매뉴얼이 충실히 작동하는 셀프-퍼포먼스에 초점을 맞춰 분석한다. 이와 더불어 강국진이 참여하거나 주도한 3편의 퍼포먼스의 시간적 추이를 분석하여 한국 최초의 퍼포먼스로 칭해지는 작업들의 순서를 재(再)서술한다. 둘째, 최초의 테크놀로지 아트로 평가되는 강국진의 <시각 1, 2>가 처음 출품된 《종합미술전(綜合美術展)Total Art Exhibition(1968)》을 분석하여 강국진과 ‘한국청년작가연립회(Union Exhibition of Korean Youth Artists)’가 《연립전》이후 펼친 실험예술과 그에 대한 긍지를 재평가한다. 마지막으로 1973년 명동화랑에서 개최된 강국진의 첫 개인전인 《형(形)의 상관(相関)》에 출품된 오브제 작업들을 기존의 해프닝 논의와 연결지어 ‘움직이는 오브제’, ‘이동하는 콜라주’로서 강국진의 ‘오브제’ 작업 개념을 분석한다. 강국진의 오브제 작업은 가벼운 소재를 택해 이동이 용이했으며, 움직이는 오브제들은 작가가 직접 오브제를 들고 행위 할 수 있는 영역만큼만 옮겨졌음을 확인하였다. 연구자는 이러한 현상을 액션-오브제로 명명하며, 작가의 행위가 개입되지 않고 시간이 지날수록 오브제 자체로 ‘과정’을 겪게 되는 작업까지 액션-오브제로 보았다. This paper holds meaning in reassessing the progression of Kukjin Kang’s experimental art from happenings to action-object art between the 1960s and 1970s in the context of contemporary art history. Kukjin Kang began engaging in experimental art from 1967, and in this first year, he exhibited four pieces at the Union Exhibition of Korean Youth Artists and participated in three performances. The primary focus of this research lies in examining the artist’s individual happening performance, Vinyl Tube Spouting Out Watercolor, which has drawn less academic attention than his collective works such as Artists’ Street Demonstration and Happening with Plastic Umbrella and Candlelight, from the perspective of a self-performance discourse in which the performance is essentially driven by the performer’s manual and less affected by the existence of the audience. The research also analyzes the time frame of the three performances, either participated or led by Kang, to redefine the order of Korea’s first set of performance art. Secondly, this research sheds light on the Total Art Exhibition of 1968, where Kang presented The Vision I, II, which are perceived to be Korea’s first technology art (light art), to revisit the pride the artist and Union members took in experimental art and how it was expressed after the Union Exhibition. Lastly, the research looks at the object artworks exhibited at Kang’s first solo show, Interrelation of Forms, held in Myeongdong Gallery in 1973, in the light of a conventional discussion on happenings with an aim to analyze the concept of Kang’s object art that acts as a moving object and moving collage. The materials used for his object works were light and easily movable, and it was confirmed that such moving objects were moved only within the area where the artist can physically carry them and act. The researcher defines this entire course of action as “action-object,” and the idea of action-object encompasses even a process that the object itself goes through with time and without the artist’s intervention.

‘수행적 퍼포먼스’를 기반으로 하는 강국진의 예술행위

이은주(Eunjoo Lee) 현대미술사학회 2017 현대미술사연구 Vol.0 No.42

본 논문은 강국진이 1960년대 중후반부터 1970년대 초반까지 개진하였던 초기 실험예술 활동을 오늘날의 퍼포먼스 아트 개념으로 재정립하는 데 의의가 있다. 강국진의 실험예술 활동 중 기존 화단에 새로운 양식을 제시하고 주도했던 흐름의 초석은 『논꼴아트』로 볼 수 있다. 이 책자는 《논꼴 동인전》 개최 시 카탈로그 형식으로 제작되었으며, 한국 화단을 향한 문제제기와 그에 대한 해결방안 모색을 주내용으로 한다. 연구자는 『논꼴아트』에 실린 평론가와 동료, 선배 작가들의 글을 분석함으로써 한국 젊은 작가들의 예술실험 운동을 논의하고자 한다. 강국진의 실험정신은 『논꼴아트』 활동 이후, 1967년 《한국청년작가연립전》의 〈비닐우산과 촛불이 있는 해프닝〉부터 〈현대미술과 해프닝의 밤〉 그리고 세간의 뜨거운 관심을 받은 강국진, 정찬승, 정강자의 〈투명풍선과 누드〉과 〈한강변의 타살〉로 연결되어 투영된다. 이러한 강국진의 예술행위는 회를 거듭하면서 해프닝과 퍼포먼스를 둘러싼 다양한 예술적 함의들을 드러냈다. 추상화단이 주류이던 시대에 탈(脫)평면을 넘어 행위예술을 시도하고, 관객을 행위자로 이끌어내고, 새로운 매체를 탐구한 것이다. 강국진의 이런 실험성은 점진적으로 오늘날의 퍼포먼스 아트에서 보이 는 기능과 역동적인 상황을 연출하는 방향으로 나아갔다. 연구자는 강국진의 일련의 행위실험이 시간적 순차를 두고 발전했다는 점을 조명하여 이를‘ 수행적 퍼포먼스’ 논의로 분석한다. This paper holds meaning in reestablishing Kukjin Kang’s early experimental art activities from mid to late 1960s to early 1970s as the concept of performance art. Among Kang’s experimental art activities, the foundation of what led a new style in the art world at the time began with Noncol Art . This booklet was created as a catalogue for the Noncol Dongin Exhibition , and consisted of content on raising awareness of problems within the Korean art circle and searching for solutions. The researcher discusses the new art experiment movement led by young Korean artists by analyzing the writings of the critics as well as fellow and senior Artists in Noncol Art . After Noncol Art , the experimental spirit of Kukjin Kang continues on to Happening with Plastic Umbrella and Candlelight in the Union Exhibition of Korean Youth Artists in 1967, The Night of Contemporary Art and the Happening , to the famously known The Transparent Balloons and a Nude and Murder at the Han Riverside by Kukjin Kang, Chanseung Chung, and Kangja Jung. One after another, Kang’s art activities as such deducted various artistic implications surrounding happenings and performances. His experimental spirit of seeing beyond masterpieces and attempting performance art at a time when the abstract circle was mainstream, transforming the audience into performers, and seeking new media gradually set the stage for the function and dynamic situations seen in performance art of today. The researcher sheds light on how Kang’s series of performance experiments developed gradually with time, and analyzed it as a discussion on “performative performance.”

‘비주류’의 개념미술가, 성능경의 ‘망친’ 모더니즘 미술

조수진 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.44 No.-

SUNG Neung Kyung(b. 1944-) is a renowned conceptual artist who led the experimental art movement in South Korea. His artwork uses nontraditional methods such as newspaper, photography, and performance. In 1973, he appeared in the art scene as a member of ST, a avant-garde art group. Until the late 1980s, he showcased newspaper-related installation art and performance which challenged government censorship of media and press’s power to edit. He was also one of the first artists to use photography in fine art in the 1970s. He began with photographs that explored tautology as a concept. He then presented photography installation art which took pictures of the newspaper itself or used his personal life as motif. Sung is also well known as a pioneer of Korean performance art starting in the mid-1970s, which then was referred to as “events.” From his earlier self-referential events to his post-1990s artwork which express the complex nature of life in a distinct manner, the world of his performance art has not only been colorful but also extremely unique. Sung, who has been dedicated to creative production for the last fifty years, has produced artwork essential to understanding the trajectory of South Korean art history—including avant-garde, experimental art, modernism, art for art’s sake, realism, and postmodernism. Sung’s approach to art has not been properly evaluated, however, in mainstream Korean art history or even within 1960-70 experimental art itself. This essay seeks to study Sung’s oeuvre, periodize and characterize his work, understand the relationship between different periods, and locate its place in Korean art history. As a minority conceptual artist, Sung has remained in the periphery of Korean art scene. This project then aims to understand the concept of his artistic expression. This research finds that Sung, as a conceptual artist, always distanced himself from the mainstream and reified the attitude of the minority. What he sought as conceptual art was anti-modernism, which stood outside of the inside of Korean modernism. His artwork, which 227 crossed newspaper, photography, and performance, and aimed for realism, rejected the purity and medium-specificity of modernism and challenged norms of Minjung art. Furthermore, his photo installations from the 1980s onward or his performance from the late 1980s onward, by definition, lacked marketability. Such works remained in the peripheries of art, outside of the institutions of art. This research considers the non-mainstream character of Sung’s conceptual art as fundamental to his approach to art, and as an opening for a new interpretation of post-1970s South Korean art history. When locating Sung within modernism, much fruitful and varied discussion emerges on conceptual art within Korean modernism, that is, experimental art outside of genre boundaries. When placing Sung within realism, historical avant-garde’s precedence on purity meets that of Minjung art to expand the horizon of purism in Korean art history. Sung’s conceptual art, which offers a minority’s alternative view, allows a reconsideration of Korean art beyond the dichotomies of modernism and realism, modernism and postmodernism, and center and periphery. 성능경(Sung, Neung Kyung, 1944~)은 비전통적 미술 창작의 수단인 신문, 사진, 행위 등을 이용한 작품으로 실험미술의 흐름을 주도한 한국의 대표적인 개념미술가이다. 그는 1973년 전위미술 단체 ‘ST’의 회원으로 미술계에 본격적으로 등장해, 정부의 대중 매체 검열이나 언론의 편집 권력에 도전하는 신문 관련 설치와 행위를 1980년대 말까지 선보였다. 그는 또 1970년대에 사진을 순수미술의 영역에서 처음으로 다룬 작가 중 한 명으로서, 초창기의 동어반복 개념을 다룬 사진들에 이어, 신문 자체를 촬영하거나 본인의 개인사를 소재로 삼은 다양한 사진 설치작품을 꾸준히 발표했다. 성능경은 나아가 1970년대 중반부터 ST 동료들과 함께 당시 ‘이벤트’로 불리던 한국의 퍼포먼스 아트를 소개한 선구적 존재로도 잘 알려져 있다. 자기 지시적 특징을 지닌 초창기 이벤트에서부터 복잡다단한 삶의 본성을 고유의 양식으로 예술화한 1990년대 이후 작품에 이르기까지, 그의 퍼포먼스는 다채롭기 그지없을 뿐 아니라 매우 독자적인 성격을 지니고 있었다. 성능경은 이처럼 50여 년의 세월 동안 한결같이 창작 활동에 매진하면서, 한국 미술사의 핵심 개념어인 전위, 실험, 모더니즘, 예술지상주의, 현실주의, 포스트모더니즘 등을 이해하는 데 있어 필수 불가결한 작품을 남겼다. 그러나 그간 그의 예술세계는 주류 한국 미술사는 물론이고 1960~70년대 한국 실험미술의 역사 내부에서도 제대로 평가를 받지 못했다. 이에 본 연구는 성능경 전작(全作)의 시대별 특징과 상호 영향 관계, 그것이 한국 미술사에서 지니는 의미 등을 포괄해 고찰하려 시도했다. 이로써 일평생 한국 미술계의 주변부에서 비주류 개념미술가로 활동한 그의 예술적 발언의 ‘개념’이 무엇인지를 파악해 보고자 했다. 본 연구는 그 결과 성능경은 늘 주류와 스스로 거리를 두고 일평생 ‘비주류의 태도를 형식화한 개념미술가’라는 점을 밝혔다. 애초에 그가 추구한 개념미술은 한국 모더니즘의 내부에 위치하는 외부, 반(反)모더니즘이었다. 또 그 자체로 신문, 사진, 행위의 잡종이면서 현실주의를 지향했던 그의 작품은 모더니즘의 순수성과 매체 특수성을 위반하면서, 동시에 민중미술의 전형적 형식에도 포함되지 않는 것225 이었다. 나아가 그가 1980년대부터 생산한 사진 설치나 1980년대 후반 이후 창조에 전념한 퍼포먼스는 본성상 시장성이 부족하거나, 미술 제도의 외부에 자리할 수밖에 없는 주변적 미술이었다. 본 연구는 성능경 개념미술의 이 같은 비주류적 성격을 그의 예술세계의 본질이자, 1970년대 이후 한국 미술사를 새롭게 해석하게 할 가능성으로 간주했다. 성능경을 모더니즘의 내부에 둘 때, 한국의 모더니즘으로서의 개념미술, 즉 탈장르적 특징을 지닌 실험미술은 보다 풍부하고 다양한 논의 거리를 갖게 된다. 또 성능경을 현실주의 미술의 범주 내부로 이동시킬 때, 역사적 아방가르드의 순수지향성은 민중미술의 그것과 만나 한국 미술사에서의 순수주의의 지평을 확장할 수 있다. 성능경의 개념미술은 이처럼 비주류의 대안적 관점으로 모더니즘과 현실주의, 모더니즘과 포스트모더니즘, 중심과 주변 등의 이분법적 사고를 넘어 한국 미술사를 재고할 수 있게 한다.

1960-1970년대 실험미술과 매체예술에 관한 연구

이은주(Lee Eunjoo) 현대미술사학회 2020 현대미술사연구 Vol.0 No.48

본 연구에서는 1960-1970년대 한국화단에서 개진된 융복합적 예술의 실천적 움직임을 분석한다. 1960-1970년대 실험미술 작가들은 새로운 매체 탐구를 위해 설치미술, 퍼포먼스, 네온사인아트, 오브제아트, 전자예술, 라이트아트 분야를 실천적으로 탐색했다. 이 시기에 발생했던 예술과 과학, 신기술에 의한 예술 현상은 미술장르뿐 아니라, 연극, 무용, 해프닝, 소설, 시 등에 빠르게 번지고 있었다. 전자음악과 전자예술이 다양한 행사로 한국에 소개되면서 소위 1960-1970년대 아방가르드 예술가들의 새로운 조형 의식 연구에 활력을 불어넣었다. 1990-2000년대 디지털 매체 시대가 본격화되면서 컴퓨터, 인터넷, 네트워크기술을 활용한 예술이 비디오아트, 미디어아트, 뉴미디어아트의 성격으로 미술계에 자리 잡히게 되었다. 디지털 매체 시대는 무엇보다 예술과 과학, 예술과 기술의 논의가 복합적이고 직접적으로 이루어 질 수 있는 계기를 다시 소환시켰다. 더 나아가 예술과 첨단과학의 만남을 넘어 각각의 다른 분야의 예술장르가 교차하는 다원, 융복합 예술 현상은 현장에서 이제 너무 자연스러운 광경이다. 우리는 이제 전시장에서 무용가와 연극인을 만나고, 전시장에서는 미디어 작가, 소설가 등과 허물없이 조우하고 있다. 연구자는 디지털, 과학기술, 학제 간 연구로 복합적인 예술형식의 원론적인 분석을 시도하고자, 융복합적 예술이 일어났던 초기 1960-1970년대의 예술가들의 활동에 초점을 두어 연구하였다. This paper primarily analyzes convergent art practices which actively unfolded in Korean art circles in the 1960s and 1970s. Artistic phenomena at the time, propelled by the mixture of art, science, and new technologies, not only influenced fine arts but also spread fast to various art forms such as plays, dance, happenings, novels and poetry. Electronic music and electronic art were introduced to Korean audiences through diverse events and inspired explorations of new formative consciousness by so-called avant-garde artists in the 1960s and 1970s. With the advent of digital media in the 1990s and 2000s, art utilizing computers, the internet, and network technologies had taken root in the art world in the forms of video art, media art, and new media art. This era of digital media, for the most part, enabled once again an opportunity for intricate and direct discourse on the intersection between art and science as well as art and technology. Moreover, moving beyond just the crossing of art and advanced science, it is now strikingly natural to see different art genres come together to drive pluralistic and convergent art phenomena in an art scene. It is common to encounter dancers and theater professionals, or socialize with media writers and novelists at an exhibition. In this paper, I focus on the activities of artists in the early 1960s through 1970s when convergent art emerged, in a bid to conduct a theoretical analysis on multi-layered art forms based on interdisciplinary research covering digital and science technology.

Abstract Art in 1980s Shanghai

Hayoon Jung(정하윤) 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

Despite numerous articles and exhibitions about Chinese modern art, studies about Chinese abstract art are scant. Abstract art, however, is one of the most important topics in Chinese modern art. This paper discusses the concept, characteristics, and value of 1980s Shanghai abstract art by taking Li Shan (李山, b.1942)’s abstract paintings as a case study. Abstract art emerged as one of the major trends in Deng Xiaoping’s regime. It was Shanghai that abstract paintings were densely produced. One factor that made Shanghai a special stronghold of abstraction is, I argue, Shanghai’s early experiences with European modern art during the 1920s and 1930s. That is, the experiments with nonrealistic art or formalistic approach remained in Shanghai with its practitioners. Li Shan started to aggressively experiment with abstraction in this culturally amenable time and location. Many of Li Shan’s early works were lost, but among surviving series such as Order, Origins, and Extension, several significant aspects are recognizable. The first distinctive characteristic is Li Shan’s emphasis on individuality, which was expressed by vigorous brush strokes and his signature on paintings. Against Mao’s years that collectivity dominated the entire society, Li Shan proclaimed his identity as an individual artist and expressed his interest in individuality through abstract paintings. The second aspect to consider is the fact that he produced figurative and abstract paintings at the same time. This mixture of figurative and abstract is closely related to a common tendency to understand abstract art from abroad by relying on Chinese traditional art. Depending on Chinese literati paintings, Chinese scholars in the 1980s understood the concept of abstraction as an on-going process of capturing the essentials of an object, rather than a complete elimination of recognizable figures. Figurative and abstract are thus not incompatible concepts. I believe Li Shan was influenced by this concept. That is to say, his mixture of figurative and abstract paintings was generated by the localizing process of abstract art. Third, the closure and criticism of ‘83 Experimental Painting Exhibition where Li Shan exhibited his abstract paintings indicates that abstraction held political meaning in 1980s China. Since abstract art was prohibited during the Mao’s years, to allow abstraction indirectly meant allowing deviance from the Mao culture. Due to its inherent political meaning, regulations on abstract art constantly changed during Deng Xiaoping’s regime according to the shifting political climate. ‘83 Experimental Painting Exhibition is one of the most important examples of this fluctuating cultural policy of Deng, allowing us to see the inseparable, ambivalent tie between abstraction and the Chinese Communist Party. Characteristics of Li Shan’s abstract paintings are similar yet different from those of other locations and times. That is because new meanings were formed as abstract art was transplanted to a specific given time and space?1980s Shanghai. Li Shan’s experience and work indicate that there existed different meanings and values of abstraction, and help us to break out of a single, homogenous definition of abstraction. There are multiple local versions of abstract art, and Li Shan’s is its small, yet significant version. Although Li Shan’s abstract art cannot represent the entire story of 1980s Chinese abstract art, Li Shan’s abstract work is a significant example of the distinctive aspects of Post-Mao abstract art.

Abstract Art in 1980s Shanghai : Li Shan’s Paintings

정하윤 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

Despite numerous articles and exhibitions about Chinese modern art, studies about Chinese abstract art are scant. Abstract art, however, is one of the most important topics in Chinese modern art. This paper discusses the concept, characteristics, and value of 1980s Shanghai abstract art by taking Li Shan (李山, b.1942)’s abstract paintings as a case study. Abstract art emerged as one of the major trends in Deng Xiaoping’s regime. It was Shanghai that abstract paintings were densely produced. One factor that made Shanghai a special stronghold of abstraction is, I argue, Shanghai’s early experiences with European modern art during the 1920s and 1930s. That is, the experiments with non-realistic art or formalistic approach remained in Shanghai with its practitioners. Li Shan started to aggressively experiment with abstraction in this culturally amenable time and location Many of Li Shan’s early works were lost, but among surviving series such as Order, Origins, and Extension, several significant aspects are recognizable. The first distinctive characteristic is Li Shan’s emphasis on individuality, which was expressed by vigorous brush strokes and his signature on paintings. Against Mao’s years that collectivity dominated the entire society, Li Shan proclaimed his identity as an individual artist and expressed his interest in individuality through abstract paintings. The second aspect to consider is the fact that he produced figurative and abstract paintings at the same time. This mixture of figurative and abstract is closely related to a common tendency to understand abstract art from abroad by relying on Chinese traditional art. Depending on Chinese literati paintings, Chinese scholars in the 1980s understood the concept of abstraction as an on-going process of capturing the essentials of an object, rather than a complete elimination of recognizable figures. Figurative and abstract are thus not incompatible concepts. I believe Li Shan was influenced by this concept. That is to say, his mixture of figurative and abstract paintings was generated by the localizing process of abstract art. Third, the closure and criticism of ‘83 Experimental Painting Exhibition where Li Shan exhibited his abstract paintings indicates that abstraction held political meaning in 1980s China. Since abstract art was prohibited during the Mao’s years, to allow abstraction indirectly meant allowing deviance from the Mao culture. Due to its inherent political meaning, regulations on abstract art constantly changed during Deng Xiaoping’s regime according to the shifting political climate. ‘83 Experimental Painting Exhibition is one of the most important examples of this fluctuating cultural policy of Deng, allowing us to see the inseparable, ambivalent tie between abstraction and the Chinese Communist Party. Characteristics of Li Shan’s abstract paintings are similar yet different from those of other locations and times. That is because new meanings were formed as abstract art was transplanted to a specific given time and space—1980s Shanghai. Li Shan’s experience and work indicate that there existed different meanings and values of abstraction, and help us to break out of a single, homogenous definition of abstraction. There are multiple local versions of abstract art, and Li Shan’s is its small, yet significant version. Although Li Shan’s abstract art cannot represent the entire story of 1980s Chinese abstract art, Li Shan’s abstract work is a significant example of the distinctive aspects of Post-Mao abstract art.

비디오아트의 재역사화 -전시와 담론을 중심으로

임산 ( Shan Lim ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.40 No.-

본 논문은 비디오아트의 재역사화를 위해 실험텔레비전과 비디오를 하나의 이질적인 예술형식으로 사유할 개념적인 프레임 몇 가지를 제시한다. 왜냐하면 비디오아트의 역사와의 비평적 연루가 생산적인 것이 되기 위해서는 비디오아트의 개념들을 다루었던 여러 실천들과 다양한 제도적 입장들에 대한 조사가 불가피하기 때문이다. 따라서 본 논문은 예술장르로서 비디오아트의 역사를 재 역사화하는 방식에 대한 하나의 제언의 성격을 가진다. 비디오의 과거를 다루는 역사적 해명에는 불일치가 존재한다. 다채로운 실천들의 역사에서 기능해 온 여러 유형의 예술적 사건들에 대한 선형적 접근은 그러한 ‘불일치’의 생산성을 억누를 뿐이다. 따라서 필자는 비디오아트의 역사를 실험텔레비전과 비디오 테크놀로지를 중심으로 재구성하여, 그런 과정을 거치며 이루어진 다층적인 영역이 탈 중심적이고 이질적인 역사화의 창의성을 담보할 수 있음을 논증하고자 하였다. 논문은 크게 세 부분으로 구성된다. 제Ⅱ장에서는 비디오아트의 역사를 다룰 때 흔히들 그 출발점으로 삼는 두 가지 계기들을 두고, 그 역사적 의의와 맥락을 다시 살펴보았다. 제Ⅲ장에서는 ‘비디오아트’ 개념이 등장하고 작동한 방식을, 특히 비디오아트가 전시기획적 범주로서 유효한 위상을 차지하고 갤러리와 미술관을 통해 그 전시적 가치를 세우는 과정을 분석하였다. 아울러 대안적이고 실험적인 텔레비전 운동에 참여함으로써 비디오 테크놀로지를 미적 담론의 장으로 끌어 들인 공공 텔레비전 방송국 프로그래밍의 사례를 함께 알아보고 사회-경제적 배경과 예술적 실천을 연관 지어 보았다. 제Ⅳ장에서는 텔레비전과 비디오 테크놀로지를 사용하는 전자적 예술형식에 대한 사유의 폭을 확장하는 데 기여한 예술 이론적 성과들을 비교 예시하고, 그들 사이에서 이루어진 상호적 영향력에 초점을 두었다. 이러한 논의 과정을 통해서 본 논문은 비디오아트의 ‘관습적인’ 역사와는 다른 접근이 가능함을 발견하고, 텔레비전과 비디오의 미적 영역을 확장시키는 데 기여한 사회제도적 장치에 대한 검토를 고려하는 역사적 연구의 필요성을 주장한다. 텔레비전 방송국의 스튜디오와 그에 대한 각종 기금들, 갤러리와 미술관, 대안적인 문화운동 조직, 텍스트의 출판 등의 역사적 사건들은 비디오아트의 예술적 전개뿐만 아니라 비디오아트의 역사화 행위 자체를 비교 규명할 수 있는 소스라 할 수 있다. 오늘날 미디어와 새로운 디지털 예술형식의 등장은 비디오아트 연구 영역의 다원적 성격을 변화시키고 있다. 비디오아트의 역사화 서술이 처음 등장했던 1980년대와 달리, 이제 우리는 이질적인 예술 실천들을 관찰할 수 있는 좀 더 적합한 개념과 이론의 도구들을 가지고 있다. 이는 비디오아트의 역사를 규정적인 것으로 생산하거나 이해하기 쉬운 것으로 포장하기 위함이 아니다. 그보다는 실험텔레비전에서 비디오 테크놀로지로 이어져 오늘날 미디어아트에 이르는 탈 중심적 영역의 사유와 행위의 이질성을 제고(提高)하자는 데 있다. This paper proposes a few conceptual frameworks for the process of rehistoricizing video art, which identify video as an art form that differs from experimental television. A critical examination about how video art emerged over time warrants further consideration regarding the movements and various positions towards arts practice and policy. Therefore, this paper adds to the calling for rehistoricizing video art as an art genre. Some may argue that there have been inconsistent narratives about the history of video art. Equally convincing, however, is the authentic history of art movements that unfolds stories about different forms of art. A linear approach to examine the history simply interferes with the ‘inconsistent’ process of creativity and limits the opportunity for growth. That said, I intend to reorganize the history of video art with experiment television and video technology as primary elements ―this process will shape the multilayered world of video art― and to substantiate an argument that such efforts can help ensure that rehistoricizing, often decentralized and diverse, is good for creativity. This paper presents three key chapters. In chapter 2, two special events commonly mentioned in the history as for the beginning of video art are examined with regard to the context and their historical implications. Chapter 3 will discuss the ways about how the concept of video art came to birth and became operational: video art became a major player in curatorial practice and established a valuable footing in exhibitions of galleries and museums. In addition, the chapter examines the case of public broadcasting programming, which invited video technology for public discourse on aesthetics. This engaged video technology with the alternative and experimental television movement and helped to illustrate how art movements reflect socio-economic trends. Chapter 4 takes a look at a few art theories and their contributions to the academic efforts in order to understand electronic art forms with the use of television and video technology. In doing so, the theories are compared and further analyzed with a focus on the ways they informed and influenced each other whilst comprising an interconnected body of literature. After all, this paper presents a view that video art has a room for a different approach ―as opposed to the traditional approach― towards the historical examination of societal policy and practice that contributed to expanding the aesthetic boundaries of television and video. An examination of supporting funds for television broadcasting studios, publishing venues for video art, and other apparatus of video art, such as galleries/museums and the organizations of alternative cultural movements, can inform not only the development of video art but also the historicizing of video art itself. Today`s mass media and new digital art forms are changing the ways we study video art. It was the 1980s that historical narratives about video art just emerged. Now, the field is better informed about how to examine diverse art movements with more appropriate concepts and theories than the past. This is not meant to suggest that the history of video art be normalized, or that its complexity be glossed over. In light of experimental television, video technology, and today`s media art, rather, this paper intends to support the decentralized diversity in our artistic thinking and behaviour.