1960년대 라우션버그와 로젠키스트의 ‘사회비판적인’ 팝아트

고동연 ( Dong-yeon Koh ) 한국미국사학회 2015 미국사연구 Vol.41 No.-

After John F. Kennedy’s assassination in 1963, Robert Rauschenberg, a renowned Neo-dada artists, and James Rosenquist, a pop artist, dealt with the controversial themes of racism and the Vietnam War in their silk screens and paintings. Rauschenberg’s Retroactive 1 in 1963 utilizes the images of current historical events to mark the end of Kennedy’s New Frontier idealism; Rosenquist’s F-111(1964-65) calls our attention to the fact that the peaceful everyday lives of the American middle class is economically inseparable from the Vietnam War during the 1960s. By examining arts of Rauschenberg and Rosenquist during the mid and late 1960s, as well as Peace Tower(1966), also called “Artist Tower of Protest,” this study moves away from the dominant approach toward socially engaged art in the US, which has focused on AWC(Art Workers Coalition) protest during the late 1960s and institutional critique against galleries and museums. This study, thus, pays special attention to the important roles that Neo-dada and Pop artists serve in the history of political activism and socially engaged art during the 1960s.

전지구화 시대의 일본 현대미술과 비평

고동연(Dong-Yeon Koh) 현대미술학회 2013 현대미술학 논문집 Vol.17 No.2

본 연구는 1965세대, 혹은 동경팝으로 불리는 작가들 중에서 타카시 무라카미(村上 隆)와 마코 아이다(?田 誠)의 예를 통하여 전지구화 시대에 일본 현대미술작가들이나 비평가 기획자들이 어떻게 서로 다른 전략을 사용하고 있는지를 비교분석한다. 이를 위하여 연구자는 서구 미술계의 비평적 시각에 맞추어 오타쿠적인 요소와 일본의 정체성을 슈퍼 플랫으로 일반화하고 있는 무라카미와 오타쿠적인 요소를 일본 사회내의 비판적이고 니힐리스트적인 시선들과 연관시켜온 아이다의 작업들을 대비시킨다. 아울러 연구는 무라카미와 아이다가 일본 하위문화의 특성을 서로 다르게 규정하고 차용하는 과정에서 제기되는 전지구화 시대의 ‘로컬’ 미술비평의 역할과 문제점들에 대해서도 논의한다. The essay compares different artistic strategies used among contemporary Japanese art critics, artists, and curators in the global artistic environment, particularly in light of the two major figures of Takashi Murakami(村上 隆) and Mako Aida(?田 誠) related to “The 1965 Group. ” Murakami utilized elements of otaku, part of Japanese subculture, to represent what he called the generalized perception of the postwar Japanese culture under the rubric of “Superflat” while Aida used otaku-influenced elements in his oeuvre as the means of revealing conflicting and critical voices within much troubling postwar Japanese society. Upon contrasting Murakami"s and Aida"s different artistic strategies and purposes of appropriating images and themes from postwar Japanese manga and animation, the essay also aims to point out novel tasks and problems that the critics for arts in non-western contexts should deal with to deconstruct the power structures between what is conceived as the “local” vs. “global” perspectives.

일본식 대안공간과 커뮤니티 아트의 시작: 나카무라 마사토

고동연 미술사학연구회 2016 美術史學報 Vol.- No.46

The essay focuses on Masato Nakamura’s path toward a successful curator of community art in Japan in light of the sociological condition of Japanese contemporary art in the 1990s. As I will argue, Nakamura’s undertaking of “Command N,” “Chiyoda Art Festival,” and the establishment of “3331 Arts Chiyoda” should be understood in close relationships with a number of guerrilla art events, either in the streets of Ginza or in Shinjuku during the early 1990s. The exhibitions are organized by a group of young artists called “Geidai,” the graduates of Tokyo National University of Arts. I will also look at Nakamura’s 3331 Arts Chiyoda, the renowned community art center in Japan, regarding its financial support system as the essay is also purported to address both achievement and dilemma involved with community arts designed to popularize and expand the social responsibility of contemporary art in Japan from the 2000s and onwards. 일본의 대표적인 커뮤니티 아트의 기획자이자 작가인 나카무라의 성장기를 1990년대 초 일본 미술계의 사회구조적인 상황에 비추어서 다루고자 한다. 1999년 아키아바라에서 열린 커맨드 N, 2005년 지역의 공예 예술가나 생활 예술가를 모아서 벌인 페스티벌, 그리고 3331 아트 치요다 등은 1990년대 초중반부터 작가가 동년배 작가들과 공동으로 조직하여 온 각종 거리 미술전의 연장선상에서 이해되어져 하기 때문이다. 또한 연구자는 나카무라의 3331 아트 치요다를 중심으로 벌어지는 커뮤니티 아트 프로젝트를 일본의 기금체계와도 연관해서 살펴보고자 한다. 이것은 2000년대부터 본격적으로 시작된 예술을 통한 도시 재생이나 도시 속의 다양한 공동체를 연결시키려는 나카무라의 활동이 일본 사회에서 예술의 대중적인 역할을 확충하는 데에 있어 어떠한 성과와 문제점을 던져주고 있는지를 심도 있게 논의하기 위함이다.

1990년대 대안적 전시장으로서의 마켓 플레이스와 중국 현대미술계

고동연(Dongyeon Koh) 현대미술사학회 2017 현대미술사연구 Vol.0 No.41

1989년 《중국현대예술전(中國/現代藝術)》으로부터 2000년 《상해 비엔날레》까지 중국 내에서 실험예술에 대한 검열이 강화되었던 시기에 중국 내 젊은 세대의 작가들이나 작가 공동체들이 어떻게 공식적인 미술관이나 화랑이 아닌 대안적인 전시공간을 전략적으로 사용하게 되었는지를 살펴본다. 또한 대중소비문화가 확대되었던 1990년대 중국 내에서 상점, 음식점, 쇼핑센터와 같은 마켓 플레이스가 전시 장소로 활용되게 된 배경에도 주목하고자 한다. 구체적으로 1990년대 전반기에 1993년 북경 맥도날드에서 열린 새로운 역사 그룹의 《새로운 역사 1993: 대중소비(新歷史小組 1993: 大眾消費)》, 하반기에 1999년대 쉬전이 주도가 되어서 기획한 《슈퍼마켓 예술전(超市藝術展)》을 각각 대표적인 예로 다룬다. 이를 통하여 서구 현대미술사의 예들과는 달리 중국식 대안적인 전시행태가 등장하게 된 특수한 정치, 사회, 문화적인 배경을 부각시키고자 한다. 아울러 중국의 행위, 영상, 설치 등의 실험적인 매체를 다루던 작가들이 공공의 마켓 플레이스를 활용함으로써 중국정부의 감시를 피하면서도 중국 내 관객의 폭을 확장하고자 하였던 독창적인 해결방식을 강조한다. This essay examines how the younger generation of Chinese contemporary artists and collectives used the alternative exhibition sites outside of art museums and galleries in the 1990s, the decade known for the Government’s oppressive policies against experimental arts in China, particularly after the notorious China/Avant-garde in 1989 until Shanghai Biennial in 2000. It also pays special attention to the 1990s as popular culture and consumerism became rapidly expanded in China; subsequently, an array of marketplaces such as stores, restaurants, and shopping centers became appropriated as the sites for art exhibitions. New History 1993: Mass Consumption (1993) by the New History Group, the exhibition held at Mcdonald, Beijing, and Art For Sale (1999) led by Xu Zhen, will be closely examined as each representing the earlier and latter types of unconventional art exhibitions. The emphasis, thus, rests upon highlighting unique political, social, and cultural contexts in which alternative types of art exhibitions arose in China, distinct from its western counterparts. Furthermore, it also highlights creative solutions that Chinese performance, media, and installation artists had devised by using marketplaces in order to avoid censorships as well as to expand their audiences within Chinese society.

중국 현대미술과‘ 노마딕 레디메이드’

고동연(Dongyeon Koh) 현대미술사학회 2015 현대미술사연구 Vol.0 No.37

Since the 2000s Ai Weiwei(艾未未) and Ni Haifung(倪海峰) has used readymade in their collaborative works to convey the dire circumstances in which Chinese workers can be compared with western consumers, especially under the western-centered market capitalism on a global scale. Hereby, I coined the term “nomadic readymade” to examine the recent development of readymade works transnationally manufactured and exhibited in contemporary Chinese art. Ai Weiwei’s Sunflower (葵花?, 2010) sheds a light upon the dire circumstances of the chinese workers under communist government while it also indicates the 17th and 18th century colonial history related to fair trade of the Dutch East India Company and Chinese porcelain workshops. In a similar vein, Ni Haifung collected 15 tons of left-over and garbage fabric from one of the factories in Habei(河北) area and exhibited at Manifesta in 2008 to make western audience/potentially consumer to stitch fabric and to question the division between Chinese workers and western consumers in Para-production (2007-2008).

나의 몸, 나의 여성성

고동연(Koh Dongyeon) 나혜석학회 2016 나혜석연구 Vol.8 No.-

‘나의 몸, 나의 여성성’은 1980년대에 출생한 국내 젊은 여성작가들의 작업에 나타난 여성성과 여성의 몸 이미지에 주목하고, 이들을 여성주의적인 미술의 역사에서 복고적인 경향을 보이는 것으로 간주하고자 한다. 이와 연관하여 임신기간 동안 자신의 몸을 다룬 김도희의 <만월의 환영>(2012), 성적 대상으로서의 여성의 몸을 다룬 김가람의 “더섹시비키니” 프로젝트(2014), 정치적이고 투쟁적인 공론의 장에서 여성의 몸이 지닌 역할에 관심을 지녀 온 이미정의 “슬로건” 시리즈(2014), 황귀영의 <집안에 머무는 대자보>(2015)를 중점적으로 다루고자 한다. 이를 통하여 젊은 여성작가들이 여성의 몸에 대하여 취하고 있는 태도가 전통적이고 급진적인 여성 작가들이나 이후 여성성을 허구로 인식한 세대의 여성 작가들과 어떠한 차이점을 지니는지에 대하여 논하고자 한다. 또한 여성주의 미술의 전략들이 최근 국내 미술에서 어떻게 변화하고 있으며, 아울러 여성성, 여성의 몸, 그리고 여성의 성적 자유와 같은 테마를 다루는 과정에서 국내 여성운동의 선각자였던 나혜석을 비롯하여 최근 여성작가들이 공통적으로 직면하게 되는 딜레마가 무엇인지에 대해서도 살펴보고자 한다. This essay entitled “My Body, My Femininity” focuses on the images of feminity and the female body by contemporary Korean female artists (born after the 1980s) as the illustrative of their rather conservative approach toward gender and identity. The works cited in the essay are Dohee Kim"s The Illusion of the Full Moon (2012), a work involving the artist"s impregnated body, Garam Kim"s The Sexy Bikini Project (2014), based on the audience"s poseur as the sexy female bodies in bikini on their choices, Mijung Lee"s Slogan series (2014), Guiyoung Hwang"s Campus Wall Staying Home (2015). I argue that these female artists of younger generation distance themselves from either classical feminists who took more straightforward approaches toward feminist issues, such as the relationship between gender and their biological bodies, or deconstructive feminists, who considered the notion of gender as fiction all together. Through this essay, I first examine how feminist artists"s strategies have recently evolved; at the same time, I also examine how Nahaesuk, a pioneer of the feminist movement, as well as other recent feminist artists in South Korea should deal with the similar dilemma in dealing with their own femininity, bodies and sexual liberation.

전 지구화 시대의 중국 현대미술과 비평

고동연(Koh Dongyeon) 현대미술사학회 2011 현대미술사연구 Vol.0 No.29

As Chinese contemporary art, especially what is called “Political Pop Art”, became the center of attention at international biennialsand exhibitions during the early 1990s, critics of Chinese art faced a number of important challenges. They had to ‘explain’ not only the distinctive historical and artistic contents of individual art works and artists, but also Chinese contemporary art within the history of the international contemporary art. The critics and curators on Chinese contemporary art had to fight against the dominant approach toward Chinese contemporary art in the West; to bring the balanced view between artistic tradition in China and the development of contemporary artistic language; to examine Chinese art relative to the concept of avant-garde, based on the “critical” tradition of contemporary art in west. This study concentrates on Wu Hung and Gao Minglu, the two influential art critics and art historians on contemporary Chinese art and culture. As both were educated in China and western academia, they can serve as useful cases for understanding the challenges that art critics of the non-western world should face. I will particularly highlight Wu Hung’s attempt to “decontexturalize” as well as “recontexturalize” Chinese contemporary art relative to Chinese literary and artistic tradition on the one hand, and the development of conceptual and books art in the west on the other. Unlike Wu Hung, who became extremely reserved in using western theories, Gao Minglu applied the concept of avantgarde in order to introduce a series of critical and rebellious arts in China from the late 1980s and onwards. For Minglu, western theories and concept enable him, in a way, to criticizethe repressive Chinese government and advocated Chinese avant-garde art “outside” of China. By looking at the key example of Wu Hung’s and Gao Minglu’s art criticism, this study aims to touch upon the problem, limitation, and possibilities that art critics on nonwestern arts have to deal with in the globalized art world context; how international artistic languages or theories can be used, appropriated by critics on non-western art world to maneuver between non-western and western, or between the outside and inside of the tradition and society from which the given art works derived.

메모리 효율을 증가시키는 송신단에서의 콘텐츠 저장 및 배치 기법

고동연,최완 한국통신학회 2017 정보와 통신 Vol.35 No.1

본고에서는 저장장치가 송신단 부분에 있는 환경에서 통신 성능을 증가시킬 수 있는 콘텐츠 배치와 전송 방법에 대해 알아본다. 먼저, 부호화(encoding) 되지 않은 온전한 콘텐츠를 제한된 메모리 에서 효율적으로 저장하기 위해 그래프 기반의 격자 모형에서부터 출발하여 페이딩이나 경로손실 또는 간섭과 같은 무선 채널 환경을 보다 엄밀하게 모델링 할 수 있는 확률 기하학 모형까지 살펴보았다. 그 결과, 기존의 저장 기법인 콘텐츠 인기도가 높은 콘텐츠를 우선적으로 저장하는 MPC(Most popular caching) 기법이나 콘텐츠의 인기도에 관계없이 균등하게 저장하는 UC(Uniform caching) 기법에 비해 평균 콘텐츠 전송 성공 확률(Successful transmission probability)를 증가 시킬 수 있음을 보였다. 또한, 저장 부호화 기법 중 MDS(Maximum distance separable) 코드를 기반으로 분할된 콘텐츠를 중복없이 저장할 경우 기지국에서 메모리 적재의 부담을 갖지 않고 더욱 다양한 콘텐츠를 저장하여 콘텐츠 다양성을 보다 더 확보할 수 있다. 비분할 저장의 경우 단일 노드에 해당 콘텐츠가 저장되어 있으면 기지국과 사용자 간 1개의 채널만 고려하여 성공적인 전송을 유도할 수 있었다. 하지만, 콘텐츠가 중복 없이 MDS 코드 기반으로 분할되어 여러 노드에 분산 저장된 경우 온전한 콘텐츠를 복구하기 위해서 무선 채널 환경을 고려하여 여러 개의 노드가 협력하여 전송해야 한다. 따라서, MDS 코드에 기반하여 분할된 패킷들로부터 오는 콘텐츠 다양성 확보와 온전한 콘텐츠를 복구하기 위한 최소한의 소형 기지국 수 간의 상관 관계(tradeoff)를 통해 메모리 적재 효율을 향상시킬 수 있는 콘텐츠 저장 및 배치에 대해서 알아본다.

남성성의 ‘위기’

고동연(Koh Dong-yeon) 현대미술사학회 2009 현대미술사연구 Vol.25 No.-

This study explores Marcel Duchamp’s notions of war and masculinity, first by dealing with Duchamp’s early machine drawings produced before and after the outbreak of the First World War and then by concentrating on his portraits produced during 1915 and 1919, a period when he was in exile. Focusing on Duchamp’s portraits as being disguised as a monk as well as on his assisted readymade 〈L.H.O.O.Q〉(1919), the study looks at how Duchamp deliberately complicated masculine sexualities and gender distinctions. While in exile, Duchamp, one of the best-known members of the New York Dada movement, created a number of portraits in which he appeared to be bald. His hairstyle with the mark of five stars in the back, according to Giovanni Zapperi, the author of “Marcel Duchamp’s Tonsure: Towards an Alternate Masculinity” (2007), points to the common practice of cutting the hair from the top of monks’ heads (tonsure) during the early part of the 20th century. Religious motifs can frequently be found in Duchamp’s other works, yet, as I argue, transforming himself into an image of a celibate monk might have other implications related to his ideas of war and masculinity. Duchamp’s self-portrait as a monk reflects the artist’s desire to distinguish himself from war-mongering European men at the time of the First World War. The purpose of this study, however, is not merely to contrast Duchamp’s “ambiguous” masculinity with the dominant forms of aggressive masculinity that coincided with the fanatical nationalism of the First World War. Contradictory interpretations of masculinity, as seen in war posters, psychoanalytic studies, literary descriptions of manhood on the warfront, and images of veterans will also be discussed to illustrate shifting perceptions of masculinity that were already evolving in the 1910s. The study of Duchamp’s years in New York and Buenos Aires enables us to underscore the continuation of his artistic endeavors throughout his exile period, including his search for open and unfixed artistic identities and masculinities. More importantly, the series of portraits he created during his exile, in their complication of ideas of proper masculinity, may be seen as paving a path toward “Rrose Selavy” his most notorious and important project engaging issues of gender ambiguity, which he began in 1921 while collaborating with Man Ray.

‘시각적 즐거움’과 남성 누드 -존 오라일리의 1980년대 ‘거장들의 화실 시리즈’를 중심으로

고동연 미술사학연구회 2008 美術史學報 Vol.- No.31

Laura Mulvey’s much-cited work “Visual Pleasure and Narrative Cinema” (1975) has been one of the most influential articles for scholars, especially feminist art historians and film critics, examining the relationship among the viewer’s gaze, sexually potent images of women, and the outcome of desire. Mulvey’s famous formulation of a gender binary in visual dynamics between the active male and passive female, first propounded in the early 1970s during the heyday of feminist activism in North America and Great Britain, has been widely accepted, revisited, and revived for more than three decades. By examining John O’Reilly’s 1980s photography in light of the key distinctions and definitions within Mulvey’s theory, this paper aims to revisit as well as revive Mulvey’s theoretical position. On the one hand, the male nude in O’Reilly’s photographs, as both the active agent of seeing and the passive object of being seen can serve as an important counter-example to Mulvey’s relatively rigid gender binary. The image of the naked male body subjected to a homoerotic gaze further complicates Mulvey’s scheme, which is strictly rooted in a heterosexual paradigm. On the other hand, Mulvey’s articulation of the patriarchal male subject as the ultimate agent of seeing and desiring the naked (female) body is also helpful in revisiting the ambiguous nature of O’Reilly’s male nude; his subjects are not only exposed to the outside gaze, a position that is only allowable to the female body in Mulvey’s theory, but also committed to showing their process of forming the male subject, including the process of “alienation.” According to renowned French psychologist Jacques Lacan, in achieving the full accommodation of subjectivity, a male child should experience a rupture and fragmentation between the ideal image of the self and the actual body perceived, rather than a sense of wholeness as a subject. This is an interesting point, as Mulvey, a feminist film critic, ultimately intends to deconstruct the patriarchal male subject behind the systematic gender binary and hierarchy in the arena of film; likewise, O’Reilly, a photographer primarily dealing with male nudes strongly imbued with homoerotic connotations, intends to revisit the idea of the perfect, powerful, and consistent (heterosexual) male ego. By freeing the male nude from the traditional framework of patriarchal male subjectivity and bringing discourses of sexual pleasure to the male body—pleasure that has been exclusive to the interpretation of the female body in art history—this paper will ultimately expand discourses about the male body. As many feminist theorists and art historians have raised their voices, the male body has been alienated from discussions about masculinity and male subjectivity, and therefore taking the male body as a serious scholarly subject could be the first step toward the full deconstruction of a masculinity that has remained behind the veil and arcane in the name of neutrality.