비엔날레를 통해 본 중국 실험미술의 전개

유재길(Yoo, jae-kil),김문정(Kim, moon-jung) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.3

The Chinese avant-garde art that this study aims at is progressed through the changing steps in most clearly manners in the Chinese contemporary art phenomena, which have been developed in earnest since the 1980s. The contemporary art in China is related to political situations more closely than those in other global areas. For this reason, the Chinese avant-garde art is at odds with the government from the beginning to obtain the duly right to the free exhibition or display, getting out of the overt censorship. However, with the circumstances in an effort to get the enlarged right to production of art work and expression, all the activities about exhibition came under the rigid censorship by the government after the Tiananmen Square protests in 1989 and faced with cooling period rapidly. It seems that the Chinese avant-garde art was faced with crisis thanks to the Tiananmen Square incident. And yet, unexpectedly, this mishap played a role as shortcut to a new breakthrough. Those contemporary art in China, whose introduction to the western hemisphere was initiated in the 1980s, became a refreshing impetus to the international art community thirsty for a new thing, gaining much attraction. Their avant-garde art of the 1990s were handled heavily via the art works done by the Chinese immigrant artists in such a large scaled global exhibition as Venice Biennale. As the international attention was paid to the Chinese avant-garde art increasingly, the greater concern was triggered in the country through a variety of the domestic shows for their own avant-garde arts in recognition of these circumstances. Based on the criticism in the political sense, the avant-garde art trials that were performed vehemently outside the institutional framework got down to a series of institutional entrance and went through a great change after the 1990s. This study worked on this and dealt with 'a matter of institutionalization' outspoken in the expressing method of avant-garde arts, which have gained a spotlight again through the domestic biennale and show since the 1990s especially in the developing phases. For this purpose, the Chinese avant-garde art was reviewed according to its chronological nature and this study took a look at what details were related to the biennale performed inside and outside. Then, the discussion proceeded to the institutionalized experiment by approaching the microscopic way in terms of the trend analysis of specific expression mode for the various problems that go with the Chinese avant-garde art. In case of China, the special style unique to China was established for their ownavant-garde arts under the contradicting coexistence with social regime and market economy both. From this interesting fact, this phenomenon was interpreted herein as 'concealment' strategy concurrent with Jean Baudrillard. Their avant-garde art mode recognized as remarkably strong, accelerated into the political institution since the 1990s, deals with the cover-up about 'intrinsic existence' behind rather than the deliverance of what is just seen commonly as it is. Consequently, it could be concluded that the political censorship and confinement were definitely contributable to establishment of the Chinese unique mode in the avant-garde art in the course of entering into an awkward harmony with the market economic system after the era of the 1990s.

어린이를 위한 미술 · 디자인 감상 이론과 실제 연구 : 바르브-갈의 연령별 접근 분석을 중심으로

유재길(Yoo, jae-kil),김조은(Kim. Jo-eun) 한국조형디자인학회 2013 조형디자인연구 Vol.16 No.4

최근 국내의 초대형 미술전시에 많은 관객이 몰리고 있다. 특히 어린이를 동반한 젊은 부모들의 적극적 참여는 예술작품에 의한 우리의 미적제험 확장과 행복감, 그리고 무엇보다 우리의 삶과 정신세계를 풍요롭게 한다는 절대적 믿음에서 시작되는 느낌이다. 본 연구는 이러한 분위기 속에서 난해하다고 하는 현대미술을 어린이에게 어떻게 설명할까하는 의문에서 시직된다. 현재 이에 대한 구체적 연구로 가장 주목되는 것은 프랑스 미술교육가 프랑스와즈 바므브-갈(Francoise Barbe Gall)의 어린이 미술감상볍이다. 그는 2002년 이후 CORETA(COmment REgarder un TAbleau)라는 문화단체를 설립, 운영하며 일반인과 어린이들이 미술에 쉽게 접근할 수 있도록 다양한 저작과 연구 활동을 하고 있다. 특히 어린이를 위한 현대미술 감상법 연구는 난해하다고 생각하기 쉬운 오늘날 미술감상에 있어서 나이별로 알맞은 질문과 담변 등이 만들어져 좋은 평가를 받고 있다. 본 연구목적 역시, 어린이 현대미술 감상을 위해 바르브-갈의 방법론을 적용하여 그 실례들을 소개하는 동시에 프랑스의 현대 미술관에서 실행되고 있는 효과적인 어린이 미술 감상 교육 프로그램을 집중 소개하고 분석하여 우리 현실에 어린이 미술 감상법으로 근거를 마련하고자 한다. 따라서 어린이를 위한 현대미술 감상법으로 본 연구결과는 첫째, 단계별 미적 체험 활동을 지속적으로 체험하게 하고 둘째, 미술작품에 대한 감동과 지적 호기심을 환기하여 주체적으로 감상하도록 하며, 셋째로는 미적대상에 대한 어린이들의 직감을 인정하고 계발하도록 북돋아 주는 목표를 갖는다. Recently, there are so many 'Blockbuster' Art and Design Exhibitions in korea and these kind of exhibitions draw a large audience. maybe there is some kind of strong belief that the expansion of the art experience makes our life more affluent As a result of this belief, we can see many enthusiastic young parents going to the art gallery with their children. In this circumstances, 'How to explain the esoteric contemporary art work to our children.' is the starting point of this study. Lately, 'Art appreciation method for children' of french art educator Françoise Barbe-Gall is very noteworthy as a concrete study in this field. In 2002, she founded CORETA(COmment REgarder un TAbleau) and tried to improve accessibility to art appreciation for children and general public through writings and researches. Especially, Franç oise Barbe-Gall's art appreciation method for children is very well regarded. Because this method produces proper questions and answers in accordance with their ages. Illustrating Franç oise Barbe-Gall's method by giving a real application examples and analyse effective programs of the contemporary art museum of France, I want to find out the proper method for our actual situation That is the object of this study. As a result of this study by the art appreciation method for children, it is recommended to continually provide the art experiences stage by stage and help the children to appreciate the art work more autonomously. And also, it is important to accept children's intuition for every aesthetic objects around them and trying to develop it.

뉴욕 현대미술관(MoMA)연구

유재길(YOO, Jae-Kil) 한국조형디자인학회 2007 조형디자인연구 Vol.10 No.1

The Museum of Modern Art (MoMA) in New York, U. S. A was re-opened on Nov. 20, 2004 with a slogan, "Manhattan is Modern Again". It indicates that MoMA which has around 70 years history from 1929 to the present is seeking a new change after modernism. Re-opening of MoMA in 2004 aims to not only to simply expand the space but also attain the glory of American modernism in 1960s. The purposes of re-opening are, 1) Core role of world's modern art, 2) Expansion of art museum space, 3) Collection of representative art works in the same period, 4) advancing exhibition planning and 5) Sympathy and Exchange between people and MoMA in accordance with expansion of art education. The study herein is to focus on the purpose of MoMA re-opening and development of American modernism. Especially, it focuss on admission and change of modernism art pursued by MoMA till the present, spatial characteristics in accordance with re-opening and exhibition planning. Moreover, the new MoMA model inquired by American society such as new exhibition space application, admission of various genres art museum, etc, can be checked from the re-opening. The study is started from modernism art of early MoMA which its basic frame was established by Alfred H. Barr, Jr. the first curator. Alfred H. Barr, Jr. focused on the collection of European impressionism and late impressionism art work, and furthermore, made a key role to establish American modernism art with exhibition planning and work collection of Picasso, Matiss and abstract art work. Subsequently, re-opening of MoMA in 2004 is mentioned with checking the birth of American modernism in 1960s. Re-construction was carried out by Yoshio Taniguchi, which is called as "White Box" in modernism style. It shows the trend which continues past modernism rather than dramatic change and prepares the future. The study herein focuses on the change and characteristics of space and exhibition contents in accordance with re-opening. Also, the study herein gropes social and public property of art museum with dealing positive and negative aspect of expansion of MoMA. For the former study which pointed the role of 21st century art museum related to this, The Early Years of the International Program and Council of Helen M. Franc, or collections and exhibition plan. Moreover, from the overview of art education for various popularization as well as various space formation, a new model of modern art museum is presented. *

‘뮌스터 조각 프로젝트’의 공공성과 공공장소 미술의 가능성 연구

유재길(Yoo, Jae - Kil),이지현(Lee, Ji - Hyun) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.2

Recent major international exhibitions contain self-examining characteristics about "Art" and "Exhibition" itself. Especially, place and specification of place are emphasized at exhibitions of sculpture and solid geometrical (or three-dimensional) works are making people to think of art in public area. The scope of this research study, focused on Sculpture projects Muenster 2007, is to observe the problems of function and reverse function of fine arts in public. Since its debut in 1977, the Sculpture Projects has been held in the average-sized university town of Muenster in Germany every ten years, and it was inaugurated in its fourth installment in 2007. In this project, the contemporary sculpture and installation were presented by about 170 international artists including who has also participated in the past. This exhibition has provided a role to debate on the relationship of distinct forms between art and viewers. The government brought the art as an appeasement for the urban redevelopment projects and The Sculpture Project Muenster has been started to improve understanding of the general public of contemporary art Also each exhibition has been held with distinct themes which emphasize the specification of place or the significance of public art. On this thesis, it has considered contemporary sculpture, especially on argument about public art, focused on the theme of The Sculpture Projects Muenster and related works. In this respect, the phase of art in public place is defined "the art of public sphere" and "public", also grasp its characteristic. In the following place, a phase of site specificity is searched changing the idea of art, distinguishing marks of place, and specific art in historical site out of the expansion of the idea of sculpture and the autonomy idea of art. In the next phase, one place to another, space in the city of art and cultural study of communication are considered. Moreover, through the function and the reverse function of art in public place, it is focused on success and failure of public art, and its new awareness and discourse.

보들레르의 심미적 미술비평

유재길(Jae-Kil Yoo) 서양미술사학회 1996 서양미술사학회논문집 Vol.8 No.-

나오시마 프로젝트의 공간과 디스플레이 연구

유재길(Yoo Jae kil),윤의향(Yoon Eui hyang) 한국조형디자인학회 2014 조형디자인연구 Vol.17 No.4

본 연구는 나오시마 프로젝트의 공간디자인과 디스플레이를 중점적으로 다룬 연구이다. 나오시마 프로젝트는 베네세하우스와 지추미술관, 이우환미술관, 이에(家) 프로젝트 등 여러 대상을 내용으로 한다. 특히 연구 주제로 강조되는 것은 안도 다다오安藤忠雄의 건축적 특성과 전시장의 공간 디자인, 그리고 작품 설치와 관계이다. 세부적 연구방법으로 나오시마 프로젝트 특성으로 지적되는 장소성에서 공간디자인 특성과 디스플레이를 주목하며, 본고에서는 지추地中미술관을 표본대상으로 안도 다다오 건축에 나타난 공간디자인 특성과 개별 작품으로 모네의 <수련> 공간을 중심으로 디스플레이 문제와 같이 종합적으로 해석하고 논의하고자 한다. 여기서 무엇보다 강조되는 것은 안도 다다오의 건축의 장소성으로 첫째로 자연환경과 건축의 관계에서 건축물과 주변 환경의 조화로 빛, 물, 바람, 하늘 등의 자연 요소들이 건축물과 함께 지각되는 공간디자인 연구이다. 아울러 자연과 인간, 사회속의 공간 디자인을 생각하며, 현대미술과 연결된 장소특정적 상황의 디스플레이 효과 연구이다. This study mainly covers the spatial design and display of the Naoshima Project. The project includes Benesse House, Chichu Art Museum, Lee Ufan Museum, Art House Project, and many more. Especially the relationship of the architectural characteristics, spatial design of the exhibition hall and installation of art works of Ando Tadao was emphasized as the subject of this study. As its specific research approach, I paid attention to the characteristics of the spatial design and display in the sense of place pointed out as one of the attributes of the Naoshima Project. And in this study, with Chichu Art Museum as the sample, the characteristic of the spatial design found in the architecture of Ando Tadao and the space in Monet's <Water Lilies> for an individual work will be comprehensively interpreted and discussed in addition to display issues. What is more emphasized in this is the sense of space that the architecture of Ando Tadao has; one is the study on the spatial design regarding in the harmonization of buildings and surrounding environment in the relationship between the natural environment and the architecture in which the natural factors such as light, water, wind, and sky are recognized together with the buildings. And the other is the study on the effects of display of site-specific situations, connected to the modern art, with spatial design of nature, human being, and society taken into consideration.

사진적 행위에 대한 작품분석 연구

유재길(Yoo Jae kil),장숙(Chang Sook) 한국조형디자인학회 2015 조형디자인연구 Vol.18 No.2

포스트모던시대로 들어서면서 사진이 갖는 매체로서의 역할은 다른 어느 때보다 많은 기대와 관심의 대상이 되고 있다. 사진의 재현 능력은 회화와는 다른 존재양식을 가지고 있으며, 사진은 형태의 묘사뿐 아니라 물리적 인과관계의 결과물이다. 그래서 기계적이고 화학적인 과정을 거쳐 빛이 남긴 자국을 보여준다. 이러한 사진의 의미를 해석하기 위하여 의미의 다양한 층위를 해석할 수 있는 기호학적 관점을 갖고자 하였다. 특히 기표와 기의의 이원론적 관점에서 벗어난 퍼스의 이론 중, 지표성을 그 출발점으로 삼았다. 더 나아가 지표성을 바탕으로 한 두 비평가의 비평적 관점을 취하였다. 첫 번째는 로잘린드 크라우스(Rosalind Krauss)의 사진적인 것(The photographic) 개념으로, 절대 닮음의 도상으로의 사진이 아닌 그 대상의 물리적 인과관계로 드러나는 인덱스적인 사진으로 해석한다. 그리고 크라우스는 지표성의 근원을 뒤샹(Duchamp)에서 찾고 있다. 두 번째로 필립 뒤부아(Philippe Dubois)의 사진적 행위(L'acte photographique) 개념으로, 사진과 실재의 직접적인 관계에 집중한다. 이러한 개념들을 바탕으로 빅 무니츠(Vik Muniz)의 사진을 분석해보았다. 무니츠의 작품은 대상을 재현하는 입장에서는 지표이며 존재의 기호라고도 할 수 있다는 점을 중심으로 분석하였다. 이러한 과정을 통하여 본고에서는 사진이 지표적 특성을 갖고 있다는 입장을 기본으로 하며 이를 중심으로 다양한 의미층위가 존재한다는 점을 논의하였다. Postmodernism led photography as a medium of visual communication to gain more attention, as it reproduced reality with its own image style that was separated from the painting arts. Photography not only can be seen as an entity describing the world in frames, but it also can be understood as a causality giving body to light through mechanical and chemical processes. Semiotics carries wieght with photography because it paved the way for images to be interpreted with diverse ideas. Charles S. Peirce's semiotics enabled critics to theoretically read images. It is different from traditional semiotics by unveiling its tendency to understand signs from structuralism and to comprehend the signified meanings from dualism. Peirce's theory is based on two significant concepts : iconicity reproducing the objects and indexically recording the trace of the objects. This study applies Pierce's theory of indexicality dealing with photography as existential quantifier. This also seeks to handle other theorists who gave a meaning to expandability of the indexicality, including Rosalind Krauss's The Photographic, Philippe Dubois's Pictorial Act, Moreover, this study applies indexically into analyzing Vik Muniz and Marcel Duchamp's works. Photography can be seen as an index and symbol of entities in embodying the subjects. But it can also be said that photography has layers composing its meanings of itself. This study is set based on the expandability starting from the idea that photography has indexical characteristics. With this position, this study will be a discussion about questioning the expandability to make sure there are other layers that specify the indexicality.

스위스와 오스트리아의 현대미술관 연구

유재길 홍익대학교 산업디자인연구소 2006 미술디자인 논문집 Vol.- No.11