미술관의 사회적 존재론 - 미술관체제와 장소-관계의 예술 사이의 변증법을 중심으로 - = Social Ontology of Museum - Dialectics between Museum System and Site-specific and Relational Art -

다국어 초록 (Multilingual Abstract)

This paper aims to investigate another possibility of the museum. The relation of art and society has always been changing. The reason why the museum is important is that the museum intermediates art and society each other. The museum reflects the demand of society into the art, and extends the meaning of art into the society. Especially in the Marxist view, the museum is the center of ‘the relation of art production’. Today, the museum can be defined as the network of such resources as the power, the capital, and the media, and the artworld. In this paper, I use the term, "the Great Museum, to indicate a few museum which succeed in organizing such social resources. And in our contemporary artistic situation, the site-specific and relational art represents the level of ‘the means of art production’. The site-specific and relational artists regard the interactions of people as the material of their artistic practice. The Great museums of contemporary Art should evolve into a new stage to provide the room for the site-specific/relational art properly. So far, the Great museums had a tendency to monopoly the meaning of art and have presented the art works as the spectacle form. But now many site-specific and relational artists take as the tool various, humble and worthless things that can be found in everyday life of people to put the artistic meaning in.
Many biennales, held in so many cities, can be regarded as the effort to put the site-specific/relational art into the system of the Great Museum. But the biennales have the limit, in that they are the products of neo-liberalism which the sitespecific/ relational artists want to get over. In this paper, I examine the possibility of 'community curator program' to compromise the advantages of the Great Museum system with the aesthetics of the site-specific/relational art.

참고문헌 (Reference)

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