Korean | English

pISSN : 1598-7728 / eISSN : 2733-9793

2020 KCI Impact Factor : 0.47
Aims & Scope
The Korea Association for History of Modern Art (KAHOMA) was established in February 1990 to promote academic research and exchange on the history and theory of modern and contemporary art, at a time when there was no association that professionally researched modern and contemporary art in South Korea. Since its establishment, KAHOMA has been intensely focused on interdisciplinary studies, particularly on modern and contemporary art, which compasses art history, art theory, curatorial and professional fields of art research, and aesthetics. Also, the association contributes to in-depth research and exchange throughout art culture in a wide range of areas, including existing paintings, sculptures, photographs, video,   and architecture as well as visual and material cultures, new media, life sciences, curation, and art administration, expanding the scope of traditional art historical research methodology and attempting to relate it to other studies in integral ways. Through regular academic presentations, symposiums, and publications, KAHOMA aims to develop modern and contemporary art history and expand and educate the researcher base of modern and contemporary art history. In particular, the Journal of History of Modern Art, which was first published with the establishment of the association, is a professional journal published twice a year and contains the results of academic research and exchanges that have been led by the association. The association has pioneered a variety of new subjects such as contentious and critical topics (feminism in contemporary art, war and gender issues related to Japanese military sexual slavery, homosexuality and sexual politics, etc.); public topics (food and art, art and competition, public art and biennale, disputes over art markets and museums, etc.); discussions about the relationship between technology and art using cutting edge technology―photographic media, video, digital, bioart, etc.―and so on. Based on these efforts and achievements, the association encourages researchers to engage in ongoing research on modern and contemporary art, while also contributing to the research and education of art history by drawing the attention of subsequent generations to modern and contemporary art history. The association also collaborates on research with scholars from other fields of study and institutions to make diversified approaches to art in the rapidly changing era of the knowledge-based society and the Fourth Industrial Revolution. Moreover, it makes continuous efforts to ensure that art history research can be carried out in connection with both high-tech science and technology research and the humanities. Through these efforts, KAHOMA is expanding the prospect of multidisciplinary research about contemporary art of the twenty-first century.  
Eun Young Jung

(Korea National University of Education)

Citation Index
  • KCI IF(2yr) : 0.47
  • KCI IF(5yr) : 0.43
  • Centrality Index(3yr) : 1.024
  • Immediacy Index : 0.0

Current Issue : 2021, Vol., No.49

  • Notre-Dame du Haut and Le Corbusier's objet ambigu

    Seung-Chol Shin | 2021, (49) | pp.7~35 | number of Cited : 0
    This paper critically examines Le Corbusier’s use of natural forms in Notre-Dame du Haut. Ronchamp chapel was designed at a time when modern architecture was criticized for dehumanization and standardization. Le Corbusier tried to overcome this criticism by reinforcing the plasticity of architecture, and based the crab-shaped roof of the chapel on a natural object. He called this ‘synthesis of the arts.’ Natural objects such as seashells, pebbles, and crab shells were at the center of his artistic practice. Le Corbusier sketched natural objects found on the beach and applied their forms to architecture. The ‘chance image’ created by nature was used in his design. He believed that the abundant forms of natural objects, which are difficult to define clearly, would give architecture poetic potential, and he successfully showed the artistic and aesthetic ‘molting’ of architecture in Ronchamp. Le Corbusier fulfilled modern aesthetic demands and simultaneously incorporated architecture into a new practice that could not be dealt with in the Platonic view of the world.
  • Solid Life or Flowing Matter: Aesthetic Analysis of Abjective Matter from Marc Quinn’s Self Series

    Jae-Joon Lee | 2021, (49) | pp.37~61 | number of Cited : 0
    Abstract PDF
    In this paper I read Mark Quinn’s Self series (1991–2011) is from an aesthetic perspective on the materiality of things. This series, which critically considers the problem of the self (Ego), is linked to ontological questions of abjection such as otherness, objectivity, and the emotion of disgust. In particular, the use of blood and its materiality deconstructs dichotomies such as life/subject and matter/object, and expresses conditions of subjectification from the inevitable dependence on others. The works represent Quin’s own Ego through a frozen head of blood. The works are embodied in typical forms of sculpture, creating an atmosphere different from that of the abject—art which appeals to strong intension of disgust. The Self elicits a vague feeling of ‘weak’ disgust and so suggests a new interpretation of the ‘vagueness of existence’. This representation by blood is ultimately possible only from a continuous reliance on abjective matter, the materiality of the extracted blood, the freezing systems, cooling silicon material, and so on. For the reason of this dependence from a ‘relational ontology’, Quin expresses his variable self-identity rather than as a solid entity. In the Self series, we come to understand the fluid co-existed life, not the solidified, isolated life. In the relational-ontological horizon, our lives meet the faces of many things that inevitably are connected with ourselves.
  • Contemporary Lebanese Art, the Artists’ Archive, and Representation of the Civil War

    Sunhee Jang | 2021, (49) | pp.63~85 | number of Cited : 0
    Abstract PDF
    This thesis investigates the ways in which the Lebanese Civil War (1975-1990) has been represented by two Lebanese artists, Walid Raad (1967~) and Akram Zaatari (1966~). First, I problematize the ongoing censorship surrounding documenting and writing the histories of the civil war. (In Lebanon, complicated relationships among different religious and ethnic groups make it hard to agree on how to historicize the war.) Then, I analyze two different types of the artists’ archive—The Atlas Group Archive (1989-2004) by Raad is fictional, and the Arab Image Foundation(AIF, 1997~) where Zaatari was president, is real. Through analysis of the archives, I discuss how the artists have been intervening in writing history of war by questioning the power and authenticity of the archive itself. I then turn to the AIF and Zaatari’s uses of the archival materials. I argue that Zaatari employs Foucault’s archaeological and genealogical methods of history by examining the artist’s film and installation Letter to a Refusing Pilot(2013). Finally, I claim that Zaatari’s representation of the civil war, which is based on his experiences rather than objective data, delivers truer narratives than any other, by crossing the borders of faction and fact.