Journal of History of Modern Art 2021 KCI Impact Factor : 0.88

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pISSN : 1598-7728 / eISSN : 2733-9793
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2015, Vol., No.38

  • 1.

    The Concept and the Contemporary Significance of Ultramodern Time and Space in Robert Smithson's Work and Theory

    Junghyun Kim | 2015, (38) | pp.7~32 | number of Cited : 1
    Abstract PDF
    This study has an object in view finding the contemporary significance about the Ultramoderne time and space which Robert Smithson had showed through his works and Entropy concept. The term, “entropy”, was reinterpreted in a broader way with multiple meanings as it is associated with such matter of value as the exhaustion of usable energy and production of wasteful garbage as a result in addition to its use in physics as digitalized disorder. At 1960s in the progress of switching from modernism to post-modernism, he became ahead of his times and criticised the modern time and space focusing on the positive advance. Robert Smithson was the avant-garde artist who projected this energy consumption of human being and mechanism of entropy in their works in a specific way. To achieve this, he presented a cosmic time, or ultra instant, which cannot return to a single vanishing point and is not fallen by simulacre space and gradual time, in skyscrapers filled with mirrors. Furthermore, the simultaneous ubiquity of existence and non-existence that he suggested through the dialectical convergence of <Site and Non-Site> is understood as a symptom that predicts contemporary art at the speed of light. His work reflects the attributes of post-modernism that ultimately change the existing recognition regarding entropy and embrace social problems by art.
  • 2.

    Thinking Modernity and the Trans-Rolling of Things: Material Culture of “Modeon Geol” and Modern Sense in the 1930s

    Namhee Park | 2015, (38) | pp.33~60 | number of Cited : 1
    Abstract PDF
    This study is a challenge to keep Modeon Geol’s track of modern sense as things and consciousnes in colonial Korea. It doesn’t discuss to ‘Modernity without the assumption that the reason for the rolling-trans of the modern world and things. And It seek to Korean method and thought of modern culture as city as Kyeongsung(Seoul) in 1930s through the symbol of Modeon Geol. The awareness of modernity and the modern sense of the embodied process through a series of circumstances had been stimulated by the substance, rather than reason. Above all, this paper is not a bar to party dealing with modernity, it focuses on that subject and object recognition to modernity. So, first I examines the ambivalent sentiment of modern and Modeon Geol as performative subjects of the modern landscapein colonial Korea. Then it focus to Modan Girl’s two spaces, namely, a modern things Space-department store and a modern cultural space-coffee shop(Dabang)’ Cafe. Through material culture and modern sense of Modeon Geol, this paper wants to be read as one of the grounds for our contemporaries.
  • 3.

    Eco Art’s Project of the Environmental Health Clinic: Natalie Jeremijenko

    park yunjo | 2015, (38) | pp.61~85 | number of Cited : 0
    Abstract PDF
    This essay is on the environmental improvement of Natalie Jeremijenko. She is a scientific expert and eco artist, who has also found scientific and concrete ways to improve the environmental health. Jeremijenko uses interactive technologies for changing the status of nonhuman. With her ecological worldview, humans and nonhuman have a symbiotic relationship. Her project, <Ooz> was the paradoxical zoo that functioned on reciprocal reactions and observations between human and nonhuman. Jeremijenko, an Associate professor in Visual Art Department, directs the ‘xCLINIC the environmental health clinic+lab’ at NYU. The artist calls modern people ‘impatient’ one in her environmental health clinic because they refuse to wait for traditional legislative change to address environmental problems. She calls public experiments and products as xDesign, such as <Robotic Geese>, <Mussel Choir>, <Amphibious Architecture>. These are public experiments and eco-products for ‘impatient’ people to monitor their contamination of soil, water, and air. She has also set up <Farmacy> program based on social-ecological movement. ‘Farmacy’, a new urban farming system, can reduce the environmental costs and offer the remedial ecosystem. The <AgBags> are the local food movements that helps people protect and improve Biological Diversity. Environmental Health Clinic can promote awareness of environmental and health issues with communities.
  • 4.

    “HOMMAGE à Rudolf Augstein”: The Issue of Politics in Nam June Paik’s Wuppertal Exhibition

    Wonjung Shin | 2015, (38) | pp.87~112 | number of Cited : 2
    Abstract PDF
    Nam June Paik’s first solo Exhibition at Parnass Gallery in Wuppertal in 1963 is highly regarded in art history as the beginning of video art which characterizes Paik’s art afterwards. This study reflects upon this show from a new perspective: with respect to Paik’s political interests, it presents a differentiated way of its reading. A program note which Paik designed personally for the show has an unusual print substrate: The image from the newspaper pages of Kyunghyang Shinmoon, published in the early sixties, is printed as the background of the flyer. The phrase “HOMMAGE à Rudolf Augstein?” shown on it implies adequately the political scandals both in South Korea and West Germany around 1960. In case of three flyers, Paik created totally different base images; he chose thematically similar reports from various sources, arranged the clippings on a blank sheet of paper and printed the textual collages with politically significant events in the history of South Korea. This clears up the highly political consciousness and the critical view of the artist which both apply also to the international situation. The wall installation at Parnass Gallery, which consists of a page of the Bild newspaper flanked by four so-called stained national flags, indicates the political tensions and ideological conflicts in times of the Cold War.
  • 5.

    Understanding the Chasm between Expectations and Reality: Korea Pavilion at the 1970 World Exposition in Osaka

    Shin Chunghoon | 2015, (38) | pp.113~137 | number of Cited : 6
    Abstract PDF
    Largely ignored in the existing historical literature and occasionally discussed only as an embryonic stage for Kim Swoo-geun’s architectural maturation in the 1970s and 1980s, Korea Pavilion at Expo ’70 has received little scholarly attention. This paper aims to provide a better understanding of the Pavilion as an architectural event generated under the particular historical moment of the late 1960s. Restoring the original visions of young architects Yoon Seung-joong and Kim Won, who made a substantial contribution to the Korea Pavilion project (1968-1970) under the Kim Swoo-geun’s guidance, this paper explores what was at stake in the design process and what geopolitical, historical, and socio-technological forces shaped a realm of constraint and possibility for the project. Inspired by Expo ’67’s spatial extravaganza and recent developments in interdisciplinary future studies, the Korean designers took the opportunity to experiment with advanced architectural and aesthetic concepts. A lot of ambitious plans, but little came to fruition under unfavorable conditions such as public antipathy, bureaucratic compromise, technical limitations, as well as limited budget. Rather than celebrate the unrealized visions, however, this paper argues that the Korea Pavilion should be viewed to speak to the ever-widening gap between growing expectations and grim reality in the growth-oriented milieu of the late 1960s.
  • 6.

    The Politics of Design: Design as Transformation of Sense

    Ahn Young Joo | 2015, (38) | pp.139~162 | number of Cited : 4
    Abstract PDF
    This study contemplates the perspective of Jacques Rancière to judge the political possibility of design. Rancière argued the political issue under its close association with aesthetics so that it offers the available route for the art or the design to access. In addition, for Rancière, politics are presented not in an agreed form but in that of ‘dissensus’ with disparate sentiments, where the controversial situation of disparate languages acts as possibility to overthrow the existing order.Furthermore, it presents several cases of design implying political potential; first, the case that the identical objects suggest cultural difference by topological positioning(Super Normal). Second, the case that turning the given, unique ‘functionality’ of object into ‘usability’ causes difference(Disobedient Objects). All of these cases make design arouse its political possibility by new sentimental division upon it in the scope of everyday life. Following all the discussions above, this study makes an attempt to arouse a discourse on its political possibility. This discussion has a noticeable significance in terms of its trial to estimate new possibility of the existing design. AbstractThe Politics of Design:Design as Transformation of SenseYoungjoo Ahn
  • 7.

    Some Thoughts on the National Identity of an Artwork: Case Studies of Three Chinese Artists

    Jieun Rhee | 2015, (38) | pp.163~183 | number of Cited : 1
    Abstract PDF
    With the upsurge of ‘globalization’ and the emergence of the third-world art in the major venues of international art scenes, the artists from the third-world nations have been welcomed as new members of global contemporary art and expected to add diversities into the traditions of western modernism. In this context, the national identity, among other factors, has been championed by the leading curators and critics of the first world as a useful standard that evaluates the specificity of the third-world artworks. This paper deals with three Chinese artists and their works; Song Dong’s <Waste Not>(2006) consists of used or obsolete household objects such as old clothes, shoes, cracked dishes, plastic bottles and other junks; Ai Weiwei’s <Fairytale Project>(2007) brought 1001 Chinese tourists and equal number of Ming·Qing dynasty chairs into the city of Kassel as a part of Kassel Documenta exhibition; Lee Mingwei’s <Sonic Blossom>(2013) employs multi-national references, such as German Lied, Austrian composer, and Korean singers. Analysing these three works, this paper explores a wide spectrum of tactics and problems of national identity in the contemporary third-world art.
  • 8.

    Embodied Body-Space, Ocular Eye-Space: Kim Swoo Geun’s SPACE Group Building

    Hahn Joh | 2015, (38) | pp.185~207 | number of Cited : 2
    Abstract PDF
    Kim Swoo Geun’s SPACE Group building has been revered as one of the masterpieces of Korean modern architecture, and Jung Inha’s The Architectural Theory of Kim Swoo-Geun(1996) played a crucial role to crown the building as the quintessence of Korean-ness, with its claim of the plan similarity with traditional Korean spaces, and the dramatic sequential spatial experience. However, Pai Hyungmin claimed in Sensuous Plan: The Architecture of Seung, H-Sang(2007) that it is a matter of our belief of what is Korean, and suggested to see the wall of the building as a sensuous plane to invite multifarious imagination and association. With Pai claim, I would like to re-read the building as the relationship between embodied Body-Space and ocular Eye-Space. As Modern Architecture with the visually and conceptually transparent Eye-Space failed miserably in every aspect, the post-modernism and de-constructivism questioned the validity of the Eye-Space and de-constructed it to make a way for embodied Body-Space. It is possible that the SPACE Group building represents the Korean version of this western Body-Space. However, without any similar Eye-Space being found in traditional Korean architecture, we need to further study the Eye and Body in Korean culture, to develop our own architectural discourse.
  • 9.

    The Two Faces of Cupboards: Reading the Context of Space and Structure

    Choi Gongho | 2015, (38) | pp.209~232 | number of Cited : 0
    Abstract PDF
    Even though all the cupboards are to keep bowls and side dishes, kitchen cupboards are totally different from the living room cupboards. The differences stem from their different usages and the closeness and openness of the space. Especially, cupboards vividly show their close connection with the socioeconomic and class changes of the women, who use the kitchen and its space. If we could figure out its liberal art environment, such as how they are made, placed and used, its value goes beyond its normal range. This is all the more important since the study of the current art history requires reviving its original state of the liberal art. The craft is a multi-purpose object in our daily lives as well as a form of art and it is important to make something useful by using resources with trained hands. In other words, the craft can be seen as an achievement of the civilization rather than a cultural product. That’s because they look more colorful seen from the viewpoint of the material culture. They are an achievement of the shaping seen from the viewpoint of the pattern history. They are also the actual reality and even go beyond to recognize the presence of human beings when they are seen from the viewpoint of the material culture. It’s an ironic experience to realize the material culture is facing human beings while the pattern history, focused on shaping, is limited in the forms.
  • 10.

    Sneaky Snakes in Scenes of Incompetence: Suntag Noh’s Representation Strategy

    Yeonha Choi | 2015, (38) | pp.233~257 | number of Cited : 1
    Abstract PDF
    In his exhibition Sneaky Snakes in Scenes of Incompetence, Suntag Noh says “the division of Korean peninsula surrounds us like the air, and so as photography”. Since we can’t clearly understand the environment because we’re surrounded by it, his words can be interpreted to mean that ironically we can’t observe photographs as there are only so many. He displayed the reality of photography as if making a collection. ‘ Scenes of Incompetence’ alludes to the social environment that is only subjugated by structured politics, and the ‘sneaky snake’ seems like a metaphor for cameras, which have a short history but make quick cunning moves. The artist seems to make attempts at conveying the incompetent scenes of blindly chasing mere images of photographs rather than contemplating on the hidden political scenes. Through a series of photographic work, Suntag Noh dismantles the fundamentals of photographs and explores new possibilities of device. In Red House, he uses three curtains to make allusions to a ‘mirror’, which changes its forms depending on the subject’s viewpoint and degree of interpretation. In order to express ‘memory’ and ‘oblivion’, the artist describes the roles of photography as a form of memory arts in Forgetting Machines. Against the backdrop of ‘incompetent scenes’, the camera, which is the ‘sneaky snake’, diligently collects, thins out and categorizes pieces-images that have fallen out from the world. Our focus is directed to how Suntag Noh, who has been expressing the power of photograph ingeniously, puts forth the renewed possibilities of photographic devices.
  • 11.

    The Spirit of Resistance in Nouvelle Figuration of the 1960s and 1970s France

    Seunghye Han | 2015, (38) | pp.259~286 | number of Cited : 2
    Abstract PDF
    This study investigates the spirit of resistance that appeared in the 1960s and 1970s French Art, Nouvelle Figuration. Nouvelle Figuration shares certain stylistic similarities with the American Pop art and Hyper-realism. However, the works of Nouvelle Figuration reveal more directly the critical thought of the time and seek to disclose the absurdity and inequality of the contemporary society, influenced by the social condition and other artistic movements in France at the time. The artists of Nouvelle Figuration demonstrated their political opinions though various group exhibitions and activities of smaller scale. In order to express their political claims effectively, the artists used portraits of contemporary heroes, strong colors such as red as well as letters. They also adopted the rhetoric of satire by using humorous expressions found in cartoons. Furthermore, they used playful elements derived from parodies of the artworks considered to be important in art history and famous trademark images. In addition, the artists installed their works in everyday places so that they would be more accessible to the general public. Through such discussions, this study demonstrates that the spirit of resistance present in Nouvelle Figuration is an artistic reaction to the important historical and cultural issues of the French society in the 1960s and 1970s.