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2017, Vol., No.42

  • 1.

    Oligopticon and Actors: a focus on the experience of city spaces

    Joo-ok Kim | 2017, (42) | pp.7~29 | number of Cited : 1
    Abstract
    Bruno Latour(1947-) created the concept of the “oligopticon” along with Actor-Network Theory, with the purpose of explaining, mobilizing the collection of all data, and identifying the connections that data has with all information. A panopticon is a method of closed-circuit television that enables a panoramic view, but an oligopticon is just the opposite, and enables a view of just the details. The city is a place that displays the phenomenon of an entanglement of several complex phenomenon and it should be identified through diverse context. Consequently, by observing the project titled, Paris: Invisible City , which was a work by Latour known as “a Sociological Web Opera”, this study will research the methods of interpreting a city, and look into how a concept such as “plasma” can explain the unfixed nature of cities. Also, this paper examines how an artist can experience a city by collecting massive amount of data by OpenEndedGroup known as the Detroit Transect project. The range of data collection mentioned here is not merely information obtained via non-human actors, but rather it includes all a holistic approach of all information that includes the actions and experiences of a human population. Thus, this article analyzes how the concept of “linked networks” is invoked when applied widely in a social system by looking at works of contemporary arts through oligopticon.
  • 2.

    A Study on Women Artists’ Self Narratives and their Autobiographies Written in the 1920s’ England and America

    Ho Chung Kim | 2017, (42) | pp.31~65 | number of Cited : 1
    Abstract
    Some female artists who worked in the late 19th Century to the early 20th Century England and America made a self narrative on their art life and achievement by the form of ‘autobiography’ in the 1920s. The purpose of this paper is to examine the autobiographies written by five female artists, Elizabeth Thompson Butler, Louise Jopling, Anna Lea Merritt, Janet Scudder, and Cecilia Beaux. Focusing on the narrative structure, narrative method, and narrative theme, I found that not all the autobiographies followed narrative method of women’s autobiography, which is composed of letters or diaries. Although they had similar chronological narrative structure of men’s autobiography. The common themes of autobiographies were the childhood experiences of artistic talent, the courses and curricula of art education, and their professional career and accomplishment. Examining the common themes, I realized that financial ability to afford art education and to gain recognition from male artists and art institutions played a more important role than to give women art education equal to men or stress their personal effort. In the age of Modernism, female artists tried to reconstruct their artistic life and careers following the model of male artists, and to the judge with the phallocentric standards based on the past Academism.
  • 3.

    A Study on Gender Ideology and Women’s Crafts of Bauhaus

    Ahn young joo | 2017, (42) | pp.67~92 | number of Cited : 0
    Abstract
    This study is a project to try different reading about Bauhaus, which maintains its reputation and status from the history of craft, design, architecture and art to this day. Bauhaus has been regarded as an incarnation of a modernist movement with free and innovative education and experimentation and progressive ideas. But this assessment of Bauhaus seems to rely heavily on mythological interpretations rather than historical facts. Therefore, I focused on the story of ‘women’ who studied and worked in the Bauhaus, not the ‘world of male masters’ who represent the Bauhaus that has been frequently encountered such as Walter Gropius, Wasily Kandisky, Paul Klee, László Moholy-Nagy. In Bauhaus’s education system, women were regarded as peripheral by the dualist system and idea of arts and crafts, and faced with gender discrimination such as limitations of their major fields and discriminatory sharing of work. Most of their work was devalued by men as ‘feminine’ or ‘handicrafts’, a gender ideology that saw men as ‘constructors of the world’ and women as ‘decorators’. For this reason, much of the history of Bauhaus women has not been recorded, but some female craftsmen, such as Gunta Stölzl and Marianne Brandt, show their influence in the field. The researcher introduced the works and their phases based on them and tried to provide various interpretations about Bauhaus.
  • 4.

    A study on the 1960s works of Park Seo-bo with a focus on the artist’s year in France

    Jeon Yushin | 2017, (42) | pp.93~118 | number of Cited : 2
    Abstract
    This paper explores the process through which Park Seo-bo came into contact with not only Art Informel but also post-Informel genres such as Nouveau Réalisme during hisalmost one year in Paris in 1961 and argues that Park’s experiences during this time are reflected throughout his artworks of the 1960s. In addition, this paper focuses on thefact that, while in France, Park Seo-bo was far more inclined toward Nouveau Réalisme and the works of Yves Klein than Art Informel. Klein’s influence, in particular, is reflected consistently in the artworks Park created after returning to Korea, as can beseen not only in his Primordialis series, which he created immediately after returning to his home country, but also the Illusion series and Hereditarius series, both of which heproduced in the late 1960s. However, immediately following his return to Korea, Park Seo-bo made critical statements about the French art world and emphasized that he had only been minimally influenced by the post-war French art with which he came into contact while living in Paris. Regarding his Primordialis series, instead of revealing its connection to Nouveau Réalisme and Yves Klein, Park introduced it to Korean audiences as an example of Art Informel. This paper seeks the reason for Park’s denial of French influence in his art after returning to Korea in the circumstances of the Korean and international art world at the time. By analyzing these circumstances, this paper argues that Park Seo-bo’s artworks of the 1960s must be re-analyzed in a broader international context that includes Park’s experiences in Paris and his relationship with the French art world and ultimately reevaluated in terms of their place in the history of modern Korean art.
  • 5.

    Kukjin Kang’s art activities based on “performative performance”: with a focus on early experimental art

    Eunjoo Lee | 2017, (42) | pp.119~149 | number of Cited : 7
    Abstract
    This paper holds meaning in reestablishing Kukjin Kang’s early experimental art activities from mid to late 1960s to early 1970s as the concept of performance art. Among Kang’s experimental art activities, the foundation of what led a new style in the art world at the time began with Noncol Art . This booklet was created as a catalogue for the Noncol Dongin Exhibition , and consisted of content on raising awareness of problems within the Korean art circle and searching for solutions. The researcher discusses the new art experiment movement led by young Korean artists by analyzing the writings of the critics as well as fellow and senior Artists in Noncol Art . After Noncol Art , the experimental spirit of Kukjin Kang continues on to Happening with Plastic Umbrella and Candlelight in the Union Exhibition of Korean Youth Artists in 1967, The Night of Contemporary Art and the Happening , to the famously known The Transparent Balloons and a Nude and Murder at the Han Riverside by Kukjin Kang, Chanseung Chung, and Kangja Jung. One after another, Kang’s art activities as such deducted various artistic implications surrounding happenings and performances. His experimental spirit of seeing beyond masterpieces and attempting performance art at a time when the abstract circle was mainstream, transforming the audience into performers, and seeking new media gradually set the stage for the function and dynamic situations seen in performance art of today. The researcher sheds light on how Kang’s series of performance experiments developed gradually with time, and analyzed it as adiscussion on “performative performance.”
  • 6.

    Kara Walker’s Beautiful Ugliness: The Abject, Incongruity, and Critical Historiography

    Sunhee Jang | 2017, (42) | pp.151~171 | number of Cited : 0
    Abstract
    This research investigates the rhetorical force of Kara Walker’s visual languages. Because of the sexist and racist idioms represented in her works, Walker’s motives and morals have been attacked since her debut in the mid-1990s. I examine whether Walker’s flat black-cut silhouettes deliver a “negative stereotype” of the African-Americans’ lives in slavery. Then I analyze the spectatorship of Walker’s tableaux focusing on the “interchangeability between the self and the other.” I demonstrate how her skillful use of materials combines with the provocative issues of sex and race to generate the viewers’ masochistic engagement with the presented subjects. I also discuss Walker’s works with Julia Kristeva’s concept of the abject to see how the viewers position themselves in relation to otherness. After then, I discuss how Walker’s works attract the viewers’ marginal experiences that reveal “incongruity.” Her aesthetic strategies show how pre-existing power relationships are reversed in an amoral world. Lastly, I examine how her works locate the viewers in an unfamiliar, different time and space in which the viewers take a “subjunctive role” by virtue of a “melodrama effect” to see ongoing racism. I argue that her works represent a critical historiography where the viewers’ reflexivity and exposure are operated at the same time.
  • 7.

    The Experiential Assemblage of the Singular Plural Autobiographical Situation: Tino Sehgal’s Carte Blanche

    Choi, Jung Eun | 2017, (42) | pp.173~189 | number of Cited : 0
    Abstract
    Focusing on This Progress and Ann Lee that were part of his Carte Blanche in 2016, this study provides a comprehensive analysis of Tino Sehgal’s constructed situations that realize autobiographic situations in embodied experiences. More specifically, the study suggests that Sehgal’s constructed situations activate an ever-evolving experiential assemblage operated by the bodily attending of human participants, virtual stories (including reanimation of the past in the present and a sense of futurity), and a museum space as both a physical infrastructure and a social and cultural institution. By exploring Sehgal’s constructed situations as ecological structures of experiential assemblage, this study unpacks the complex dimensions of the autobiographic situation that is ‘embodied’ and ‘lived.’ In particular, it focuses on the ways in which Sehgal’s constructed situations solicit the experience of affection by creating experimental and non-habitual environments that induce bodily encounters and materialize a multiplicity of temporalities that continuously refreshes, or, better, depresences itself in these encounters. Furthermore, this study explores the process of individuation or selfdifferentiation enabled by partaking in experiential assemblage. In Sehgal’s constructed situations that constitute relational fields of shifting relations, multiple temporalities intersect through gesticulatory activities as well as collective storytelling, and the ontological affirmation of self-differentiation emerges in these multi-level bodily interactions.
  • 8.

    “Synthetic Experience” as Social Commentary and Alternative Media Practitioners in Contemporary Korean Art

    Chung Yeon Shim | 2017, (42) | pp.191~211 | number of Cited : 0
    Abstract PDF
    This article initially explores the way Korean visual artists Yeondoo Jung and Donghee Koo, and young “post internet” generational artists collect digital images and data floating around social networks in order to form an alternative narrative of mainstream social conditions and politics. These media artists in Korea employ a certain cinematic mode, producing experimental alternatives while responding to grand narratives on social media, from natural disasters, conflict, urban and economic crises, to more benign matters. Secondly, it analyzes the recent artistic activities and media practices by millennials in their use of technology, in particular, the SNS, while examining their unique ways of editing travelling digital images as social commentary of their own situations. Because the boundaries of the original and the copy are leaknot even visible on the digital screenthe artists nterplay with the conditions of the raison d’ȇtre of digitally travelling images. Finally, this essay introduces the newly built “alternative” spaces these young artists employ in addition to their media practices. Their working processes manipulate, distort, and crop digital images that roam the internet, thus producing sociopolitical comments on the artists’ generational predicaments. Consequently, the working processes addressed by these groups of artists in Korea mark theatrical manipulation and digital editing, and augment synthetic experience , the very title derived from Koo’s exhibition.