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2019, Vol., No.45

  • 1.

    Poly-sensoriality in Ernesto Neto’s Bio-organic Installation: Focusing on the Aesthetics of Grotesque and Softness

    Shin Young Sung | 2019, (45) | pp.7~36 | number of Cited : 2
    This is a study of Brazilian artist Ernesto Neto’s gigantic bio-organic installation as a representation of the world that elicits a poly-sensory experience, including visual and tactile perception. Neto’s work continues 1960s Brazilian Neo-Concretism traditions with its minimalist approach and social and cultural significance, and the interconnectedness of poly-sensoriality and the symbolic semantic system function as a union of the simultaneous experience of the senses and mind. In particular, this paper focuses on the artist’s awareness of the world as a “body without organs” and interprets his strange creation within the framework of grotesque aesthetics. The unfamiliar visual experience of the grotesque body’s introduction to the world stimulates spectators’ imaginations and engages their minds, providing an opportunity to be confronted not only by history, society, and culture, but also by the essence of the world, such as the cosmic life; this is in line with the ontological characteristics of grotesque aesthetics. In addition, Neto uses soft and elastic fabrics and natural spices to elicit tactile, olfactory, and kinetic experiences that allow our imagined world to be acquired and rationalized through intimate body-to-body interactions. Consequently, the spectator will realize that we exist as an inseparable organic continuum with the world.
  • 2.

    The Debates and Issues Surrounding Mike Nelson’s Heygate Pyramid: On the Relationship Between Gentrification, Resistance and Public Art

    Chison Kang | 2019, (45) | pp.37~64 | number of Cited : 0
    This article investigates the relationship between gentrification, resistance, public art and class, by looking at Michael Nelson’s Heygate Pyramid project. First, it analyzes the cause of public antagonism and resistance to gentrification and public art. Second, it examines the way it affects the reception of public art, criticism and the role of art. Heygate Pyramid conveys a symbolic meaning about the reality of public art which is complicit in urban regeneration, money and power; public art functions as a “symbolic economy” for urban image construction and social control. It also takes the role of “cultural mask” to conceal gentrification: unfair class-based urban rebuilding. Heygate Pyramid suggests two consequential issues concerning public art and the role of art in gentrification context. Firstly, it signifies a need for a conceptual framework for criticism of public art which embraces the realities of production, operation, urban social justice and ethics. Secondly, it shows the role of art in resisting not only gentrification but also the unequal urban restructuring and instrumentalisation of art itself. Therefore, this demonstrates the alternative form of art that seeks to collapse art into everyday social movements.
  • 3.

    On the Figure of Absence in Georges Didi-Huberman’s Theory of Image: His Critical Analyse of Fra Angelico, Minimalism, James Turrell’ works

    LEE NARA | 2019, (45) | pp.65~91 | number of Cited : 3
    Abstract PDF
    Georges Didi-Huberman’s idea of the image is about the visuality, the symptom, the presence, not the visibility, the imitation, the representation. Concerning Charcot’s photographies on hysteria patients, he has recognized these as the symptoms image that shows the simultaneous presence of contradictions. In the 1990s, he put forward critical researches about religious paintings of the 15th century, as well as about minimalism and James Turrell’s works. After 2000, on the contrary, he focused on thinking about the image of History. If the former is to analyse the figurability, the Freudian idea, that assembles contradictory symbols and associates one signification to the opposite, the latter on dialectical image. For him, the symptom, the figurability, the place are conditions to reveal the absence and the void. His comments on Fra Angelico’s religious paintings, minimalism and James Turrell let us know that his thinking about image is closely linked to the figure of the absence. James Turrell shows the absence by the use of frame’s paradox slitting the space and hiding this limit. In this sense, his critical image thinking of history is not different to the symptom image of something missing that affects us although we have lost it.
  • 4.

    Images of the Body in Louise Bourgeois’s Art

    Heekyeong Yun | 2019, (45) | pp.93~118 | number of Cited : 1
    One of the central issues in Louise Bourgeois’s art is the body. This paper approaches this issue from multiple perspectives. Bourgeois’s Portrait, for example, in its glistening viscosity and shapelessness, evokes the fluidity of the body’s internal matrix instead of its external appearance. The mucus and diffuse corporeality visualizes the concept of “the formless” and the “base materialism” of George Bataille on the one hand, and the “abject” of Julia Kristeva on the other. Works such as Fillette and the Janus series embody the “part object,” the fragmented body as a target of the aggressive death drive in unconscious psychic life, while it disrupts the categorical difference between the sexes. It is differentiated from the “partial figure” of the modern sculpture, which distills the body into pure form. The obsessive repetition of the bisexual body in Avenza and Cumul is an important characteristic of the “part object.” Furthermore, it reminds us of the schizoid system of “desiring production” of the “body without organs” outlined by Deleuze and Guattari. In She Fox, Bourgeois visualizes the body of the mother as a hybrid of fox and woman. It represents the mother as a strong and powerful woman who disrupts the patriarchal authority. The body images in Bourgeois’s art are expressions of the destructive energy at the presymbolic and presexual psychic level. Bourgeois combines them with the feministic strategy and attempts to disrupt the phallocentrism in modern art and in the symbolic system as a whole.
  • 5.

    Ecoart: Artistic Implementation of an Ecological System in the Exhibition Hall

    Yunjo Park | 2019, (45) | pp.119~143 | number of Cited : 0
    This paper is a case study of ecoart since the 1960s. Since the 20th century, environmental issues have become more serious worldwide, and the ecological world view emerged as a new paradigm of replacing the anthropocentric view. This is a holistic worldview based on systems thinking. Ecoart is the artistic implementation of the ecological world view according to the demands of the times. Ecoartists such as Helen Mayer Harrison (1929-2018) and Newton Harrison (1932-) — the Harrisons — Hans Haacke (b. 1936) and Mark Dion(b. 1961) regard environment issues as a serious social problem, and try to do systems critical work related to this problem. They tend to display research data and samples based on field surveys in order to identify the realities of the ecosystem. The Harrisons investigated the environment with the help of experts and tried to identify the ecological system in their exhibitions. Haacke and Dion implemented a pseudo-ecosystem through sample collection, and clarified the close relationship between nature and civilization. Their exhibition space, representative of cultural space, was the ecological system itself. Consequentially, these halls became public spheres that provided a basis for changingthe perception of nature and culture.
  • 6.

    The Folding and Unfolding of Expanded Cinema: Concept, Pan and Figure

    gu an | 2019, (45) | pp.145~174 | number of Cited : 0
    This paper describes the process, the characteristic and the effects of Expanded Cinema. Expanded Cinema is presented after Structural Film, being experimental cinema and the moving image of the exhibition which turned up since the 1970s. In this paper, I account for the process of Expanded Cinema, which folds and unfolds as the concept of pan, and the Figure. Expanded Cinema transcends Structural Film which suggests anti-illusion, and medium-specificity. Expanded Cinema tries to reveal not the material characteristics of cinema apparatus, but the element of spirit and the concept of cinema itself. Therefore, traditional cinema apparatus is substituted for the various elements. Light and time newly break onto the art scene as an essential factor. Light and time are not sense but nonsense, the sphere of virtuality, and the realm of a symptom. When light and time have connected the concept of generality that is the sphere of representation, this is the very pan. Pan is the conjunction of the realm of virtuality and representation. Consequently, pan is not the actual space of representation but rather the intensive spatium with representation. The viewer faced with pan suffers decentralization. But pan begins to erase the zone of representation from the 1990s. It is the appearance of the territory of the Figure which is the zone of virtuality as nonrepresentation. The viewer of the Figure experiences the dissolved and cracked subject across the decentralization of the subject.
  • 7.

    National Archetype of the Communist: Discourse of Human Imagery of North Korean Art in the late 1950s

    Hong Ji Suk | 2019, (45) | pp.175~198 | number of Cited : 3
    In the late 1950s, what was highlighted in the search for special measures to develop classicism into socialist realism was the concept of “the archetype of human imagery.” One of the key concepts of socialist realism, “archetype” was introduced to North Korean art by 1949, but it has been since 1955 that the concept has emerged as a practical issue for art criticism. In the late 1950s, archetype was in the spotlight as a clue to overcoming the problems of so-called schematicism and an alternative to securing the artistry of realism. Recalling Engels’ remarks that “realism means creating a typical character in a typical environment in addition to the veracity of details,” North Korean artists of the time sought to “replay and reflect the underlying phenomena” and implement the typical characteristics that express the nature of a person’s character.” However, it was not easy to make the ideal a reality. In other words, a number of problems arose in the process of realizing the “archetype” requested by socialist realism in their work. In the process of solving this problem, the meaning of the concept of “archetype” also changed and expanded to the “National archetype of the communist.”
  • 8.

    A Study of Lee Kang-So's Experimental Art in the 1970s

    Eunjoo Lee | 2019, (45) | pp.199~228 | number of Cited : 1
    This research aims to comprehensively study Lee Kang-So’s experimental art in the 1970s and begins with an analysis of the activities of Shincheje (New System), a small study group which Lee founded after graduating from college. Individual studies of artists who established their own areas among Korean painters would further enrich a discourse on Korean contemporary art. To this end, it was first essential to initially link 'Shincheje', which had been assessed as an abstract art group, and the activities of the A.G. group, which worked to pioneer the avant-garde. Lee had already dismantled planes and solids at the First Exhibition of the Shincheje’ Group. For his first exhibit at the A.G. Exhibition in 1971, he gathered reeds around the Nakdong River, bound them with plaster and installed Void . With this piece, he started to attempt to boldly break away from formalism as in Western art theory and express in his work experiences derived from the establishment of relationships between “me and others” or “me and the world.” Second, through the 1973 project Bar in the Gallery and 14-Becoming and Extinction, Lee established the concept of interactive art, which involves the audience in the work to complete a narrative. Finally, Lee employed the issue of the body, which is considered significant today in performance art. While he sought happenings arising irrespective of body in and Untitled-75031 he was active in using his own body as performance in Painting (Event 77) .