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How did Korean performance art secure publicness?: Daehangno in 1986 as ‘Nori Madang’, and the Korea Performance Art Association

  • Journal of History of Modern Art
  • 2018, (44), pp.253-284
  • DOI : 10.17057/kahoma.2018..44.010
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 23, 2018
  • Accepted : December 6, 2018
  • Published : December 31, 2018

Cho, Soojin 1

1이화여자대학교

Accredited

ABSTRACT

This research attempts to explore the full account of Korean performance art in the late 1980s, which is often considered to be the starting point of the third period in the history of Korean performance art. The period also left an important legacy in the scene that still characterizes Korean performance art today. This research investigates the influence of Korean politics and social climate around 1986 on Korean performance art, and the problematic events that the art scene faced during those times, in order to signify the characteristics of performance art in the 80s that makes it so fundamentally different from those in the 60s and 70s. The 1980s was a turbulent era for Korea in all aspects including politics, economics and culture. The Korean art scene also experienced a series of transformations, where all parties involved seeked to fight for dominance through symbolic and stylistic struggles, amidst the quantitative expansion in the art institutions and market. The Seoul Asian Games in 1986 and the Olympics in 1988 were especially significant in their impact on the art scene. The historical current of such national events reached the very artistic core of Korean contemporary art and transformed its direction. Out of all characteristics of performance art that were born out of those times, the ‘publicness’ is by far the most important factor that continues to be prevalent in the Korean performance art to this day. “Publicness” enables the intersubjectivity between the artist and the audience in ‘public’ spaces; the times of the 80s allowed such performance art to start emerging around public areas in Korean cities. As a result, Korean performance art was able to become a public asset as opposed to a private one, and an open space where conversations between the artist and the audience on artistic and political issues could take place.

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