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he Representational Resistance of Ppyeo: American Standard (1995): Rethinking the Term “Shinsedae Art”

  • Journal of History of Modern Art
  • 2025, 0(58), pp.359~382
  • DOI : 10.17057/kahoma.2025..58.015
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 25, 2025
  • Accepted : November 30, 2025
  • Published : December 31, 2025

Jang Seungyoun 1

1전남대학교

Accredited

ABSTRACT

The 1995 exhibition Ppyeo: American Standard drew significant attention as a project organized by young artists who challenged the authority and institutional closure of established art while seeking new points of contact between everyday life shaped by the expansion of mass media and contemporary artistic practice. Departing from conventional art venues, the exhibition occupied an old, abandoned house, employing its material condition as both medium and stage. Regarded as a radical experiment at the time, it has since been cited as a representative exhibition of “Shinsedae Art (New Generation Art)” in 1990’s Korea. This study critiques the limitations of the term “Shinsedae Art,” which has largely relied on superficial similarities, and instead highlights its discursive dimensions through theoretical re-framing. Specifically, it aims to reinterpret the exhibition’s representational mechanism through the lens of British Cultural Studies research on “subculture”. The exhibition’s experiments with media and site-specific reconfiguration can be understood as creating a marginal, oppositional subjectivity against the cultural order of the older generation, thereby generating intentional ruptures within both institutional exhibition formats and traditional representational systems of art. By doing so, this study elucidates the forms of representational resistance manifested in the exhibition and examines the mechanisms through which the qualities commonly attributed to “Shinsedae Art,” namely resistance and experimentation, were actually constituted.

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