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An Ontological Discourse on the Placeness in Public Art and The Chulam Project

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2014, 42(), pp.97-132
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : October 31, 2014

이경희 1

1고려사이버대학교

Accredited

ABSTRACT

This paper examines the issue of site-specificity both in fine arts and in public art. To expand the current discourse on public space, site-specificity, I reviewed firstly Martin Heidegger's thoughts on place and sculpture, secondly Hannah Arendt's intersubjective publicness. Considering art to be the area where existential truth is shown most clearly, Heidegger insisted “Sculpture would be the embodiment of places”. This means that place is more than just a physical space, but something consistently reshaped as a function of the matter contained within it, their interplay and relationships helping to bring out the essence of matter. Hannah Arendt's concepts of between, space, and public interest as shown in her political thought are considered in relation to art and public interest. Arendt insists that private and public areas cannot exist separately from each other and that meaningful community can only exist within a diverse set of perspectives, we are able to derive a concept of public interest that is open and tolerant of diversity, instead of the controlled and homogenized variety. As practical cases of ontological placeness, I analyze Anthony Gormly's works and Chulam public Project. The objectness of Anthony Gormly's works have shown an ontological approach to the placeness. Chulam Project, a public art project in a former mining town in Korea, have delved into the interaction between the artist and community in a different way. From the analysis of Chulam Project, creation of an autonomous community, memory and record, and continuity, could be issues put forward as a way to expand the discourses of place in public space.

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