부산 바다미술제를 통해 본 해양미술의 유형과 실천적 가능성 = Typologies and Practical Possibilities of Marine Art:A Study of the Busan Sea Art Festival

다국어 초록 (Multilingual Abstract)

This study investigates the typologies and practical possibilities of contemporary marine art through the Busan Sea Art Festival, addressing the Anthropocene shift in which the ocean is no longer a romantic scenery or a mere exhibition backdrop but a condition that structures artistic practice. As its overarching analytical lens, the study draws on Blue Humanities and Korean Marine Humanities, while engaging debates in New Genre Public Art, site-specificity, ecological art, participatory art and relational aesthetics, and sensorial/embodied aesthetics. The research focuses on 73 works exhibited in the 2019, 2021, and 2023 editions of the festival, a period in which oceanic agendas became central to curatorial frameworks. Using qualitative content analysis, key terms were extracted from catalogues, curatorial statements, artists’ notes, work descriptions, critical essays, and news articles, and were iteratively re-categorized to identify recurring modes of practice. The findings suggest four typologies based on the dominant level at which oceanic conditions intervene in meaning-making: (1) Place-based (22 works), (2) Eco-responsive (24 works), (3) Participatory-relational (14 works), and (4) Sensory-experiential (13 works). These categories are not intended as exclusive classifications but as interpretative devices for reading how oceanic environments (tides, erosion, salinity, wind) and oceanic agendas (climate crisis, pollution, resource politics, and nonhuman agency) operate in the configuration and experience of artworks beyond representational approaches. The study proposes a framework for analyzing marine art practices and reconsiders the Sea Art Festival as an experimental platform of contemporary public art under oceanic conditions. Limitations include the study’s temporal scope (2019–2023) and the need for further research on the ecological footprint and operational ethics of large-scale outdoor exhibitions from a lifecycle perspective.