제도비판에서 신제도주의로

양은희(Eunhee Yang) 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

The 2002 Gwangju Biennale invited twenty-six artists’ initiatives and groups for its 《Project 1》. The groups’ acceptance of the invitation seemed ironic since the largescale Korean biennial had become a spectacle to highlight cultural development and economic confidence to the rest of the world and aspiring to be like the Venice event while the invited groups formed their reputation by critiquing mainstream art institutions’ practices in favor of alternative attitudes. By agreeing to join the biennial, these group initiatives took the risk of abandoning their own values. How can this abrupt change of value system be interpreted and reconciled? Inspired by the ‘New Institutionalism’ which grew strong in some of the European museums, this paper finds answers by examining how contemporary curators came to assume the role of the avant-garde by transforming the mission and the practices of the museums and biennials. I trace how the avant-garde spirit showered not only artists who were normally categorized as practitioners of Institutional Critique but also curators who emerged in the 1990s via the diverse contemporary art exhibitions such as international biennials. Also, I examine non-exhibition practices by museums such as Rooseum in Malmo, Sweden and the Baltic Center for Contemporary Art in Gateshead, UK to illustrate the progress achieved with the idea of the New Institutionalism. My conclusion is that it is noteworthy to pay attention to the diagnosis of European critics who see the small-scale, not-for-profit spaces in Asian countries as the alternative to the failed New Institutionalism in European museums.

김환기와 환기미술관을 통해서 본 ‘한국적 코스모폴리타니즘

양은희(Yang Eunhee) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.19

중국의 〈대장정: 행진하는 시각전시〉를 통해서 본 글로벌 시대의 전시기획의 몇 가지 과제

양은희(Eunhee Yang) 현대미술학회 2005 현대미술학 논문집 Vol.9 No.-

This study focuses on the curatorial resolutions by Lu Jie and Qiu Zhijie who curated "Long March: the Walking Visual Display"(2002) in order to explore curatorial possibilities in the age of Globalism or the advance of Euro-American ways of institutionalizing to Asia. The project was held in southwestern China, following the routes that Mao Zedong and his Red Army had taken in 1934. Inspired by the Chinese history/myth of 'Long March' essential to the foundation of modern China, the curators conduct archeological, anthropological approaches in twelve sites to discover what China consists of; the legacy of historical Long March; and the cultural diversity of contemporary China. They also integrate internationalized, Beijing-based art into the regional art worlds isolated in mountainous areas by mounting temporary exhibitions, installations, performances, film screenings, discussions, and international symposium, and by engaging the local artists and residents in the parts of the project. The first part of this study examines how Globalism interacts with nationalism in Asia, especially in the Asian art world. Despite the mushrooming of international exhibitions including biennials in Asia, their imported, monotonous characteristics overshadows the future of Asian art. In the second parr, the Long March project is analysed and viewed as an alternative to theis phenomenon; how the internationally informed Chinese art community employs nee-conceptualist approach to resolve the biased views and structure of Chinese art world driven by western curators and art professionals in the 1990s. It is concluded that both essentialist and international, the project has paved a way to integrate the pressure of globalisation and the need to maintain regionalism.

줄무늬 캔버스에서 줄무늬 스카프로 : 다니엘 뷔렌의 미술제도 비판

양은희(Eunhee Yang) 현대미술학회 2011 현대미술학 논문집 Vol.15 No.2

이 논문은 1960년대 미술의 개념과 제도를 비판하면서 등장했던 개념미술가 다니엘 뷔렌의 작업과 태도의 변화를 다룬 논문이다. 1970년대 이래로 소위 '반예술'을 주장하던 뒤샹의 영향을 받은 작가로 분류되어 왔으며, 1980년대 중반부터는 '제도비판'이라고 분류되는 일군의 작가들에 포함되어온 뷔렌은 최근 한국에서 아틀 리에 에르메스에서 설치작업을 선보이고 에르메스 브랜드 매장에 소량의 한정판 스카프를 유통시키면서 상엽이라는 새로운 제도와의 접목을 꾀하고 있다. 이 논문은 이렇게 뷔렌이 걷고 있는 예술과 상업의 경계선 넘나들기를 이해하기 위해 뷔렌과 관련된 몇 가지 주제 초기작업의 양면성, 제도비판의 논지, 제도비판의 한계를 다루면서 자본에 흔들리는 네오-아방가르드 작가의 한 초상을 설명한다.

앤디 워홀의 팝 아트에 대한 재고

양은희(Eunhee Yang) 현대미술학회 2017 현대미술학 논문집 Vol.21 No.1

이 논문은 앤디 워홀(Andy Warhol)과 그의 어머니 줄리아 워홀라(Julia Wahola)의 관계를 통해 워홀의 팝 아트에 대한 기존의 관점을 재고한다. 예술가와 예술가의 어머니의 관계가 피양육자와 양육자라는 틀을 넘어서 한 예술가의 전 생애에 걸쳐 다양한 방식으로 나타날 수 있다는 점에 초점을 두고 워홀이 어머니가 워홀에게 미친 영향을 추적한다. 그동안 워홀은 비즈니스로서의 예술을 주장하며 세속적인 팝아트의 대표적인 작가로 평가되어 왔다. 그러나 그가 어머니를 통해 만화, 영화 등 미국 대중문화의 취향뿐만 아니라 비잔틴 카톨릭의 신앙과 선과 악, 죽음에 대한 가치관을 배웠으며, 성인이 된 후에도 어머니와 동거하면서 종교적인 삶을 지속했다는 점은 잘 알려져 있지 않다. 특히 그의 ‘팩토리’시기는 뉴욕의 언더그라운드 문화를 주도하던 곳으로 종교적인 워홀과는 대조적인 모습을 보여주었다. 이 논문은 고급미술과 대중문화의 융합을 통해 포스트모더니즘 미술의 서막을 연 예술가로 평가받는 워홀의 뒤에 창작, 정신적 후원, 트라우마의 근원이었던 어머니가 있었다는 사실에 주목하고 어머니와의 관계를 통해 1950년대부터 1980년대까지 여러 작품을 분석하면서 워홀의 팝아트에 대한 기존의 평가 이면에 있는 워홀의 양면성을 밝히는 데 목적이 있다. An artist’s relationship with his mother can be complex and have a seminal impact upon his career. Andy Warhol and his mother Julia Warhola formed exceptionally close relationship throughout his career, living together until her death. Julia Warhola, an European immigrant and Byzantine catholic, is relatively unknown as a major influence on Warhol’s oeuvre despite the fact that she introduced him to drawing and pop culture via cartoons and magazines, and to her religious practices. She was not only a collaborator but also a spiritual and religious guardian who influenced his artistic creations. Often portrayed as a successful businessman-like artist who delved into the underground culture of New York, Warhol signifies the iconic artist who pursued worldly pleasure during his Factory years. But he was a silent, faithful church-goer, beginning the day with prayers and decorating his bedroom full of religious items. The double-sided Warhol’s life reveals his mother’s extensive presence in Warhol’s life. I analyze Warhol’s works from the late 1950s until his in order to show the direct and indirect influences of his mother’s psychological, spiritual, religious, and artistic presence.

고인돌, 용, 엄지손가락, 세종대왕 : 올림픽 조각공원 형성과정을 통해서 본 ‘미술과 공공장소’의 관계

양은희(Eunhee Yang) 현대미술학회 2008 현대미술학 논문집 Vol.12 No.-

This essay examines the Olympic Sculpture Park in Seoul as a public space, or heterotopia, a concept formulated by Michel Foucault. As a site consisted of heterogeneous functions and roles, the Park has been transformed from a political production to promote Seoul Olympics to a cultural arena for increasing middle classes in the south-eastern Seoul for the last twenty years. Over the years, it had to embrace diverse roles imposed or demanded by the public whose concerns and interests vary as time goes by. This study focuses on the roles of the public space and its relation to public sculptures. The two compete and reconcile as the society becomes affected by diverse ideologies. To illustrate these points, the thesis reads the Park's formative period between 1987 and 1988 when it was conceived and established to celebrate Seoul Olympics in 1988. By uncovering the archival materials and letters from the period, written by Pierre Restany, the French art critic, and others, this essay examines the Park's initial role as a forum to host the international artists' works semi-permanently and to become a landmark of Seoul. Yet, the role was difficult to accomplish even at that time. The various interests unprecedently expressed by many artists' groups and organizations in Korea made the process harder than the Olympic Organizing Committee first imagined. Compromises were made but the success of the park for outdoor sculptures was to face more challenges as the park become frequented by the increased number of people to attend concerts, meetings, and festivals. The thesis concludes with the idea that the roles of public sculpture in the public space are threatened and overshadowed by other social roles of the park as Foucault suggested. In the process, the dignity and autonomy of art is often forgotten and concedes to those other social roles.

뒤샹의 미술관

양은희(Yang eunhee) 서양미술사학회 2013 서양미술사학회논문집 Vol.38 No.-

Duchamp’s Boite-en-valise(1941), one of 320 editions, was purchased by the National Museum of Contemporary Art in Korea in 2005. In 2008, it became the focus of a series of politically impacted debates that led to the dismissal of this institution’s director and the subsequent lawsuit between these two parties, which eventually resulted in the former director’s winning of the suit. The unexpected life of Duchamp’s work in Korea reflects the status of homeless artworks after the modernist period that are now destined to be dislocated at the demand of capital in the global age. The migrant life of Duchamp’s works resembles his own life. To avoid wars, he moved from Paris to New York and from Buenos Aires to Paris, then back to New York. Dislocating himself frequently, his was a metaphor for the nomadic life of contemporary artists. Inspired by the recent developments in Korea and by Duchamp’s own description of Boite-en-valise as a “portable museum,” this paper analyzes key works from 1911 to 1941 based on Duchamp’s habit of creating box works and practice of exile and dislocation. Among the works under discussion will be: Boite-en-valise(1941), One Mile of String(1942), Green Box(1934), Opposition and Sister Squares are Reconciled(1932), Monte Carlo Bond(1924), Small Glass: To Be Looked At ... with One Eye, Close To, for Almost an Hour(1918), Sculpture for Traveling(1918), A Bruit Secret(1916), Network of Stoppages(1914), Box of 1914(1913-14), Three Standard Stoppages(1913), and A Sad Young Man on a Train(1911).

1990년대 이후 한국미술의 세계화 맥락에서 본 광주비엔날레와 문화매개자로서의 큐레이터

양은희(Eunhee Yang) 현대미술사학회 2016 현대미술사연구 Vol.0 No.40

1990년대 세계 정치 지형의 변화 속에서 나온 문민정부의 ‘세계화 선언’은 한국에서의 글로벌 미술의 확산을 촉진시켰으며, 1995년 광주비엔날레를 출범시킨 배경이기도 하다. 이후 광주비엔날레는 정부의 적극적인 재정지원을 토대로 1990년대 이후 전 세계에 퍼진 비엔날레 확산의 주요 주체이자, 2000년대 한국에 태어난 여러 비엔날레의 모델로서 한국미술계와 세계미술계의 거리를 좁힌 중요한 매개체가 되었다. 본 논문은 광주비엔날레가 국내 미술계의 전시문화 관습과 관료주의의 영향력, 지역작가의 비판을 극복하고 비엔날레라는 제도의 보편성을 확보하는 과정을 살펴본다. 특히 오늘날 세계 5대 비엔날레 중의 하나로 평가받기까지 전시기획에 참여한 국내외 인력의 역할이 컸다고 보고, 비엔날레의 현장에서 문화적 매개자로서의 역할을 맡았던 국내외 전시기획자들을 중심으로 문화의 차이와 갈등, 절충과 수용의 과정을 살펴본다. 하랄드 제만, 오쿠이 엔웨이저 등 외국인 기획자들이 커미셔너에서 큐레이터로 명칭이 바뀌고, 전시기획실장에서 총감독 체제로 바뀌면서 광주비엔날레가 안정적으로 제도화되기 시작했으며, ‘글로벌 미술’의 성장에 기여한 지점을 살펴본다. 본 논문은 당시의 국내외 기획자들이 문화 매개자로서 글로벌 미술의 담론과 실천, 그리고 큐레이팅 문화를 확산시키면서 전시문화를 토착화시킨 지점, 그리고 광주비엔날레를 ‘세계화’ 실험의 공간이자 거대한 전시제도로서 구축하며 글로벌 미술의 현장으로 정착시킨 지점을 살펴본다. The Gwangju Biennial, initiated in 1995 and grown as the fifth major biennial in the world, is one of the significant sites of globalization in Korea. Since its conception, the biennial has been strategically sponsored by the central government at times even showing conflicting interests between art and political communities. As a result, it has been difficult to establish a system allowing autonomy for commissioners and curators apart from the powerful bureaucratic culture and the influence of local artists. Before the biennial, the concept of curatorship was not a commonly accepted one in Korea. Government-sponsored exhibitions were realized by artists and art critics who conventionally formed a hierarchical structure including numerous committees. Thus the Gwangju Biennial became a testing site for implementing Euro-American standards of exhibition culture and the concept of independent curatorship. This paper examines how invited national and international art critics and curators impacted the newly-born biennial influencing a global audience and establishing an artistic directorship similar to the counterparts of Venice Biennale or Kassel Documenta. Among those discussed are Harald Szeemann who as one of the commissioners propagandized ‘creative curating’ for the second Gwangju Biennial and Okwui Enwezor who became the first international artistic director in 2008.

청소년의 학업적 자아개념과 자율성, 인지적, 행동적 자기조절학습전략 간의 관계: 자율성의 매개효과를 중심으로`

이수진 ( Sujin Lee ),이수정 ( Sujeong Lee ),양은희 ( Eunhee Yang ) 충남대학교 교육연구소 2016 교육연구논총 Vol.37 No.1

본 연구에서는 청소년의 학업적 자아개념이 인지적, 행동적 자기조절학습전략에 미치는 영향에 대해 자율성이 매개하는 연구모형을 설정하고, 적합도를 검증하였다. 이를 검증하기 위해 경기도 소재 고등학교 신입생 295명을 대상으로 자료를 수집하였으며 구조방정식을 이용하여 연구모형을 검증하였다. 분석결과 학업적 자아개념, 자율성, 인지적, 행동적 자기조절학습전략 간의 정적 상관관계가 나타났으며, 모형검증에서는 학업적 자아개념, 자율성과 인지적 자기조절학습전략과의 관계에서 자율성의 부분적 매개효과가 유의한 것으로 나타났다. 그러나 학업적 자아개념, 자율성, 행동적 자기조절학습전략과의 관계에서 자율성의 매개효과는 유의하지 않은 것으로 나타났다. 이러한 결과는 이론적인 측면에서 자기조절학습전략의 인지전략과 행동전략의 특성에 대한 이해를 확장시키며, 실제적인 측면에서는 학교현장에서 자기조절학습전략 활용을 위한 학생의 동기화와 교육에 있어 전략에 따라 다르게 접근해야 함을 시사하고 있다. 마지막으로 후속 연구를 위한 제언을 제시하였다. The present study examined the relationship of the academic self-concept, autonomy, and cognitive and behavioral self-regulated learning strategies. In testing the structural model, the variable of autonomy was assumed to become a mediator for relationship between the academic self-concept and cognitive self-regulated learning strategies, as well as for relationship between academic self-concept and behavioral self-regulated learning strategies. That is, those with a positive sense of academic self-concept would experience a higher degree of autonomy, which affects the frequent use of cognitive and behavioral self-regulated learning strategies. As expected, the academic self-concept and autonomy showed significant positive effects on the cognitive self-regulated learning strategies. Also, autonomy played the role of a partial mediator in explaining the relationship between the academic self-concept and cognitive self-regulated learning strategies. However, the only academic self-concept, not autonomy, showed a significant positive effect on the behavioral self-regulated learning strategies. The results imply implied the importance of the academic self-concept and autonomy to develop intervention programs with self-regulated learning strategies for adolescents.

개인의 목표 성취를 돕는 동기 부여 애플리케이션

이현정(Hyunjung Lee),김세연(Seyeon Kim),양은희(Eunhee Yang),홍혜림(Hyelim Hong),유철중(Cheol-jung Yoo) 한국정보기술학회 2019 Proceedings of KIIT Conference Vol.2019 No.6