신학철의 <한국현대사-초혼곡> 연작(1994-5)과 ‘5월 광주’의 동시대화

유혜종 현대미술학회 2021 현대미술학 논문집 Vol.25 No.2

Best known for his “History of Modern and Contemporary Korea” series, critical studies on Shin Hak-chul’s artworld have been limited to his 1970-80s artworks. To remedy this situation, this paper will discuss his 1990s artworks by mapping out his artistic problematics and sociopolitical realities he faced during the period. This paper will pay particular attention to Shin Hak-chul’s 1994- 5 Chohongok(Invocation of the Spirits of the Dead) series which deal with the Gwangju Uprising in 1980. This paper argues that by embracing the politics of mourning and remembrance in the 1990s, Shin attempts to preserve and remember the legacy of the prodemocracy movement of the 1980s which was rapidly forgotten in the new reality. In the process of engaging with the politics of mourning and remembrance, this series forged a new artistic practice as well as a new form of ‘aesthetic politics.’ 대표적인 민중미술 작가 신학철의 미술 세계에 대한 논의는 1970년대 모더니스트 작품과 1980년대의 <한국근․현대사> 연작으로 한정되어 있다. 따라서 이 글에서는 미술사적 담론에서 조명받지 못하였던 신학철의 90년대 미술 작업의 복합성을 그려내고자 한다. 이 글에서는 특히나 신학철의 90년대 대표작이라 할 수 있는 1994-5년 <초혼곡> 연작에 주목할 것이다. <초혼곡> 연작에서 그는 90년대의 시대적 상황이 요청하였던 애도와 기억의 정치를 형상화함으로써 소멸되어가던 민주화 운동의 유산을 지키고 기억하고자 하였다. 이 글은 이러한 과정을 통해서 그가 어떻게 새로운 미술적 실천, 새로운 ‘예술적 정치성’의 양식을 제시하였는지 논의한다.

“미술적 상상력과 세계의 확대” : 오윤의 현실주의와 몸의 탐구

유혜종 현대미술학회 2017 현대미술학 논문집 Vol.21 No.2

이 글에서는 오윤의 작품을 이해하는데 기본적인 것이지만 오랫동안 간과되어온 질문, 즉 오윤의 미술에서 ‘민중’은 무엇인가, 그리고 그는 자신의 작품에서 어떠한 방식으로 민중을 개념화하고 있는가라는 질문을 탐구하고자 한다. 이러한 문제의식 속에서 이 글에서는 오윤의 미술적 실천의 성격과 논리를 그가 미술의 소통을 탐구하는 과정을 통해 살펴볼 것이다. 그의 현실주의 작품은 초기에는 계몽적이거나 직접적으로 정치적인 성격을 띠고 있었다. 하지만 그는 일찍부터 이러한 시각이 가지고 있는 민중의 이념성을 경계하였다. 이러한 반-이념적 경향에 의해 오윤은 민중을 이해하고 형상화하기 위해 점차 그들의 몸에 주목하게 된다. 몸에 대한 오윤의 탐구는 크게 두 가지 지평에서 이루어진다. 하나는 민중의 노동과 삶의 현장이고 또 다른 지평은 전통 민속문화이다. 이러한 몸의 탐구는, 왜곡되고 뒤틀린 근대성을 극복하고자 했던 동시대인들의 공통된 과제에 오윤이 답했던 고유한 방식이었다. This article explores the art of O Yun, the pioneer figure of minjung misul (the people’s art) in the 1980s’ South Korea through a principle question: what is minjung in his artworks.To elicit the core nature of his artistic endeavor, I will delineate his exploration of the people in relation to artistic communication. Although his early works was political and aimed at enlightening viewers, he was skeptical about the ideological notion of the people. He rather perceived the people as corporeal being who experienced everyday realities through their body. Hence he looked into the people’s body in two aspects: one was the people at the site of labor and living; another was the people in relation to folk theaters and shamanism. O’s lifelong study of the corporeal aspect of minjung responded to the collective endeavor of Korean dissident intellectuals--to overcome the distorted modernity and to envision an alternative world view.

신학철의 형식주의적 현실주의 - 기념비적 신체성에 대한 연구

유혜종 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.37 No.-

This essay will explore core problematics of Shin Hak-chul’s oeuvre, especially the “Modern Korean History” series—which the essay defines as ‘formalistic realism.’ By looking into the development of his works from the mid-1960s to the mid-1980s, this discussion suggests that in contrast to conventional belief that Minjung art abandoned artistic or formalistic concerns, his exploration of and communication with social realities as his fundamental issue implicitly and inevitably entails working on new ways of visualizing such realities, in conjunction with experiment of form and media. In this regard, his realism actively brings aesthetic or formalistic exploration to the fore for the sake of his artistic practice as well as for artistic communication with social realities from the beginning of his artistic career.

의약품의 Solid Lipid Nanoparticle의 제조 및 용출특성

유혜종,김길수 梨花女子大學校 藥學硏究所 1997 藥學硏究論文集 Vol.- No.6

Solid lipid nanoparticles(SLN) are particulate systems for parenteral drug administration and suitable for controlled release. SLN were prepared by homogenization process. Dispersion at increased temperature (molten lipid) was performed to yield SLN loaded with lipophilic drugs. Tetracaine base, lidocaine base, prednisolone, methyltestosterone and ethinylestradiol were used as model drugs to access the loading capacity and to study the release behavior. To investigate production parameters(lipids, surfactant concentration, homogenizing rpm) in the formation of SLN, particle size was performed by laser diffraction analysis. The mean particle size of SLN with stearic acid or trilaurin was below 1 micron. By decreasing the particle size and increasing the surfactant concentration, the release rate was increased especially in the case of highly lipophilic drug loaded SLN. Methyltestosterone or ethinylestradiol loaded SLN showed a distinctly prolonged release over a few days.

삶의 미술, 소통의 확장: 김봉준과 두렁

유혜종 한국미술이론학회 2013 미술이론과 현장 Vol.16 No.-

지역 기반 온라인 농특산물 쇼핑몰의 지역농산물 이용 가정간편식 유형 분석

유혜종,김나래,윤지현 동아시아식생활학회 2020 동아시아식생활학회 학술발표대회논문집 Vol.2020 No.10

민중미술 연구사

유혜종(柳慧宗) 한국미술연구소 2020 美術史論壇 Vol.- No.50

Minjung art is considered a critical turning point in the history of contemporary Korean art. Ref lecting its significance, this essay delineates a history of studies on minjung art based on common problematics and methods of analysis which many art historians and critics shared since the 2000s. Although this essay focuses on the literature on minjung art after the early 2000s, it also looks into art critiques, exhibitions and art history writings produced during the period of the 1980-90s as they provide basic frameworks and concepts for the discussion of minjung art in the current scholarship semicolon; yet the studies after the 2000s have expanded the earlier discussions to a great extent while bringing new and diverse perspectives on this art movement. While discussing the unfolding of studies on minjung art, this essay also attempts to demonstrate that these studies ultimately are intertwined with the objective of rewriting and reconfiguring contemporary Korean art history. At the same time, this essay emphasizes the importance of writing minjung art in a global perspective, thereby going beyond the national boundary of Korean art.

단색화와 예술의 정치성

유혜종(서평자) 한국근현대미술사학회 2016 한국근현대미술사학 Vol.32 No.-

대안의 근대성을 기획하며

유혜종(Yoo Hye-jong) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.29 No.-

Kim Yun?su, the dissident intellectual, art critic, professor, and museum director, had played a significant role in the formation of the minjung misul discourse, preparing its emergence in the late 1970s. Kim, who was involved in creating ‘Reality Group’ (hyeonsil dong’in) in 1969, discussed the development of modern Korean art under Japanese colonialism, the national tradition, and the internationalism and the formalist experimentation of contemporary Korean art, among others-which became critical issues for the minjung artists in the 1980s. Nonetheless, in the simple dichotomy between modernism and minjung misul, his critique has often been criticized for being nationalistic, for strengthening the center-periphery logic of the non-Western art, and for limiting one’s understanding of art’s participation in society. Instead of placing his discourse within the existing frame, this article examines how Kim elicits the nature of Korea’s (aesthetic) modernity through its historical, institutional, and ideological formation. Also, it explores how Kim envisions Korea’s alternative modernity as way to intervene in the existing modernity, while rectifying the latter’s distorted historical development. For the discussion, this article looks into his four essays published in Changjak gwa bipyeong in the early-mid 1970s, in the context of the aftermath of the April Revolution and of the emerging studies on modern Korean art. In so doing, the article demonstrates how Kim re-conceives Korea’s aesthetic modernity through the notion of art’s communication and further an alternative vision of a Korea’s modernity.

주변인의 삶에서 드러난 몸의 미학

유혜종(Hyejong Yoo) 한국근현대미술사학회 2017 한국근현대미술사학 Vol.33 No.-

Joo Jaehwan, known as the minjung(the people) artist during the 1980s’ prodemocracy movement, articulates the subjectivity(or subject-formation) and worldviews of those underrepresented and oppressed in everyday lives and makes their ways of being and interaction into something meaningful to contemplate. His 1990-2000 collages and installation are mostly made of everyday rubbish and found objects on the streets, while his oil painting represents the eccentric shapes of humans and other organisms—who are considered the "other"-in the mysterious night scenes. As a result, his art is called as "aesthetic of contemporary life", "poor art", "art of stationary store", or "the realist spirit of literary prose." In short, his art is not cousidered as the art of the elite but the art out of expressive urgency and necessity of everyday lives with anti-modernist, conceptual character. Although Joo"s works of the 1990-2000 is defined in terms of "aesthetic of everyday life", this aesthetic is not developed out of abstract notion of reality but based on the concrete reality in which people live and experience in bodily terms in the age of the global capitalism and information technology. This paper pays attention to the psychological, corporeal and existential reality of those disenfranchised under the rapid socio-economic changes which they faced in the late 1990s. The over-arching concepts of Joo"s 1990-2000 works are "human/body" and "communication." He creates a human body out of materials relevant to communication, exchange and transportation with collage technique. In so doing, he explores the relationship between(the media of) communication and human body as well as the networked environment where the body is located and is part of in his various works. This paper discusses the following topics: 1) how did his 1980s" works capture the traces and existence of the "other" or periphery, pushed against from the space of modernism and modernity; 2) in the age of global capitalism and media technology in the 1990s, how do his works treat the issue of subject-formation and of alternative worldviews, expressed by the "other"s way of being and their world views; 3) through the question of the relations between the corporeal body of the "other" and their subject-formation, how the notion of art"s communication is explored in his works. This article demonstrates Joo"s corporeal aesthetic is at the core of his exploring the world of the underpresented and their subjectivity as well as art"s communication. Hence, this article will expand the prior understanding of art"s communication and aesthetic politic in Joo"s and other socially-engaged art.