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- 저자 : 김장언 ( Jang Un Kim ) (검색결과 3 건)
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김장언 ( Jang Un Kim ) 전남대학교 사회과학연구소 2013 현대사회과학연구 Vol.17 No.-
본 논문은 2013년 현재 한국 사회에서 예술가들은 사회 속에서 자신의 위치를 어떻게 발견하고, 작가로서의 자신의 삶을 구성하기 위해서 어떤 노력을 기울이고 있는가에 대해서 탐구한다.2천 년대 이후 정부 주도로 시행된 공공미술 프로젝트는 작가들로 하여금 사회와 공동체에 대해서 관심 갖게 했다.이러한 경험은 한편으로 작가의 자발적인 기획에서 이루어지기도 했지만, 한편으로 정부의 문화예술정책의 변화 속에서 야기된 현상이다.한국 현대 미술계에서 공공미술이 야기한 사회적 전환 이후 작가들은 어떻게 자신의 현재를 발명하고 있는지에 대해서 살펴보는 것을 통해서 미술과 사회 그리고 예술가의 관계를 고찰한다.이를 위해서 본 논문은 3 팀의 작가 집단, 믹스라이스(mixrice), 디자인 얼룩(design Allook), 리슨 투더시티(listen to the city)를 심층 면접하고, 그들이 인식하는 사회와 예술가의 의미, 그리고 자신들이 발견한 공동체와 지역에 대해서 논의한다. This paper will investigate how the artists in Korean society rediscover their positions in the contemporary living conditions and in what way they have made an effort in order to shape their own lives as an artist.A various number of public art projects led by the government since the 2000s turned the artists on to different dimensions about Korean society and the notion of community.This kind of phenomenon was made by the artist`s own project proposal yet at the same time it was driven by the government`s changing arts and cultural policy.This paper will critically address the relationship between art, society and the artist by examining how these artists have been inventing and engaging with their own "present" after the social turn caused by the public art which has been getting a wave of attention from the public in Korean contemporary art field.Based on interviews with three working artist collectives in Korea - mixrice, design Allook, listen to the city - this paper will discuss the different meaning of society and the role of the artist as well as the notion of local community.
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김장언(JANG UN KIM) 한국예술종합학교 미술원 조형연구소 2010 Visual Vol.7 No.-
This paper is intended to criticize the history and context of the public art projects at South Korea since 1945 in order to analyze the birth and the changes of Korean public art on the assumption that the most of the public art projects organized and hosted by the national and local governments after 2000 are the one of the cultural events structured as the cultural strategies and policies in the Neoliberal era. Public art is always aroused controversy beyond time and space; likewise, public art in the Korean context has been provoking argument and discussion socially and culturally. But the most of the arguments and issues only deal with the aesthetic and artistic achievements of the individual projects, and therefore could not explain the socio-political context related with the public art projects. So, this paper is intended to analyze how the meaning of the public art has been invented and articulated under the socioeconomic and political changes of South Korea. In the process of the research, this paper concentrates attention on two points in time of the Korean contemporary history; one is the year 1987 and the other is the year 1997. The 1987 Democratization Movement brought about the changes of the political system and the 1997 financial crisis imposed Neo-liberalism on Korean society. These symbolic events changed and transformed its characters. So this paper critically analyzes how public art is invited by the government, articulated by the Korean contemporary art scene and activated in the communities under tree historical moments; Nation-state building, the spread of democracy and the imposition of neo-liberalism And this paper will argue that public art has teen effectively abused as one of the cultural strategies of government in the Neo-1ilJeral Era and activated to control our everyday-lives under the concept of ‘symbols’ and ‘communication’ by the government.
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