아나 멘디에타(Ana Mendieta)

정연심(CHUNG yeon shim) 서양미술사학회 2012 서양미술사학회논문집 Vol.37 No.-

히토 슈타이엘과 '이동하는 디지털 이미지'의 운명

정연심(Chung Yeon shim) 한국조형디자인학회 2015 조형디자인연구 Vol.18 No.4

본 논문은 히토 슈타이엘의 필름과 저서, 논문 등을 중심으로 디지털 매체 시대의 이미지의 존재론을 살펴본다. 제 II장에서는 현대미술의 '동시대성'이라는 맥락 하에서 슈타이엘이 2009년에 쓴「저화질 이미지의 운명(In Defense of the Poor Image)」을 논하며, 예술과 자본, 미술시장과 권력, 정치와 이미지의 관계성을 다각도로 다룬다. 이동하는 디지털 이미지와 디지털 효과를 중심으로 슈타이엘의 최근 논문들과 작품들을 설명한다. 제 III장은 특히, 저화질(low resolution)의 이미지를 동시대의 매체적 조건으로 다루는 슈타이엘의 디지털 이미지의 존재론을 '수퍼-하이브리더티'라는 개념으로 논한다. 제 IV장은 슈타이엘의 에세이 필름을 분석함으로써 "해상도가 가시성을 결정한다"는 그의 언술들을 통해 대안적 예술생산이 지니는 기술미학적 태도와 문화비평적 의미를 논한다. Born in 1963 in Munich, Hito Steyerl has discussed the cultural phenomenon of digital media through the text titled In Defense of the Poor Image in 2009. The text transcends the definition of image ontology that surrounds digital images and explores the relation between art and capital, art market and power, and politics and image in various contexts. Here, the "poor image" refers to "low-definition" images that float around the Internet and digital devices such as smart phones. In particular, within the current circumstances when capital has encroached all artistic phenomena after neoliberalism, Steyerl puts great emphasis on the "politics of art" that digital images produce through digital media as the platform. This essay investigates the major works by Steyerl in the recent decade and employs the term "super-hybridity" in explaining the current cultural phenomenon generated by the distribution and circulation of images through the ontology and digital effects of moving images. The Factory of the Sun presented at the 2015 Venice Biennale's German Pavilion and the film work Liquidation Inc. edited the interactive effects of the Internet along with other familiar elements easily seen in Europop, Japanese animations, fake documentaries, and Cable news channels in a playful and cynical manner. While Friedrich Kittler had said that "media determine our situation," Steyerl believes that "resolution determines visibility" and criticizes the politics and surveillance brought on by today's digital media. This text examines the major films, essays, papers, and lectures presented by Hito Steyerl on and offline, and investigates the potential of a new art system that attacks the major vocabulary of contemporary art in seeking an alternative art production.

린다 노클린에 대한 비평적 접근

정연심(Chung Yeon-shim) 현대미술사학회 2009 현대미술사연구 Vol.26 No.-

Feminist studies and gender theories in art history and particularly in contemporary art have garnered greater scholarly attention since Linda Nochlin published a polemical article entitled “Why Have There Been No Great Women Artists” in 1971. Perusing major articles included in Nochlin’s books Women, Art and Power and Other Essays and The Politics of Vision, as well as focusing on her critical articles on contemporary artists such as Sylvia Sleigh, I trace the historical development of feminist perspective in her scholarship. Initially, this paper discusses the very central term she employs in her writing: “femininity”. By challenging “the-white-male-position-accepted-as-natural”, which has prevailed in the fields of art history and visual practice through the ages, Nochlin signals the danger of labeling “femininity” as a set of biologically determined characteristics. This feminist pioneer challenged general and biologically inspired distinctions favored by “Essential Feminists” such as Miriam Shapiro and Judy Chicago. Nochlin, in contrast, attempted to analyze the structural obstacles society presents to women by attacking the concept of male “genius”, and criticizing the positivist viewpoints in Hippolyte Taine’s meta-history in which a genius is an atemporal and enigmatic artist. By expanding her interest toward society and visual culture, Nochlin did not generalize women’s experiences. Rather she thought that gendered meanings of subjectivity and femininity can be seen in the culture and society. In this effort, she collaborated with other feminist scholars and curators to discover historically forgotten women artists while writing critical essays on artists such as Yvonne Jacquette and Sylvia Mangold. My paper goes on to analyze Nochlin’s main themes on “labor and class identity” in her article, “Morisot’s Wet Nurse: The Construction of Work and Leisure in Nineteenth-Century Painting”(1987). In this work, we see the trajectory of her feminist interests from Michel Foucault to Jacque Lacan and Louis Althusser in her discussions of “subjectivity” and “sexual difference.” By departing from the dichotomy of power structure and ideology on one side and women and men on the other, she moves toward “representation trope” in defining the politics of visuality in the artworks themselves. Interestingly enough, unlike other feminist scholars, Nochlin concludes that Morisot, rather ambiguously, is situated between labor and leisure, and mother and artist. Additionally, I explicate the remaining important critical terms in her articles: otherness and identity concerns. Her essay “The Imaginary Orient”, inspired by Edward Said’s Orientalism, questions the manner in which Orientalists such as Theodore Chasseriau, Eugene Delacroix, Jean-Leon Gerome depict the other in the age of burgeoning imperialism. She scrutinizes how imperial eyes penetrate the surface of Orientalist paintings, which were supposed to be l’effet de reel of the era to Parisian viewers. Nochlin subsequently furthered her research on identity and gender issues to encompass “Jewish problems” in The Jew in the Text: Modernity and the Construction of Identity. In conclusion, the paper explores her recent curatorial works of “Global Feminisms”-in line with other feminist exhibitions including “WACK!: Art and the Feminist Revolution”-as well as her recent publications of Bathers, Bodies, Beauty and the Visceral Eye and Self and History: A Tribute of Linda Nochlin. As Lucy Lippard noted in a speech at a feminist symposium, “The Feminist Future Theory and Practice in the Visual Arts,” at the Museum of Modern Art in February 2007, Feminism has been transformed into a significant “ism” in our society. As G. Pollock has noted, this exerted a role of “ethical hospitality”.

픽쳐의 확장

정연심(Yeon Shim Chung) 서양미술사학회 2013 서양미술사학회논문집 Vol.39 No.-

AG(Avant-Garde) 그룹의 실험미술 전시 연구

정연심(Yeon Shim Chung) 현대미술사학회 2022 현대미술사연구 Vol.- No.51

2세대 페미니즘 이후의 페미니즘 미술비평

정연심(Chung Yeon-shim) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.26 No.-

나의, 그리고 타인의 고통에 관하여

정연심(Chung, Yeon-shim) 현대미술사학회 2010 현대미술사연구 Vol.0 No.28

‘문화 번역’의 맥락에서 본 한국 미디어 설치

정연심(Yeon Shim Chung) 현대미술사학회 2014 현대미술사연구 Vol.0 No.36

This paper examines the identity of Korean video art in the late 1970s and 1980s in light of the “cultural translation” theory raised by Lydia Liu, Rey Chow, and others. Liu’s “translingual practice” discusses the way non-Western regions translate Western language and mediums. In the genealogy of video art, Nam June Paik has his authority as the founder of video art, but his Korean counterpart, Park Hyun-Ki, has established as the first generation of Korean video art. Park, eclectically relying on performance art, conceptual art, and Arte Povera style process art, established his video art in the context of an architectural media installation. After raising theoretical issues concerning the translation of mediums from one culture to another, chapter two discusses the “translingual practice” of video from Paik (United States) to Park (Korea). Chapter three queries the vernacular medium situation of Park’s video installation by looking at his significant works of art in detail. My paper discusses the way architecture plays a mediatory role connecting humans, environments, and artistic mediums such as video or video installation. Whereas Western video artists such as Bruce Nauman, Vito Acconci, Joan Jonas, and others explored the medium specificities of video screens, Park dealt with video as the medium of “translatability” in accepting the new medium in the mid-1970s. Park’s video installation was exhibited in the 1979 San Paolo Biennale and the 1980 Paris Biennale, the latter showing the first video art in its exhibition history.

“Synthetic Experience” as Social Commentary and Alternative Media Practitioners in Contemporary Korean Art

Yeon Shim Chung(정연심) 현대미술사학회 2017 현대미술사연구 Vol.0 No.42

본 논문은 한국의 미디어 작가들이 인터넷 상에서 떠도는 이미지나 데이터를 수집하고 이를 시각화, 편집화함으로써 사회적 논평과 비판을 가하는 작업 경향에 주목한다. 논문은 구동희, 정연두를 비롯해 최근 한국의 신생공간을 중심으로 전개된 젊은 미디어 작가 및 전시에 주목하며, 사회체계망(SNS) 등을 통해 포스트인터넷 세대들이 만들어내는 대안적이며 시네마적인 편집의 구성이 가져오는 새로운 디지털 문맥을 설명한다. 특히, 자연 재해, 사회적 경제적 갈등 구조 속에서 디지털 미디어에 익숙한 세대들이 만들어내는 새로운 대안적인 목소리와 그들의 작업을 강조함으로써, 인터넷 상에서 부유하는 이미지들을 재사용, 재편집, 재생산(reproduction)의 과정과 미학적 논의를 살펴본다. This article initially explores the way Korean visual artists Yeondoo Jung and Donghee Koo, and young “post internet” generational artists collect digital images and data floating around social networks in order to form an alternative narrative of mainstream social conditions and politics. These media artists in Korea employ a certain cinematic mode, producing experimental alternatives while responding to grand narratives on social media, from natural disasters, conflict, urban and economic crises, to more benign matters. Secondly, it analyzes the recent artistic activities and media practices by millennials in their use of technology, in particular, the SNS, while examining their unique ways of editing travelling digital images as social commentary of their own situations. Because the boundaries of the original and the copy are bleak-not even visible on the digital screen-the artists interplay with the conditions of the raison d’ȇtre of digitally travelling images. Finally, this essay introduces the newly built “alternative” spaces these young artists employ in addition to their media practices. Their working processes manipulate, distort, and crop digital images that roam the internet, thus producing sociopolitical comments on the artists’ generational predicaments. Consequently, the working processes addressed by these groups of artists in Korea mark theatrical manipulation and digital editing, and augment synthetic experience, the very title derived from Koo’s exhibition.

매튜 바니와 요셉 보이스

정연심(Chung Yeon-shim),최봉림(토론자) 현대미술사학회 2008 현대미술사연구 Vol.24 No.-

Inspired by the exhibition entitled “Barney and Beuys: All in the Present Must be Transformed”, which was organized at the Guggenheim Museums in Berlin and Venice in 2007 by Nancy Spector, I determined to examine not only the underlying philosophical questions on the use of myth but also the fundamental differences of the two distinguished contemporary artists, Matthew Barney and Joseph Beuys. The first point is closely related to the intrinsic involvement of myth and the use of newly concerned materials such as fat and petroleum jelly (Vaseline) that the two artists retrospectively employed. Their works and writings seem to testify to the fact that Barney and Beuys are constructing and deconstructing mythology that is already dead in our time. The highly esoteric and freemasonic narratives that Barney unfolds in the five series of his Cremaster Cycleembody his own longing for the death of mythology. Yet his construction of Cremasterparadoxically engenders a fresh way of looking at the individual, society and the world as a different entity, which we ordinarily think of as enduringly consistent, ordered and interwoven, or as M. Foucault would say, “discursive.” To a certain degree, Barney’s gestures and performances extend cryptic symbolism to a socio-cultural realm, because the body and gender he brings to life in his performances negates the Oedipal complex, inviting a new gender of “Body without Organs”, as in the writings of Gilles Deleuze and Felix Guattari. This is best exemplified in Barney’s MILE HIGH Threshold: FIGHT with the ANAL SADISTIC WARRIOR and BLIND PERINEUM, in which he uses his own body as a visual field emblem, sealing his orifices with Vaselin. In Fornication with the Fabric of Space, the artist exposes the interlocked relationship between sports, muscle, resistance and sexual desire in the use of non-phallic images. While Beuys’s social activism is characterized best in his perception and practice of “Social Sculpture”, Barney’s Cremaster Cycle interjects personally invented mythology in the realm of psychological situation and condition in his work. My paper also looks at the way in which both artists, representing different generations and nationalities, directly respond to the social, political and cultural strata in which their works are created, and in which political and ecological agendas are highly charged. Dialectically, these idiosyncratic performers can be placed vis-a-vis each other. The intersecting element of these two artists is that, in spite of their differences in concepts and ideas, they engage in a constant and metaphoric search of the philosopher’s stone by which ancient scholars happened to discover alchemy and science. Equally, the same initiation of shamanistic ceremonies and performative diverts these two artists as far as they can go. The media they embrace is quite different: Beuys uses theatrical means for his performance art whereas Barney has been reinventing new possibilities in the cinematic genre for his collaborations with professional actors, as well as people on the street. Walter Benjamin’s Aura is to be challenged and reinterpretedin the new guise of an authentic, esoteric, lingering remembrance of theatricality in Barney’s oeuvre.