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윤난지(Yun Nan-jie) 현대미술사학회 2009 현대미술사연구 Vol.25 No.-
By reexamining the works of women artists who were active in Russian avant-garde art, this essay attempts to establish their place within art history. Almost 30 women artists can be named as active participants in Russian avant-garde art, and these women were closely engaged near the centre of the art movement. Here, the larger context is provided by the radical changes taking place in Russian society at the time, led by the ideologies of the socialist revolution. Women artists were not excluded from the societal call for women to join in the revolution as proletariat warriors. However, despite such appearances, there are many examples of women artists in revolutionary Russia who failed to break completely from their supporting roles or peripheral positions in the male-centred avant-garde art movement. Women, while still confined to roles defined by patriarchal conventions, were at the same time burdened by social duties imposed under the pretext of social participation; hence, in some aspects, women bore an even greater load than before. Despite their active participation, women were designated to positions subordinate to men; even in later art history, they are described as mere inserts within a history of avant-garde art led by men. This paper reviews the works of five major women artists who were at the vanguard of Russian avant-garde art to more fairly evaluate their position in the art of those times. Alexandra Exter(1882-1949) was a seminal avant-garde artist who moved across Russia, France, and Italy, experimenting and popularizing Cubo-Futurism. In addition, through her activities in education and curating, she was an important leader of Ukrainian avant-garde art, spreading new art in the Ukraine. Her rhythmical city landscapes fused the principles of Futurism with experiments in the form of Cubism, merged with traditional Ukrainian colours. Exter took the foreign trends she encountered and reinterpreted them through her own roots and in so doing eventually extended into abstract art. She revealed herself to be a total artist, applying her painterly experiments to stage and wardrobe design for various projects including Salome(by Oscar Wilde, 1917). Along with her husband Mikhail Larionov, Natalia Goncharova(1881-1962) presented the Rayonist Manifesto in 1913 to become a founding member of the movement. Although Goncharova is said to have received the full support of her husband, she also played an independent role within the avant-garde circles in Moscow. Especially in realizing avant-garde art theory through her works, Goncharova was much more proactive than her husband. The geometrical structures of Cubism, the dynamic ‘force-lines’ of Futurism, and the colours of Orphism all came together in her paintings, which were almost like a blueprint for the Rayonist Manifesto, clarified into a final form integrating those three trends. Based on her writings on abstract art theory in 1913, it was already evident that Olga Rozanova(1886-1918) was one of the leaders guiding Russian avant-garde art into the abstract art movement. She deeply sympathized with Malevich’s Suprematism, and Malevich in turn believed in her so much that he hailed her the “only true Suprematist.” However, Rozanova proposed a Suprematism through colour, and realized this in her works; in this respect she can be distinguished from Malevich. The simplified colour fields and colour bands that formed her later works surpassed Malevich and presaged the colour field abstract paintings of the mid to late 20th century. Rozanova also developed pictopoesie, which fused together painting with ‘zaum’, a trend that influenced the Russian avantgarde literature of the era. She worked as a book designer as well. Through a series entitled Painterly Architectonics, Liubov Popova(1889-1924) provided a prototype for Constructivist painting. To her, more than anything, painting was a kind of architectural structure built of elements such as space,
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윤난지(Yun Nan-jie) 현대미술사학회 2007 현대미술사연구 Vol.22 No.-
All art is a product of ideology as well as a mirror on realities of time; Minjung Art is no exception to this idea. While Minjung Art set forth social utterance and social reform, it is also a manifestation of historical and social contexts. Critical writings on Minjung Art hitherto have mainly focused on addressing its ideological aspects and therefore it is more difficult to find texts that examine the realities of its time represented in Minjung Art. In this paper, I will attempt to illuminate this lesser discussed aspect of Minjung Art; its aspect as the “mirror of reality.” Looking through the mirror of Minjung Art, I am able to see what Homi Bhabha described as the “Third Space.” This theoretical term refers to a cultural contact zone that deconstructs the fiction of “purity” of a native culture and reveals its “hybrid identity.” In this Third Space, native and foreign things do not merely meet each other but ambiguous and complex exchanges occur continuouslyamong diverse signs in the form of collision, amalgamation, appropriation and adaptation. When the detente between the Left and the Right as well as multinational capitalism became familiar realities, global space of hybridity emerged worldwide in the late 20th century, thereby creatinga sensibility of the post-modern. Located in the inferior space called the other and inevitably exposed to the world powers, the Third World became an exemplar site in the global space of hybridity. The Korean society in the 1980s is a typical example of such “third-worldly” space of hybridity and Minjung Art is its version of art practice. In the 1980s, Korea underwent a period of rapid, domestic political change in which one-person dictatorship ended in a pretext and was placed in diversified international relations? being the only divided nation (after the collapse of the Berlin Wall in 1989). At the same time, the nation’s economy rapidly shifted to a main peripheral nation of multinational capitalism and to a post-industrial society. Accordingly, disparate contexts in areas of politics, economy and society became entangled and Minjung Art bore out of these contexts. With the aims of “pure” nationalist art, Minjung Art, in fact, became a vivid documentation of this “impure” site. Not limited by critically represented urban landscapes, Minjung Art generated cultural responses from the realities of hybridity including inclination to purebloodism or ethnic homogeneity. Korean racial superiority complex came into effect with even more force as the crisis of hybridity unfolded in front of the Koreans and in visual arts, it emerged as Minjung Art. This is an example of nationalism Frantz Fanon referred to as a type of defense mechanism. The modes of hybridity that emerged in Minjung Art werefirst presented through images of the nation state and its members. The native images therein aimed at a singular ethnic nation are mixed with the actual conditions as a universal crossroad images of the subject matter “minjung”(means ‘people’ in Korea) of the same ethnicity and images of the cosmopolitan “masses” thatare of multiple ethnicities, are entangled. The images represented in Minjung Art are not univocal signs that represent nationalism. In contrast, they are equivocal signs that reveal a peripheral status surrounding the Korean Peninsula which brought the changes in its imperative under the premise of diversity and fluidity of nationalism. Whether the site of hybridity is depicted directly or indirectly, a crossroad of complex international relations? a geopolitical map of Korean Peninsula at the time is juxtaposed on the works of Minjung Art. It is also possible to look at the site of hybridity through the visual environment portrayed in the works of Minjung Art. Minjung Art’s notion of utopia basedon an agricultural society rooted in tradition has been realized in the temporal-spatial matrix of plasticity where tradition and modern, natural and artificial, agricultur
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엑소시즘으로서의 원시주의 : 피카소의 〈아비뇽의 여인들〉과 그 수용
윤난지(Yun Nan Jie) 서양미술사학회 1999 서양미술사학회논문집 Vol.11 No.-
This study explores the process of appropriation of tribal objects and cultures in the name of ‘primitivism’ by the Modernist discourse through the case of 〈Les Demoiselles d’ Avignon〉. In this thesis, I am proposing that the production and reception process of this work has been dominated by white male subjects, and it reflects their desire and fear against the others. Form of a mask, especially images with masks symbolizes women and colored races as the other of such power. As Picasso once mentioned, by giving a form to such phobic objects, he tried to be free from it, and moreover to dominate it. It was a tool to exorcise such phobia. This reflects the western convention throughout its history, that is how the powered rules others without such power. Since the late 19th century western culture has aestheticized tribal objects. It has separated ‘the primitive’ in a form of aesthetic compound and planted it in the soil of modern art, which created a hybrid form called ‘primitivism’. However, the strategy was to conceal the filthy blood of ‘the tribal’ and let it be absorbed in the pure heritage of modernism. In fact primitivism is no different from other colonialist ideologies, in the sense that it is a western construction based on power relationship. The first thing read in this painting is a castration anxiety and sexual exorcism. The two figures in the center are typical forms of a Venus, which induces a sexual desire. On the contrary, monstrous faces and distorted bodies of the dark skinned women on the right are the images of femme fatale that symbolize death, which is the flip side of sexuality. These two opposites mean Madonna-prostitute complex. Moreover, the formal aspect of whole canvas reflects fear and desire for women. The painting as a whole reveals conceptually a three dimensional structure which could be interpreted as a metaphor of conquest over feminine space, and at the same time it is perceived optically as two dimensional plane which reflects claustrophobia about that space. Through images and spatial characteristics of this painting, we can discover the desire and fear of male subject, and their will to overcome it. In the painting, the erotic meets the exotic. This is not coincidental however, since the 19th century colonies have been gendered as female. Women and colonies have been identified with the nature as the object to be conquered 〈Les Demoiselles d’ Avignon〉 is a place where this concept of the colony and woman as colonial objects meet. If white women were the symbols of phallic desire, the masked images are symbols of frustration behind that desire. This painting with contrast between white and dark colors of skins represents fear of hybridity. It is a kind of racial exorcism to defeat xenophobia. The third kind of exorcism which is found in the painting is aesthetic one. Here the form is a tool that exorcises the fearful language. This sorcery of formalism mainly has been held at the MoMA which collected and showed it. It was already anticipated in the famous diagram by Alfred H. Barr, which was the cover of the catalogue of the exhibition named ‘Cubism and Abstract Art’ held at the MoMA. He illustrated that primitiveness is the object that should be utilized and transformed into ‘the other’ within modernism. In this diagram, silent dialectics of abstraction mutes negro sculptures of their own voices. In MoMA, 〈Les Demoiselles d’ Avignon〉 has also been defined as the matrix of Cubism and its relationship with the primitive was narrowed down only to an aesthetic aspect. Another tool which has been adopted for this formal exorcism was the principle of affinity. Modernists not only have muted the fearful narrative by formalism but also internalized in the name of affinity. This process of appropriation, first shown in Robert Goldwater’s 「Primitivism in Modern Painting」(1938), still remained
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Li, Jie,Yang, Chun-Xu,Mei, Zi-Jie,Chen, Jing,Zhang, Shi-Min,Sun, Shao-Xing,Zhou, Fu-Xiang,Zhou, Yun-Feng,Xie, Cong-Hua Asian Pacific Journal of Cancer Prevention 2013 Asian Pacific journal of cancer prevention Vol.14 No.10
Cancer patients often suffer from local tumor recurrence after radiation therapy. Cell cycling, an intricate sequence of events which guarantees high genomic fidelity, has been suggested to affect DNA damage responses and eventual radioresistant characteristics of cancer cells. Here, we established a radioresistant lung cancer cell line, A549R, by exposing the parental A549 cells to repeated ${\gamma}$-ray irradiation with a total dose of 60 Gy. The radiosensitivity of A549 and A549R was confirmed using colony formation assays. We then focused on examination of the cell cycle distribution between A549 and A549R and found that the proportion of cells in the radioresistant S phase increased, whereas that in the radiosensitive G1 phase decreased. When A549 and A549R cells were exposed to 4 Gy irradiation the total differences in cell cycle redistribution suggested that G2-M cell cycle arrest plays a predominant role in mediating radioresistance. In order to further explore the possible mechanisms behind the cell cycle related radioresistance, we examined the expression of Cdc25 proteins which orchestrate cell cycle transitions. The results showed that expression of Cdc25c increased accompanied by the decrease of Cdc25a and we proposed that the quantity of Cdc25c, rather than activated Cdc25c or Cdc25a, determines the radioresistance of cells.
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