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호경윤(Ho, Kyoung-yun) 한국예술종합학교 미술원 조형연구소 2013 Visual Vol.10 No.-
예술이 행해지는 ‘공간’으로, 책이라는 곳을 생각해 보면 어떨까. 일견 시시해 보일 수도, 혹은 의아하게 들릴 수도 있겠다. 그러나 사실 장소 특정적 예술이나 미디어 아트의 경우에서 조금만 더 확장해 본다면, 책 역시 충분히 가능한 공간이며 온전히 독자적인 예술 영역이라 할 수 있다. 필자는 미술잡지를 기반으로 삼아 활동해오면서, ‘잡지’라는 공간이 가장 친숙한 곳이다. 물론 잡지는 보도나 저널리즘의 기능을 수행하기에 앞으로 본격적으로 소개하게 될 사례들과는 종류가 다르다. 그러나 디자인의 툴을 통해 레이아웃을 잡고, 인쇄소에서 색을 뽑아낼 때면 이따금씩 ‘이것이 예술과 무엇이 다른가’라는 생각을 하게 된다. 특히 동시대 미술처럼 비가시성과 비물질성, 그리고 시간성과 장소성 등은 지면 위에서 표현하기 힘든 경우가 많다. 게다가 정해진 그리드와 서체 등 상당히 제한적인 조건 속에 놓여져 있기에 더욱 그러하다. 그러나 이러한 상황은 오히려 컨텍스트와 매체가 주어지고 그 안에서 새로운 프로젝트를 진행하는 프로세스와 비슷하기도 하다. 필자는 책이라는 공간이야말로 시각예술을 ‘시각화’하고 거기서 의미를 만들어내는 다양한 방법론이 도출될 수 있다고 믿는다. 또한 예술 작업으로서의 출판 프로젝트는 ‘이미지에 대한 이미지로서의 연구’를 타진할 수 있는 새로운 방식의 비평이 가능하다고 생각한다. “책은 시작과 끝이 있는 무엇이며, 독자가 들어가서 이리저리 돌아다니고, 심지어 길을 잃기도 하다가 어느 순간 하나의 출구를, 혹은 여러 개의 출구를 찾는, 밖으로 나갈 수 있는 길을 만들 가능성을 찾는 공간이다.” 소설가 이탈로 칼비노Italo Calvino의 말처럼 책은 미술가에게 자유로운 공간이며, 무한한 우주가 되어준다. Can the book serve as a place of art creation? This question may sound boring or strange. However, if we extend our sight a little bit further from site-specific art or media art, we can see that the book constitutes an independent field of art, and thus surely can be a place of art creation. For the author who has been working for art journals, the journal is the most familiar place. Of course, the journal is different from the other kinds of books that are to be analyzed in this paper, in that it performs the specific functions of reports and comments. However, as the author decides the layout using design tools and prints out colors in a print shop, this question often arises: “How is it different from art?” In fact, such themes of contemporary art as invisibility, immateriality, space and time are hard to be expressed on the paper. It is all the more so because of the limitations of the fixed grid and fonts. However, such limitations make the publishing look similar to the process of contemporary art in which an artist performs a project using a given medium within a given context. The author believes that the book is the place where visual art can be visualized and many meanings can be found, and that the publishing as an art project opens a way for a new kind of criticism that allows the research on the image about an image. As novelist Italo Calvino said, the book is a free place as well as an infinite universe for the artist: “The book is something that has the beginning and the end, and is a place where the reader enters, wanders, gets lost, and suddenly finds one or more exits, looking for possibilities to leave.”
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호경윤(Ho, Kyoung-yun) 한국예술종합학교 미술원 조형연구소 2009 Visual Vol.6 No.-
A countless number of group exhibitions of young artists have been held as though they dominated all the galleries and museums. The age group of successful artists in biennales, auctions and galleries has been getting younger. Since when and how have these young-blood artists, who would probably have only assisted the senior artists in the old days, been so ‘noble’? The answer to this question can be summarized as an international tendency after yBa that young artists are becoming part of the mainstream in contemporary art, great advance of alternative spaces in Korea and the young domestic art market made by second-generation galleries and emerging galleries. Recently, it is common to see artworks by young artists sold at a high price at auction. The number of young artists participating in art fairs at home and abroad is increasing. However, one of the young artists confessed that he regretted about the art fair experience. Even though his pieces were sold, he felt as if he sent them away to a new family, which thought him a lesson that he should rot sell his works rashly. Commercial temptation swaying young artists is quite serious. These days, even alternative spaces or university professors receive calls from the commercial galleries wanting to get to know young artists.. One professor, against the excessive approach of the market, said that the overabundance of young artists is a double-edged sword to both artists and the market and that university art education should keep the distance from the market especially in current situation. To immature artists, commercial activities within galleries, auctions, art fairs or whatever, can give them ‘money’ right away, but also can be ‘poison’ later. All people including artists, critics and even gallery people are concerned about the art market being overheated. Also, artists should be more careful \I\1t’en developing voluntary institutions. Such institutions are different from those small groups created for discussion and making of art which are evaluated as significant traces of Korean art, as in the way they formed. Focusing on business rather than the nature of creation might go with the trend but might shorten the lifespan of the artist.
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