소아 호흡기계 감염증에 대한 Biostim^(�)(RU 41740)의 임상적 효과

고경옥,변상현,이건수,정용헌 최신의학사 1991 最新醫學 Vol.34 No.12

‘우리 봇물을 트자’(1988) 전시와 출판 활동으로 본 1980년대 한국의 페미니즘 미술: 자생적 ‘여성미술’과 서구 페미니즘 미술의 간극 메우기

고경옥 도서출판여이연 2024 여성이론 Vol.- No.50

동시대 미술에서 ‘아카이브 아트(archival art)’와 젠더의 문제: 정은영과 남화연의 예술 실천에 관하여

고경옥 예술과미디어학회 2024 예술과 미디어 Vol.23 No.2

This study examines artistic creations that visualize gender issues based on archives within the context of the archival discourse developed since the 2000s. To this end, the study interprets Jacques Derrida’s Archive Fever, which triggered the archival discourse, and examines how the archival discourse has developed in contemporary art with a focus on “achievability,” which has opened up a space for counter-memory and a new history. The study also explores how archives and gender intersect in art genres outside of visual arts. Based on the understanding of archival discourse and gender, the study examines the works of siren eun young jung and Hwayeon Nam, who turned the awareness of the historical and social specificity of modern Korean history into archival art. Jung addressed queer aesthetics as feminist politics through her study of Yeoseong Gukgeuk, whereas Nam visualized the absence of archives and issues of representation with a focus on the figure Choi, Seunghee. This study reveals how the artistic practices of Jung and Nam contribute to gender studies as archival art, through which they bring forth the history of women who have been left out, marginalized, and excluded, and investigates the correlations among archives, history, and gender.

Dermatophagoides pteronyssinus항원 유도성 말초혈액 단핵구의 cytokines 유전자 발현 양상에 관한 연구

고경옥,민들레,박정규,정용헌 대한 소아알레르기 및 호흡기학회 2001 Allergy Asthma & Respiratory Disease Vol.11 No.2

페미니스트 그룹 ‘30캐럿’의 전시(1993-2000) 연구

고경옥 현대미술사학회 2024 현대미술사연구 Vol.0 No.55

본 논문은 페미니스트 그룹 30캐럿의 활동 전반을 전시 중심으로 살펴보며, 한국 현대미술사에서 페미니즘 미술로서 이들을 재위치시키려는 시도이다. 당시 역동적인 활동과 미술계의 주목에도 불구하고, 이후 30캐럿은 1990년대 미술과 페미니즘을 논할 때 거의 지워진 이름이 되었다. 이 사실에 대한 문제의식을 기반으로 본 논문은 1993년부터 2000년까지 총 일곱 번에 걸쳐 진행된 30캐럿의 주제전 《30캐럿》을 상세하게 연구한다. 30캐럿의 참여자들은 ‘자기 체험으로서의 여성성’, ‘남성 이데올로기에 대한 메타 비평’, ‘여성의 시선으로 바라본 한국 전통’, ‘사회적 병리 현상’, ‘환경과 생태’, ‘결혼 제도’ 등 페미니즘을 중심으로 한 여러 의제를 전시에 담았다. 따라서 ‘페미니즘즈(feminisms)’, 즉, 페미니즘의 복수성에 기반해 이들의 전시에 관한 페미니스트적 분석과 의의를 도출하고, 30캐럿이 그간 미술사에서 누락된 원인을 다각도로 규명한다. 본 논고를 통해 30캐럿이 1990년대 페미니즘 미술로서 정당한 자리를 차지해야함을 밝히는 바이다. This study examines the overall activities of the feminist group 30 Carat with a focus on their exhibitions, while seeking to reposition them as feminist art in the history of contemporary art in South Korea. Despite their dynamic activities and the attention they received from the contemporary art world, 30 Carat has since been largely erased from discussions of art and feminism in the 1990s. To address this problem, this study investigates the seven thematic exhibitions of 30 Carat held between 1993 and 2000. The participants put forward a variety of agendas centered on feminism, such as “femininity as self-experience,” “meta-criticism of male ideology,” “Korean tradition through the eyes of women,” “social pathology,” “environment and ecology,” and “the institution of marriage.” Based on the plurality of feminism, or “feminisms,” this study conducts feministic analyses and draws out the implications of these exhibitions, revealing from various perspectives why 30 Carat has been omitted from art history. This study finally argues that 30 Carat should be accorded its rightful place as feminist art of the 1990s.

1990년대 현대미술에 나타난 여성 신체의 문제 : 이불(Lee Bul)의 초기 퍼포먼스와 조각을 중심으로

고경옥 예술과미디어학회 2022 예술과 미디어 Vol.21 No.1

2010년 중반 이후 한국사회에서는 페미니즘이 다시 활기를 띠며, 다양한 분야에서 담론을 형성하고 있다. 이러한 시의성과 맞물려 본 논문은 파격적인 예술실천을 통해 여성 신체 재현의 문제를 다룬 작가 이불의 1980년대 말부터 1990년대까지의 초기 작품을 재소환하고, 한국의 1990년대 페미니즘 미술을 논하고자 한다. 페미니즘 미술이 활발하게 개진된 1990년대를 중심으로 당시의 대내외적 사회상황과 화단의 주요 흐름을 확인하며, 신체 담론과 성별 정치학으로서의 페미니즘 미술이 대두된 미술사적 자취를 살핀다. 또한, 당대의 시대변화 속에서 진행된 이불의 초기 퍼포먼스를 현재적 의미로 재해석함과 더불어, 조각과 설치 작품을 통해 나타난 타자로서의 괴물과 사이보그 이미지의 의미 분석을 시도하고, 제3세계 여성으로서의 정체성 문제를 고찰한다. 이 연구를 통해 백인 중심으로 형성된 젠더 논의의 한계에서 확장한 유색인 제3세계 페미니즘 미술의 다양성을 확보할 수 있으며, 한국 페미니즘의 특수성과 한국 현대미술의 역동적인 현장성을 동시에 파악할 수 있다.

‘재현불가능성’의 맥락에서 본 한국전쟁 사진

고경옥 동서미술문화학회 2023 미술문화연구 Vol.26 No.26

Since the (disastrous) genocide called the Holocaust, the issue of representing suffering emerged in modern philosophy. This study sheds light on the discussions of such “unrepresentability” through Korean War photographs. Specifically, this study focuses on the issues of ethics and race raised in the discussions of “unrepresentability.” The ways of otherizing non-Western races in Asia and Africa are studied through the photographs of Western war correspondents who documented the Korean War. The development of philosophical discussions of “unrepresentability” is explored, and modern art and film products that deal with suffering are also examined. This study determines the issues raised in the representation of suffering through the medium specificity of photography. Through Susan Sontag and Jacques Rancière’s discussions, the medium specificity — the position of the voyeur or spectator — is elaborated. By criticizing the othering of non-Western races (e.g., Asians and Africans) in war photographs, this study analyzes the “neocolonial gaze,” which posits that cruelly and unjustly inflicted suffering is far removed from the West. Through photographs gathered from war correspondents who recorded the Korean War such as David Douglas Duncan, Marguerite Higgins, Max Desfor, Werner Bischof, and others from the National Archives and Records Administration of the United States, this study examines how Western white people otherize Asians. This study sheds light on the issue of race in the white-centered war documentary photographs and studies how the races from third-world regions are represented. This makes it possible to understand the otherness inherent in the Korean War press photographs in a detailed manner. Furthermore, this study suggests the ethical implications regarding the creation of a “fair image” by modern artists.

일본 유료노인홈의 임대비와 공간규모 특징 분석

고경옥,김태일,박철민,정별아 대한건축학회 2001 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.21 No.1

It is said, by extension of life, that our country will enter into Aging society at soon. Being entered into Aging society mean not only increasing of population of The elderly but also increasing of industry for The elderly with housing and welfare service and so on. In our country, we are not yet recognized industry for The elderly as next industrial part ,but fee charging home for The elderly will be evaluated as a kind of new residential style in aging society. It isi aim of this study of this study to get basic data of fee charging home for The elderly. This study is based on researching of fee charging home for The elderly. Plan of fee charging home was collected from 32 facilities and analyzed. A result of analysis are the following: 1)Rentable rate is 0.45-0.69 and it mean that rate of public space to total scale of facility is 30 sspercent. It seem that Rentable rate is depended on location of fee charging home, its function. In a next research, it is required to analyze relation of between Rentable rate and location of Fee charging home and its function. 2)In case of fee charging home related with administration and welfare foundation, its scale is large and contained medical service within facilities. But in case of Fee charging home, its scale is not large and medical service is provided by other medical facilities.

공공미술의 페미니즘 실천 연구 -2000년대 이후 한국 사례를 중심으로-

고경옥(Ko, Kyong-Ok) 동서미술문화학회 2020 미술문화연구 Vol.18 No.18

한국 현대미술에서 페미니즘에 관한 연구는 연대기적으로 작가(그룹)의 작품이나 주요한 전시를 중심으로 진행되어왔다. 연구자는 기존의 한국 페미니즘 미술 연구의 확장으로서 2000년대 이후의 공공미술에서 페미니즘의 행동주의적 경향성을 내포하는 프로젝트를 중심으로 페미니즘과 공공미술의 담론이 어떻게 친연성을 이루는지 연구했다. 먼저 본 논문은 서구에서 시작된 공공미술과 행동주의 미술, 그리고 페미니즘 미술의 교차점을 확인하고, 이것이 수잔 레이시(Suzanne Lacy)에 의해 새로운 장르 공공미술(New Genre Public Art)로 다시 안착되는 과정을 분석했다. 그리고 한국의 페미니즘 미술에서 공공미술의 주요한 키워드인 ‘공동체성’이 어떻게 발현되는지를 1980년대 민중 미술계열의 페미니즘 미술인 ‘여성미술’의 활동으로 확인하고, 이를 통해 한국의 1980년대 페미니즘 미술이 사회에 대한 적극적인 개입으로서 행동주의 미술의 특성을 지님을 탐구했다. 마지막으로 한국의 2000년대 이후 붐을 이룬 공공미술에서 페미니즘 실천적 양상을 분석하고, 페미니즘 미술의 새로운 경향을 해석했다. 이러한 공공미술의 페미니즘 실천에 관한 연구는 동시대 한국 현대미술의 역동적인 현장성을 파악하는 동시에, 한국 공공미술의 특수성과 페미니즘 논의를 동시에 살펴볼 수 있다는 데 의의가 있다. The studies on feminism of Korean contemporary art have been focused on works of artists (group) or major exhibitions chronologically. It studied how affinity was formed by the discussion of feminism and public art focusing on projects that imposes activism tendency of feminism at public art in 2000s as an expansion of Korean feminism art study. First, this paper studies the intersecting point of public art, activism art and feminism art that were started in the west. Then it studied the process how Suzanne Lacy produced ‘New Genre Public Art’. It studies how community spirit, which is the keyword of public art of Korean feminism art, is activated through the activity of ‘Feminism Art’ which is feminism art of Minjung art line in 1980s. Then it studies the characteristics of activism art that is formed through engaging in the society with feminism art in 1980s in Korea. Lastly, it analyzes the practical system of feminism in public art which was boomed after the year 2000 and studied the new trend of feminism art. The study on feminism practice of public art is meaningful in the points that it understands the dynamic situation of current Korean modern art and the discussion of the specialty of Korean public art and feminism at the same time.

타자의 귀환, 전복적 주체들: 박영숙의 《미친년 프로젝트》(1999-2005)

고경옥(KO Kyong-ok) 현대·예술·사진학회 2023 모멘텀 Vol.- No.2

This essay analyzes Young-sook Park’s Mad Women Project(1999-2005), which occupies an important position in Korean contemporary art, from a gender perspective. To achieve this, I discuss “madness” through Michel Foucault’s archaeology of alienation in Madness and Civilization. In addition, I reread the early psychoanalytic theory represented by Sigmund Freud and Josef Breuer from a gender perspective. I explain Park Young-sook’s work on the correlation between gender, body discourse, and psychoanalysis through Julia Kristeva’s “abject” theory, which is a significant theory of psychoanalytic feminism, and Hal Foster’s “traumatic realism,” which was presented while discussing postmodernism. Through this, I draw four characteristics of Park’s Mad Women Project: “Representing Exclusive and Alienated Outsiders,” “Resisting Discrimination and Forming Solidarity,” “Expressing the Desire of Subjects,” and “Searching for New Female Narratives.” By analyzing Park’s work, which visualized the problem of “othering” women, through psychoanalytic feminism and postmodern discourse, this paper contributes to the study of first-generation feminist artists in Korea.