소비문화와 마오시대 노스탤지어 사이에서

고동연(Dongyeon Koh) 현대미술사학회 2013 현대미술사연구 Vol.0 No.34

This study concentrates on ambivalent attitudes and circumstances found among the Chinese people toward the recent development of consumer culture on the one hand andnostalgia for the Mao era on the other, through three notable examples of artists in Chinese contemporary art. Ren Jian’s New History Group, Song Dong, and Mao Tongqiang have been working in the areas of performance arts, participatory projects, and installation arts, which are considered as more experimental artistic genres in China. More importantly, Song Dong and Mao Tongqiang installed everyday objects used by ordinary Chinese people during the ear of the Cultural Revolution as a way of bringing viewer’s critical and ambiguous reactions toward prosperous consumer culture in China from the late 1990s onwards. By focusing on these three artists mostly working inside China, this study also aims to provide alternative ways of looking at the influence of consumer culture in Chinese art, beyond the cases of more internationally recognizable Political Pop or renowned object-based artists such as Huang Yong Ping, Xu Bing, and Guo-Qiang.

중국 현대미술과‘ 노마딕 레디메이드’

고동연(Dongyeon Koh) 현대미술사학회 2015 현대미술사연구 Vol.0 No.37

Since the 2000s Ai Weiwei(艾未未) and Ni Haifung(倪海峰) has used readymade in their collaborative works to convey the dire circumstances in which Chinese workers can be compared with western consumers, especially under the western-centered market capitalism on a global scale. Hereby, I coined the term “nomadic readymade” to examine the recent development of readymade works transnationally manufactured and exhibited in contemporary Chinese art. Ai Weiwei’s Sunflower (葵花?, 2010) sheds a light upon the dire circumstances of the chinese workers under communist government while it also indicates the 17th and 18th century colonial history related to fair trade of the Dutch East India Company and Chinese porcelain workshops. In a similar vein, Ni Haifung collected 15 tons of left-over and garbage fabric from one of the factories in Habei(河北) area and exhibited at Manifesta in 2008 to make western audience/potentially consumer to stitch fabric and to question the division between Chinese workers and western consumers in Para-production (2007-2008).

초등학생을 위한 비평적 미디어 리터러시와 미술관 미디어아트 교육프로그램 - 백남준아트센터 사례를 중심으로-

고동연 ( Koh Dongyeon ) 한국영상미디어협회 2019 예술과 미디어 Vol.18 No.2

21세기 디지털 테크놀로지의 시대에 미디어아트 교육이 미술관의 새로운 화두로 떠올랐다. 본 연구는 미술관에서 진행되는 초등학생 대상 미디어아트 교육프로그램을 ‘비평적 미디어 리터러시’의 측면에서 분석해보고자 한다. 백남준아트센터에서 지난 2016년부터 3년간 행해진 <사물-놀이: 사물해킹>, <사물과의 대화>, <모두와 그리는 마을>의 교육프로그램을 통하여 미디어아트 교육이 현대 사회에서 미디어가 지닌 복합적이고 비평적인 역할을 가르치는 과정에 주목하고자 한다. 구체적으로 미국 탭스에서 규정한 다섯 가지의 미디어 리터러시 교육과정과 2015년 개정된 미디어 교육의 주요 목표인 ‘교과 간 융합 능력,’ ‘문제 해결 능력’ 등의 기준을 적용해보고자 한다. 비평적 미디어 리터러시의 개념을 도입함으로써 미술관에서 행해지는 미디어아트 교육 목표를 다각화시키고 미술관 교육과 학교 교육이 만날 수 있는 단초를 제공하는 것이 연구의 목적이다. In the age of 21st century digital technology, media art education has emerged as a new hot topic for the discourses about museums. This study is to examine media art education programs for elementary school children in light of theories of “critical media literacy.” By dealing with programs such as < Objects-Play: Things Hacking >(2016), < Conversation with Things >(2017), and < The Village Drawn along with Everyone >(2018) at Nam June Paik Art Center in South Korea for the last three years, the study concentrates on how media art education can teach elementary school students with complicated and critical roles that media has in contemporary society. In analyzing these programs, I would like to apply the five media literacy curriculum defined by the T-A-P (Technology, Audience, Production) in the United States and the criteria such as “interdisciplinary convergence ability” and “problem solving ability”, in accordance with the main objectives of media education by the Government in 2015. The purpose of this study is to pay close attention to the diverged goals of media arts education programs in South Korean art museums as well as the possible convergence of art education programs at museums and schools by introducing the criteria of critical media literacy.

Hallyu Images, Subversive Pleasures and Female Fandom in Cyberspace

Dongyeon Koh(고동연) 현대미술사학회 2018 현대미술사연구 Vol.0 No.44

이 논문은 두 여성작가 임선희와 김실비를 중심으로 어떻게 디지털 문화가 한류라는 국제적으로 알려진 한국의 대중문화와, 사이버 커뮤니티, 현대 미디어 아트간의 관계를 변화시켜 왔는지를 밝히고자 한다. 인터넷에 유통되는 팬들이 만든 카메라 이미지, 멜로드라마의 장면들로 이뤄진 임선희와 김실비의 직업은 사이버 커뮤니티에 관한 두 작가의 공통된 태도를 보여주는데 이것은 여성 팬들이 여성 주인공의 대안적인 드라마 속 리얼리티나 ‘꽃미남’으로 알려진 남성 아이돌에 대한 열정을 드러내는 방식으로 표출된다. 따라서 본 연구는 멜로드라마 이론, 관음증에 관한 젠더 간의 역동적인 관계에 관한 이론을 통하여 임선희의 〈내 방의 풍경〉(2011)과 김실비의 〈소년 애인〉(2009)이 반영하고 있는 사이버공간상 여성 관객들의 참여적이고 비판적인 팬 문화도 함께 다루고자 한다. The paper examines the two female media artists Sunhee Lim and Sylbee Kim with an aim of exploring how the digital environment has shifted the relationship among South Korean popular culture, known as Hallyu , online community, and contemporary media arts. Lim’s and Kim’s artistic production, comprise of fan cams, clips of melodramas circulated on the Internet, reveal their shared approach toward online community, in which female fans can explore their passion toward the alternative fictional reality of female protagonist as well as toward male idols, also known as “Kkotminam.” Thus, using theories on melodrama, gender dynamics in voyeurism, this essay further purports to explain participatory and even critical nature of (mostly female) fan culture in cyberspace, as best reflected and investigated in Lim’s Landscape in My Room (2011) and Kim’s Lover Boys (2009).

나의 몸, 나의 여성성

고동연(Koh Dongyeon) 나혜석학회 2016 나혜석연구 Vol.8 No.-

‘나의 몸, 나의 여성성’은 1980년대에 출생한 국내 젊은 여성작가들의 작업에 나타난 여성성과 여성의 몸 이미지에 주목하고, 이들을 여성주의적인 미술의 역사에서 복고적인 경향을 보이는 것으로 간주하고자 한다. 이와 연관하여 임신기간 동안 자신의 몸을 다룬 김도희의 <만월의 환영>(2012), 성적 대상으로서의 여성의 몸을 다룬 김가람의 “더섹시비키니” 프로젝트(2014), 정치적이고 투쟁적인 공론의 장에서 여성의 몸이 지닌 역할에 관심을 지녀 온 이미정의 “슬로건” 시리즈(2014), 황귀영의 <집안에 머무는 대자보>(2015)를 중점적으로 다루고자 한다. 이를 통하여 젊은 여성작가들이 여성의 몸에 대하여 취하고 있는 태도가 전통적이고 급진적인 여성 작가들이나 이후 여성성을 허구로 인식한 세대의 여성 작가들과 어떠한 차이점을 지니는지에 대하여 논하고자 한다. 또한 여성주의 미술의 전략들이 최근 국내 미술에서 어떻게 변화하고 있으며, 아울러 여성성, 여성의 몸, 그리고 여성의 성적 자유와 같은 테마를 다루는 과정에서 국내 여성운동의 선각자였던 나혜석을 비롯하여 최근 여성작가들이 공통적으로 직면하게 되는 딜레마가 무엇인지에 대해서도 살펴보고자 한다. This essay entitled “My Body, My Femininity” focuses on the images of feminity and the female body by contemporary Korean female artists (born after the 1980s) as the illustrative of their rather conservative approach toward gender and identity. The works cited in the essay are Dohee Kim"s The Illusion of the Full Moon (2012), a work involving the artist"s impregnated body, Garam Kim"s The Sexy Bikini Project (2014), based on the audience"s poseur as the sexy female bodies in bikini on their choices, Mijung Lee"s Slogan series (2014), Guiyoung Hwang"s Campus Wall Staying Home (2015). I argue that these female artists of younger generation distance themselves from either classical feminists who took more straightforward approaches toward feminist issues, such as the relationship between gender and their biological bodies, or deconstructive feminists, who considered the notion of gender as fiction all together. Through this essay, I first examine how feminist artists"s strategies have recently evolved; at the same time, I also examine how Nahaesuk, a pioneer of the feminist movement, as well as other recent feminist artists in South Korea should deal with the similar dilemma in dealing with their own femininity, bodies and sexual liberation.

1990년대 대안적 전시장으로서의 마켓 플레이스와 중국 현대미술계

고동연(Dongyeon Koh) 현대미술사학회 2017 현대미술사연구 Vol.0 No.41

1989년 《중국현대예술전(中國/現代藝術)》으로부터 2000년 《상해 비엔날레》까지 중국 내에서 실험예술에 대한 검열이 강화되었던 시기에 중국 내 젊은 세대의 작가들이나 작가 공동체들이 어떻게 공식적인 미술관이나 화랑이 아닌 대안적인 전시공간을 전략적으로 사용하게 되었는지를 살펴본다. 또한 대중소비문화가 확대되었던 1990년대 중국 내에서 상점, 음식점, 쇼핑센터와 같은 마켓 플레이스가 전시 장소로 활용되게 된 배경에도 주목하고자 한다. 구체적으로 1990년대 전반기에 1993년 북경 맥도날드에서 열린 새로운 역사 그룹의 《새로운 역사 1993: 대중소비(新歷史小組 1993: 大眾消費)》, 하반기에 1999년대 쉬전이 주도가 되어서 기획한 《슈퍼마켓 예술전(超市藝術展)》을 각각 대표적인 예로 다룬다. 이를 통하여 서구 현대미술사의 예들과는 달리 중국식 대안적인 전시행태가 등장하게 된 특수한 정치, 사회, 문화적인 배경을 부각시키고자 한다. 아울러 중국의 행위, 영상, 설치 등의 실험적인 매체를 다루던 작가들이 공공의 마켓 플레이스를 활용함으로써 중국정부의 감시를 피하면서도 중국 내 관객의 폭을 확장하고자 하였던 독창적인 해결방식을 강조한다. This essay examines how the younger generation of Chinese contemporary artists and collectives used the alternative exhibition sites outside of art museums and galleries in the 1990s, the decade known for the Government’s oppressive policies against experimental arts in China, particularly after the notorious China/Avant-garde in 1989 until Shanghai Biennial in 2000. It also pays special attention to the 1990s as popular culture and consumerism became rapidly expanded in China; subsequently, an array of marketplaces such as stores, restaurants, and shopping centers became appropriated as the sites for art exhibitions. New History 1993: Mass Consumption (1993) by the New History Group, the exhibition held at Mcdonald, Beijing, and Art For Sale (1999) led by Xu Zhen, will be closely examined as each representing the earlier and latter types of unconventional art exhibitions. The emphasis, thus, rests upon highlighting unique political, social, and cultural contexts in which alternative types of art exhibitions arose in China, distinct from its western counterparts. Furthermore, it also highlights creative solutions that Chinese performance, media, and installation artists had devised by using marketplaces in order to avoid censorships as well as to expand their audiences within Chinese society.

전 지구화 시대의 중국 현대미술과 비평

고동연(Koh Dongyeon) 현대미술사학회 2011 현대미술사연구 Vol.0 No.29

As Chinese contemporary art, especially what is called “Political Pop Art”, became the center of attention at international biennialsand exhibitions during the early 1990s, critics of Chinese art faced a number of important challenges. They had to ‘explain’ not only the distinctive historical and artistic contents of individual art works and artists, but also Chinese contemporary art within the history of the international contemporary art. The critics and curators on Chinese contemporary art had to fight against the dominant approach toward Chinese contemporary art in the West; to bring the balanced view between artistic tradition in China and the development of contemporary artistic language; to examine Chinese art relative to the concept of avant-garde, based on the “critical” tradition of contemporary art in west. This study concentrates on Wu Hung and Gao Minglu, the two influential art critics and art historians on contemporary Chinese art and culture. As both were educated in China and western academia, they can serve as useful cases for understanding the challenges that art critics of the non-western world should face. I will particularly highlight Wu Hung’s attempt to “decontexturalize” as well as “recontexturalize” Chinese contemporary art relative to Chinese literary and artistic tradition on the one hand, and the development of conceptual and books art in the west on the other. Unlike Wu Hung, who became extremely reserved in using western theories, Gao Minglu applied the concept of avantgarde in order to introduce a series of critical and rebellious arts in China from the late 1980s and onwards. For Minglu, western theories and concept enable him, in a way, to criticizethe repressive Chinese government and advocated Chinese avant-garde art “outside” of China. By looking at the key example of Wu Hung’s and Gao Minglu’s art criticism, this study aims to touch upon the problem, limitation, and possibilities that art critics on nonwestern arts have to deal with in the globalized art world context; how international artistic languages or theories can be used, appropriated by critics on non-western art world to maneuver between non-western and western, or between the outside and inside of the tradition and society from which the given art works derived.

광 마이크 구현을 위한 박막의 진동특성 해석

高東演,朴東旭 홍익대학교 과학기술연구소 2006 科學技術硏究論文集 Vol.17 No.-

We present a procedure for analyzing the vibration characteristics of a membrane used for an optical microphone system based on optical scattering by acoustically-induced membrane vibration. Some preliminary calculation results are also included. The procedure, based on numerical analysis of the membrane's equation of motion, can subsequently be applied towards obtaining the characteristics of the scattered optical beam.