다나카 고키의 《추상적 발언》과 불안정한 공동체

우정아 한국미술이론학회 2017 미술이론과 현장 Vol.0 No.24

Using Koki Tanaka's collaborative project as an example, this paper studies the anticipated roles of participatory art in a community, which has become an elusive issue in the wake of the Great East Japan Earthquake of 2011. At the 55th Venice Biennale of 2013, the Japan Pavilion presented a solo exhibition of Koki Tanaka titled Abstract Speaking: Sharing Uncertainty and Collective Acts. The exhibition consisted of videos and photographs of collective performances in which the participants collaborated on common tasks, often revealing subtle tensions. The artist's objective was to uncover the vulnerabilities of a community – even the Japanese society that has been known for its unity and solidarity – in the face of abrupt changes in social context after a disaster like the 2011 Great Earthquake. This paper argues that this very awareness of the uncertainty of a community would be a critical step toward alternative types of community. 다나카 고키(1975년생)는 지난 2013년 제 55회 베니스 비엔날레에서 일본관 대표 작가로 선정되었다. 2011년 3월 11일, 동일본 대지진 이후에 준비된 첫 베니스 비엔날레였던 만큼, 그 해 일본관의 화두는 세계인들을 향해 재난에 대응하는 ‘일본’의 방식을 보여주는 것이었다. 작가는 3.11 대지진이 ‘일본’이라는 국가의 재앙이라고 할지라도 개개인에 따른 체험의 격차가 상당할 뿐 아니라, 아무리 공동체적 단결을 강조하더라도 과연 타인의 재앙에 공감하고 그 고통을 공유 하는 것이 가능한지에 대한 질문을 던졌다. 본 논문에서는 다나카 고키의 베니스 비엔날레 전시 와 이후의 일련의 프로젝트를 통해 동일본 대지진이 일본 사회에 일으킨 ‘공동체’의 가능성에 대 한 의심과 그 새로운 전망, 그리고 참여형 미술의 사회적 역할 등을 살펴보았다.

관계 미학, 그 이후 : 리크리트 티라바니자展 9. 7~11. 8 신세계갤러리 청담_리암 길릭展 10. 6~11. 11 갤러리바톤

우정아 에이엠아트 2023 Art in culture Vol.24 No.11

긴 터널의 끝으로 : 빛展 2021. 12. 21~5. 8 서울시립 북서울미술관

우정아 에이엠아트 2022 Art in culture Vol.23 No.4

한포진 치료의 중의학 임상연구 동향 - 무작위 대조군 임상연구를 중심으로 -

우정아,박범찬,최일신,김기봉,천진홍,Woo, Jeong A,Park, Beom Chan,Choi, Il Shin,Kim, Kibong,Cheon, Jin Hong 대한한방소아과학회 2021 대한한방소아과학회지 Vol.35 No.4

Objectives The purpose of this study is to analyze clinical studies on the effectiveness of TCM (traditional Chinese medicine) for pompholyx treatment and provide evidence for Korean medicine use. Methods Randomized controlled trials (RCT) which used TCM as a treatment for pompholyx were searched in China National Infrastructure (CNKI) platform. The risk of bias of studies was assessed by using Cochrane risk of bias (RoB) 2.0 tool. Results The selected 10 RCTs showed that the experimental group treated with either TCM alone or with a combination of TCM and Western medicine showed more significant therapeutic effect compared to the control group which Western medicine alone. Conclusions Based on the studies from China, TCM may be an effective treatment for pompholyx. This provides evidence for Korean medicine use, and its possible effectiveness in treating pompholyx

타나카 코키의 <추상적 말하기>와 공동체의 불확실성

우정아 한국미술이론학회 2017 한국미술이론학회 학술대회 Vol.2017 No.05

1989년도 일본 우정사업의 결산

우정대신관방 정보통신정책연구원 1990 우정정보 Vol.1990 No.4

검은 옷을 입은 뉴욕의 수도승 ; 애드 라인하르트의 <블랙 페인팅>과 오리엔탈리즘, 추상표현주의

우정아 미술사와 시각문화학회 2003 미술사와 시각문화 Vol.2 No.-

The critical discourse surrounding Ad Reinhardt (1913-1967) has been focused either on his connection with me New York School or his influences on Minimalism. Consequently, his religio1l5 orientation toward art and acknowledged attraction t0 the Eastern philosophy have been widely ignored. Therefore, this paper is devoted to elaborating the “Oriental" ideas inscribed in his work, especially Black Paintings mat were executed in his later career(1960-67). However, my concern is less about identifying the characteristics of me “Oriental” sensibility than about tracing the various discursive contexts defining and creating the Eastern aesthetics surrounding his work and criticism, I show that Reinhardt's seemingly authenticated knowledge of the East has relied on me absent signifier of the mythic Orient, which is fraught with Orientalist overtones. In the later part of this paper, I suggest that Reinhardt was alienated from his contemporary critical Context of Abstract Expressionism due to his explicit reliance on the Eastern an and philosophy, on one hand, and on the other, the implicit association through Zen Buddhism with the artists, such as John Cage, F1uxus, and Beat poets to name the most prominent few, who were marginalized in major context of American art of the late 1950's and the 1960's. I am firmly of the opinion that the Eastern orientation sprinkled an irritating flavor in Reinhardt"s aesthetics for the Greenbergian-typc of American modem art. It is dear that Clement Greenberg's rigorous denial of Oriental influence was pan of his effort to eliminate the alibi of non-American and non-European aspects from the Abstract Expressionism. As a result, I argue, under the Greenberg"s aegis, such an odd grouping of New York School pantisans has been packaged as “American-Type” painters, while Reinhardt's Eastern sensibility has been marginalized in the triumphal history of American modem art.

표면처리 시간에 따른 임플란트 미세구조의 변화;SLA와 TB 표면 임플란트

우정아,허익,권영혁,박준봉,정종혁,Woo, Jung-A,Herr, Yeek,Kwon, Young-Hyuk,Park, Joon-Bong,Chung, Jong-Hyuk 대한치주과학회 2005 Journal of Periodontal & Implant Science Vol.35 No.4

Mechanical and chemical methods are the two ways to treat the implant surfaces. By using mechanical method, it is difficult to eliminate bacteria and by-products from the rough implant surface and it can also cause the structural change to the implant surface. Therefore, chemical method is widely used in order to preserve and detoxicate the implant surface more effectively. The purpose of this study is to evaluate the effect of tetracylcline- HCl on the change of implant surface microstructure according to application time. Implants with pure titanium machined surface, SLA surface and $TiO_2blasted$ surface were used in this study. Implant surface was rubbed with sponge soaked in 50mg/ml tetracycline - HCl solution for $\frac{1}{2}$ min., 1min., $1\frac{1}{2}$ min., 2 min., and $2\frac{1}{2}min.$ respectively in the test group and with no treatment in the control group. The sponge was soaked in every 30 seconds. Then, the specimens were processed for scanning electron microscopic observation. Based upon the analysis of photographs by three dentists who are not related with this study, the results were obtained as follows; 1. In the pure titanium machined surfaces, the control specimen showed a more or less rough machined surface composed of alternating positive and negative lines corresponding to grooves and ridges. After treatment, machining line was more pronounced for the control specimens. but in general, test specimens were similar to control. 2. In the SLA surfaces, the control specimen showed that the macro roughness was achieved by large-grit sandblasting. Subsequently, the acid-etching process created the micro roughness, which thus was superimposed on the macro roughness. Irrespective of the application time of 50mg/ml tetracycline - HCl solution, in general, test specimens were similar to control. 3. In the $TiO_2blasted$ surfaces, the control specimen showed the rough surface With small pits. The irregularity of the $TiO_2blasted$ surfaces with 50mg/ml tetracycline - HCl solution was lessened and the flattened areas got wider after 1 minute.

Fluxus and the Politics of Zen Buddhism

우정아 서양미술사학회 2022 서양미술사학회논문집 Vol.56 No.-

Fluxus, as one of the most complex and ambiguous artist groups that emerged in the 1960s, is ever-contemporary that calls forth constant reexamination, redefinition, and reevaluation within the multiple criteria of contemporary art. I argue that the complicated aspects of Fluxus relate to strands of Zen Buddhism, and that these strands are interwoven with distinct historical and political contexts, where the modern discourse of Zen Buddhism was constructed and operated. I focus particularly on how wartime Japan’s nationalist propaganda of Zen Buddhism was de-politicized in the cultural arena of postwar America as a selfless spiritual discipline, and how this apolitical aspect of Zen was strategically utilized by George Maciunas, the Fluxus organizer, for avant-garde art practice. By positing the formation of Fluxus within John Cage’s experimental music, I complicate the Cagean principle with the discourse of Zen Buddhism in terms of its sociological significance within the turmoil of the 1960s, when the spirit of anti-authority and counter-cultural impetus erupted in the form of antiwar protests and the expansion of the awareness on cultural diversity. I argue that at the core of the tension between certain Fluxus artists and Maciunas resided their disparate understandings of Zen and the different ideological stances.

라몬트 영의 미니멀리즘 : 플럭서스로부터 시작된 소통의 미학

우정아,정연심 한국미술사교육학회 2012 美術史學 Vol.- No.26

본 논문에서는 전위적인 예술가 집단, 플럭서스의 형성에 결정적인 영향을 미친 라몬트 영의 초기 작품부터 이후 미니멀리즘 음악의 창시자로서 위상을 굳히기까지, 그의 작업을 살펴보았다. 미술사학자 벤저민 부클로(Benjamin Buchloh)는 개념미술의 역사를 서술하면서, 탈물질의 미술을 추구하며 나아가 전혀 새로운 대중을 창출했던 플럭서스의 중요성을 인정했다. 나아가, 1990년대의 미술을 ‘관계성의 미학(relational aesthetics)’이라고 정의해, 큰 반향을 불러일으킨 평론가 니콜라스 부리오(Nicolas Bourriaud) 또한 현대미술의 기원에 플럭서스가 있다고 강조했다. 즉 플럭서스에서는 미술가라고 할지라도 작품의 효과를 완전히 통제하지 않고, 미술의 최종적인 의미는 작품과 참여자들 사이의 상호작용 속에서 새롭게 태어난다는 것이다. 이처럼 현대 미술의 기원에 미친 플럭서스의 영향을 재평가하려는 움직임 속에서도 플럭서스와 미니멀리즘과의 관계는 크게 논의된 적이 없었다. ‘물질화’를 중시하지 않았던 플럭서스와 ‘사물성’의 미술이었던 미니멀리즘, 선불교를 정신적 근원이라 주장했던 플럭서스와 종교를 비롯한 그 어떤 상징성도 거부했던 미니멀리즘 사이의 괴리가 크기 때문이다. 그러나 영의 작업에는 플럭서스 시절부터 단지 음악 뿐 아니라 미술에 있어서의 미니멀리즘이라는 새로운 패러다임을 여는 요소들을 담고 있었다. 즉, 그는 1960년대 이후 추상표현주의의 아성에 도전하며 새로운 미술을 추구하고자 했던 커다란 두 흐름-플럭서스와 미니멀리즘이 갖고 있던 여러 상충적 요소들을 이어준 존재인 것이다. 따라서 본 논문에서는 영의 작업과 미니멀리즘 조각, 특히 초기에 친밀한 관계를 유지하며 협업했던 로버트 모리스의 작품 사이의 연관성을 통해, 1960년대 미술의 지배적인 담론이 되었던 미술의 현상학적 수용에 있어서 영의 음악이 선구적 역할을 했음을 밝힐 것이다. 영은 <드림 하우스>를 비롯한 소리와 조명으로 이루어진 공간적인 설치를 통해 상징성을 배제하고 직접적인 육체적 경험을 통해 감정을 전달하고자했다. 이러한 배경에는 선불교와 이슬람교의 수피즘, 일본의 가가쿠 등 비서양권 문화의 다양한 심미적 전통이 있다. 그러나 1980년대 이후, 미니멀리즘을 중심으로 현대 미술의 패러다임을 현상학적 지각의 전환으로 설명했던 주류의 미술사 속에서 플럭서스는 물론, 영의 종교적인 성향은 “가짜 현상학”으로 매도되며, 네오-아방가르드로서의 진보성을 의심받았던 것이 사실이다. 그러나 명상적인 “몰입”을 추구하는 영의 미니멀리즘은 20세기 후반, 현대적인 세계관을 지배하던 이분법적 사고방식과 종말론적 불안에 대한 아방가르드적 저항의 한 방식으로 볼 수 있을 것이다. The purpose of this project is to explore the works of La Monte Young, a Fluxus artist who incorporated the aesthetics of Zen into his artistic practices as a means for seeking an unmediated transmission of concrete experiences through both language and sound. I contend that the phenomenological turn of 1960s art began within Fluxus, particularly with Young’s aural experiments. The original purpose of this study was to inscribe the legacy of Fluxus practices and ideas within the trajectory from minimalism to conceptual art which marked the 1960s. However, I increasingly realized that approaching the artists primarily within the framework of Fluxus essentially truncated and homogenized their individual practices into a pursuit of transcendence and detachment, stressing only a universal ideal and abstract intuition. Through his Minimal music, Young draws attention to the physical properties of sound-such as duration, timbre, and amplitude-which he felt had been subdued by the metaphoric devices of harmony, rhythm, and melody in service to the illusory associations of traditional music. By eliminating “composition,” as it is conventionally defined, Young provides listeners with a more visceral experience of sound, immersing them in the aural environment with the intention of generating a more phenomenologically complex interaction with the actual space. Thus, Young’s sound environment has a significant connection to Robert Morris’s minimalist objects, in that both producecorporeal effects through physical ambience and purely formal elements, with little help from representational symbols and metaphoric references. In charting the original moments of Conceptual art, Benjamin Buchloh acknowledges the crucial significance of Fluxus’s attention to the privileged status of institution, including the authority of the artist’s intention. Buchloh states that the new mode of production and distribution initiated by Fluxus artists initiated the creation of a radically different art public. Later, Nicolas Bourriaud traced the genealogy of the “relational aesthetics” of the 1990s back to Fluxus, clearly echoing Buchloh’s appraisal of the group’s anarchic denial of the artist’s control over their final product, whether it is materially realized or merely completed mentally. The purpose of this research is to expand the recent art historical investigations of Fluxus’s contribution to the development of minimalism and conceptual art by highlighting the practices of its primary participant, Young, who was particularly fascinated with Eastern aesthetics.