공예의 학문화

조혜옥 조선대학교 조형미술연구소 2003 조형미술논문집 Vol.3 No.-

구경성(究竟性)의 자각(自覺)과 전개(展開) : 야나기 무네요시(柳宗悅)의 사상계

조혜옥 단국대학교 일본연구소 2006 일본학연구 Vol.18 No.-

Yanagi Muneyoshi (柳宗悅, 1889-1961) is a modern Japanese thinker who developed ideas with consistent concerns about achieving and performing the understanding of truth which could even overcome differentiation between the East and the West in universal value, or absolute universality for human beings and the world and the most ultimate fundamentals. The ultimate fundamentals mean all of the ultimate and fundamental basis, the final attainment through the pursuit of an object, and properties, structure, values, and objects of the area. Therefore, the ultimate fundamentals refer to Idea from the Western viewpoint of Plato and the world of dao from the Oriental perspective of Lao-Chung. He made such great efforts to achieve the ultimate fundamentals because he was aware of limitations and irrationality of modernization of the East based on Westernization through Western forces governing the East and Western modernism based on rationality and there was strong association between 'establishment of his identity as a human being' and the resultant issue of achieving the 'quality of life.' Right here, the thought of Yanagi has modern significance established because such a fundamental attitude of Yanagi is now the pioneer basis for all of us when both globalization and localization develop. The 'living or religious fundamentals' Yanagi recognized through extensive reading of Eastern and Western mysticism include oneness, nothingness, sameness, mutual sameness, non-difference, neutrality, and emptiness, all of which exist in the area beyond the boundaries of logic, judgement, and thinking of human beings as essence and real divine nature, or divinity. The ultimate fundamentals he became aware of through researches in beauty of folk crafts and common things of Chosun were commonness and tranquility. Besides, the ultimate fundamentals he became aware of during the process of establish Buddhist aesthetics were non-difference and the greatest possibility. Each of these expressions Yanagi became aware of through each area indicates a certain part of the ultimate fundamentals: for example, non-difference and mutual sameness refer to relations between components of the ultimate fundamentals; neutrality, commonness, and tranquility refer to the ideal state of components of the ultimate fundamentals; nothingness and emptiness refer to existence types of the ultimate fundamentals; sameness and the greatest possibility refer to the optimal state of the ultimate fundamentals; and finally, oneness refer to an ultimately fundamental object itself. From the methods and results of his research in the ultimate fundamentals, Yanagi suggests the following: this world reveals two sensible phenomena, which were originally the same thing, or oneness. However, since this one fundamental world is invisible, we also have to use the ability of intellectual intuition, which is the best ability of awareness related to the mind invisible to us. If one considers both sides in each situation (neutrality) using the ability, he or she becomes aware of truth attainment which can satisfy both of them; this boundary is the area where goodness, beautifulness, and rightness based on balance are realized all at once and emptiness which is the fundamental area of divinity and divine nature, or the ultimate target of the fundamentals, can be reached through repetitive efforts toward such a fundamental area. If this boundary of emptiness is reached, the greatest possibility is generated to realize all ideals and values of human beings as done by divinities; the boundary can be shared between human beings and divinities but we have to abandon ourselves in front of it since its basis is divine. This is because we can make us greater and more righteous and achieve the maximum of true self. As all these things related to the fundamentals could be recognized by Chosun art as a particular thing and by industrial arts (folk crafts) as general one, he suggested that only the pattern might have a cultural position of true art to enable restoration of humane life, additionally presenting the fundamentals and practical methods for our fundamental life.

구경성(究竟性)의 자각(自覺)과 전개(展開):야나기 무네요시(柳宗悅)의 사상계

조혜옥 단국대학교 일본연구소 2006 일본학연구 Vol.18 No.-

한국 페미니즘 미술의 역사, 담론의 재구성 : 1980년대 ‘여성미술’과 1990년대 ‘포스트모던 페미니즘 미술’

조혜옥(趙惠玉) 한국미술연구소 2020 美術史論壇 Vol.- No.51

This study focuses on the period when Korean feminist art and criticism, which had begun in close relationship with Minjung misul in the mid-1980s, encountered postmodernist discourses in the 1990s. The trend of New Art History and cultural studies persuaded art historians and critics to participate in the discourse of Korean feminist art. However, what emerged was a history based on binary opposition that constructed a generational framework for feminist art. An ideologically driven political movement of ‘Yeoseong misul (Women’s Art)’ in the 1980s was set against an ideologically free and formally experimental ‘postmodern feminist art’ in the 1990s. To challenge this historiography composed of conflict and linear development, the essay first analyzes two exhibitions of Yeoseong misul: “Let’s Open the Floodgate” (1988) and “Women and Reality” (1987-1994). Feminist art in the 1990s developed alongside exhibitions, in which Kim Honghee played a critical role as a curator. Also, Kim wrote the first history of Korean feminist art within the generational framework, from which most other writers take their cue. However, the teleological historiography dividing generations and emphasizing development needs to be reexamined. This paper investigates Kim’s “Woman, the Difference and the Power” (1994) and “Patjis on Parade” (1999) in this context. On the other hand, the practice of feminist artists who participated in the cultural research group Hyunsilmunhwayeongu in the 1990s, along with “Let’s Open the Floodgate” and “Women and Reality” in the 1980s, reveals the two generations were neither clearly divided nor in conflict. But rather, the feminist artists gathered and scattered to meet the demands of each time and society, resisting dominant ideology. This study, by dismantling the generational framework, attempts to propose the possibility of an art history that articulates difference without becoming the subject of rigid categorization or a totalizing thought system.

보편성과 특정성 사이의 전략: 세계화된 미술계에서 한국 여성 작가 이불의 말하기

조혜옥(Hyeok Cho) 현대미술사학회 2020 현대미술사연구 Vol.0 No.48

세계화된 미술계, 실상 미국과 서유럽 남성 중심의 미술계에서 비서구권 여성 작가는 그 미술계에 익숙하고 호소력 있는 동시에 낯선 도전의 목소리를 내게 된다. 필자는 “하위주체는 말할 수 있는가?”라는 가야트리 스피박의 질문과 그에 대한 부정적 결론을 다나 해러웨이의 「상황적 지식들」을 통해 재고하며, 동시대 한국 여성 미술가가 어떻게 세계화된 미술계에서 자신의 예술이 말해지는지에 개입하면서 예술로 말할 수 있는지 분석한다. 이 논문에서는 국내에 거주하면서도 국제 미술계에서 활발히 활동하고 있는 이불을 사례로 다룬다. 먼저 국내외 저널과 도록의 글, 작가 인터뷰를 검토하여 이불 자신과 국내외 비평가들의 목소리 차이를 들어본다. 다음은 이불이 국제적 명성을 얻게 된 1990년대 이후 새롭게 발달한 국제 미술 기구와 미술 시장의 네트워크가 어떻게 다양성이 아닌 예술의 동질화를 위한 여과장치(filtering system)로 기능하는지 살펴본다. 마지막으로 호미 바바의 ‘미미크리(mimicry)’ 개념을 참조하여 한국 여성 미술가가 세계화된 미술계에 어떻게 이질성을 가져올 수 있는가라는 질문에 답한다. 그 개념은 이불의 예술이 서구 미술계에 호소력을 가지면서 동시에 도전하는, 전면적 부정이 아닌 교묘한 전략을 보여준다는 것을 발견하게 한다. Within a globalized, Euro-American, and male-dominated context, a non-Western woman artist speaks in a familiar voice, while simultaneously challenging the art world in an unfamiliar voice. I shall reconsider the question posed by Gayatri Spivak, “Can the subaltern speak?,” which she negatively concludes, through Donna Haraway’s “Situated Knowledges” in order to analyze how this Korean woman artist intervenes in the globalized art world through the way her art is articulated. The essay includes a case study of Lee Bul, an artist based in Korea, who has taken an active part in the international art community. The first section examines the different voices of Lee and her art critics from Korea and abroad through a selection of interviews, articles, and catalogs. The following section addresses how the network of global art institutions and art markets, developed in the 1990s, has functioned as a filtering system to homogenize Lee’s art ever since she gained international fame. By referring to Homi Bhabha’s concept of “mimicry,” I respond to the question of how this Korean woman artist can bring heterogeneity to the art world, contending that Lee, while appealing to the Western art world, offers a challenge not on negation, but rather on a touch-and-go strategy.

주민참여를 통한 지역공동체 공간조성에 관한 사례연구 - 시흥시 주민공간 조성사업을 중심으로 -

조혜옥 ( Cho¸ Heaok ),이현성 ( Lee¸ Hyunsung ),김주연 ( Kim¸ Jooyun ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.6

(연구배경 및 목적) 문화체육관광부는 2018. 5. 2.일자로 공공디자인 진흥 종합계획(2018~2022)을 발표했다. 공공디자인 정책에 대한 국가차원의 최초 법정계획으로 국민의 생활속에서 체감하는 공공디자인이 주요 내용이다. 또 공공디자인 진흥에 관한 법률 제10조는 공공디자인 사업시행의 원칙으로 국민들이 공공디자인에 참여할 수 있는 다양한 방안을 마련하였다. 기초가 튼튼한 공공디자인의 전략수립을 통해 주민협의체 활성화, 시민참여 등 국민 주도의 공공디자인 체계를 구축하도록 하였다. 공공디자인의 실질적 참여확대 방법으로 주민 의견수렴 절차 및 협의체 운영 등이 공모·심사요건으로 도입되었다. 하지만 관주도이거나 형식적인 운영으로 사업 완성도 및 지속가능성을 담보하지 못하는 것이 현실이다. 이에 본 연구는 주민참여를 통한 지역공동체 공간조성에 관한 사례연구를 통해 향후 공공디자인 사업과 정책에 있어 시민참여를 확대할 수 있는 체계의 기반 마련을 목적으로 한다. (연구방법) 첫째, 기존 선행연구와 관련 문헌고찰을 통해 참여형 디자인 개념 및 유형 등을 정의하였다. 둘째, 동일 커뮤니티 대상인 시흥시 신현동을 연구범위로 정하여 복합커뮤니티 공간, 작은 도서관, 쌈지공원 세 가지 사례에 대한 분석연구를 진행하였다. 셋째, 세 가지 사례의 분석연구를 토대로 주민참여형 지역 공동체 공간조성의 단계별 과정을 분석 제시하였다. (결과) 선행연구와 문헌고찰을 통해 주민참여형 공공디자인사업은 관 주도와 주민 주도, 협업 형태로 진행되는 것을 알 수 있었다. 하지만 점차 사업 만족도 및 지속가능성을 위해 지역의 주민 주도로 사업추진 주체가 변화되고 있음을 확인하였다. 또한 시흥시 신현동 사업의 사례분석을 통해 주민협의체 구성, 전문가 협력 등의 방안으로 주민이 지역 공공디자인 사업에 중심자로서 역할을 할 수 있도록 단계별 매뉴얼이 필요함을 알 수 있었다. (결론) 향후 공공의 개입은 행정적 지원으로 최소화하고, 주민중심으로 운영주체가 변화되어야 만이 공공디자인 사업의 지속가능성을 담보할 수 있다. 또한 사업 대상지 선정, 범위 및 방식 등의 사업의 전 과정에 주민참여가 체계적으로 운영되어야 한다. 추후 연구에서는 주민, 전문가, 공무원이 함께 거버넌스로 추진한 공공디자인사업으로 공동체가 활성화되는 지역사회 변화하는 과정에 관한 연구가 진행될 것을 기대한다. (Background and Purpose) The Ministry of Culture, Sports and Tourism announced the Comprehensive Plan for the Promotion of Public Design (2018-22) on May 2, 2018. This is the first court plan at the national level for public design policy, and the main content is public design that people can experience in their lives. Article 10 of the Act on the Promotion of Public Design establishes various measures to enable citizens to participate in public design based on the principles of implementing public design projects. It established a strategy for public design with a solid foundation and established a public design system led by citizens, such as revitalizing residents' councils and participating citizens. As a practical way to expand the participation of public design, procedures for convergence of opinions of residents and management of councils were introduced as public invitation examination requirements. However, the reality is that the completeness and sustainability of the project cannot be guaranteed through government-led or formal management. Therefore, the purpose of this research is to lay the foundation for a system that can expand citizens' participation in public design projects and policies through case studies on the creation of spaces in local communities through the participation of residents. (Method) First, the concepts and types of participatory designs were defined through existing prior research and consideration of related literature. Second, we conducted analytical research on three cases: complex community space, small library, and Samji Park. Third, based on the analysis and study of the three cases, we analyzed and presented the step-by-step process of creating a space for the residents' participatory community. (Results) Through prior research and literature consideration, it has been found that public design projects with resident participation are conducted in the form of government-led, resident-led, and cooperation. However, it was gradually confirmed that business promotion entities would change under the initiative of local residents for business satisfaction and sustainability. An analysis of the Siheung city Sinhyeon-dong project found that a step-by-step manual is needed so that residents can play a central role in local public design projects through the composition of residents' councils and cooperation of experts. (Conclusion) From now on, public intervention will be minimized with administrative support, and the sustainability of public design projects will be guaranteed only if the management body changes mainly to residents. In addition, the participation of residents in the whole process of the project, such as the selection, scope and method of the target site, shall be systematically operated. In future research, we hope that research on the process of community change will be carried out through public design projects promoted by residents, experts, and public officials as governance.

비이원적 총체로서의 공예의 기구

조혜옥(Hyeu Ok Cho) 한국미학예술학회 2001 美學·藝術學硏究 Vol.13 No.-

N/A Transcend extreme of the Mordernism and Post-Mordernism catches a historical result as a Non-dualistic Whole of better high-ranking Hen, consider Advaitavada as a fit for universal possibility of cognitive way, structure of ontology is already considered a Non-dualistic Craft following a Advaitavada, so the original nature of Craft is from concept of public and research principal of formation is based on an Axiom. First, Advaitavada that considered as a Mordernism, Post-Mordernism and universal cognitive way fit for The Our age is cognitive manner that recognize dualism as reciprocal cabinet of equivalence affirmation through a relationship between reciprocity living and mutual supplement, at last The Whole of One which want to relation of mutual circularity. All the nature of cognitive object is accord in both side. Advaitavada is, for unify mutual contradiction of dualism and opposition, have a structure special quality as a reversibility and mutual circularity, through that dualism have a meaning that the highest form of cognition which is pointing to the Whole of One and ultra become a inevitable value. For achieving a ultra not stay in extreme or middle, have an act formation of trans that wherever possible, have a inclination which Is not fixing, sticking, determine in The Whole of One. Field and through this inclination dualism`s side have a `perhaps` which is not sticking one and lively overflow character as a nature. Inevitably making particular thing of perhaps, by a value ultra and act of formation of trans exist way of Advaitavada have frame of indeterminism, uncertainty. Advaitavada is saying as uncertain probability, but make understand closing space as a open space between mutual and concept, so adoptable to unite with object and self, united with UNIVERSAL, through this an outlook on the world can recognize REALITY from mind. So, Advaitavada have a specialty of mental cognition, intuition, united the Whole of One, understand as a trans logic that able to get a high level world. Second, because ontology structure of Craft are based on the Non-dualistic Whole, behold the true character if matter of Life, Needs, Utility, Good are consider in the Non-dualistic field where consolidate. Thinking over through this, true life is this world and future life, reality and an idea, physical science and metaphysical are not separate as a dualism, both side are consider in common life that mingle non dualistic, needs of human also accomplished sufficiently when the needs of human are cared for physically, mentally, emotionally, spiritually. Utility also, not stems from simple physic function or a tip good, `better life` fit for quality develop of life and made a moral, ethical principal if justice as requirement. According to rightly degree in moralism of one society and era, good and satisfy distinct of delight so that formation of utility can an Axiom to an Axiom, further more, promoting high ranking level of an Axiom. Formational character of Good, adopted as a shortcut of a value, no good in one side, open field as the Non-dualistic Whole permitted intervention made of various function. Third, Life. Needs, Utility, Good which are perfectly frame as a Non-dualistic Whole, territory of public demand for justice, bright, highest. And righteousness which is the theory that control the territory are understand as absolute, constancy, mediocrity world. Through a dictionary and linguistic example, territory of public and an Axiom is territory that man and superman act together and understand as a theory, Jehovah is fundamentally perfect, but man is enforcing an Axiom imperfect condition. All the conclusion of act which is following an Axiom, will produce value of very-good and utility such as do Good. Resisting self-egotism, unity of dualism, establish scattered order and principal, practice value of moral, unity In a separate life and through this process practice needs of human as a better life, interpret possibility of

이불의 ‘전력으로 달아나는’ 예술, 그리고 페미니즘적인 미술사

조혜옥(Cho Hyeok) 한국근현대미술사학회 2021 한국근현대미술사학 Vol.41 No.-

한국 현대 페미니즘 미술사의 기술은 ‘1980년대 이념 중심의 ‘여성미술’에서 1990년대에는 다양한 양식으로 보편적 여성 문제를 다룬 ‘포스트모던 페미니즘 미술’로 발전했다’는 관점으로 시작되었다. 본 연구는 이 같은 목적론적 미술사를 해체하려는 하나의 시도다. 먼저, 그 배경으로 한국 포스트모더니즘과 ‘신세대 미술’론을 비판적으로 검토하고 당대의 지배적 미술사 담론들이 어떻게 페미니즘 미술사와 접합됐는지를 살핀다. 1980년대 말 서구에서 유입된 포스트모더니즘은 모더니즘과 민중미술 계열에 의해 각기 다른 입장에서 구성됐다. 모더니즘 비평가들에게 그것은 민중미술에 맞서 미적 자율성의 역사를 이어갈 대안이었다. 특히 윤진섭은 ‘신세대 미술’을 ‘이데올로기 대립에 대한 무관심’과 ‘대중매체에 대한 형식적 실험’을 특징으로 하여 ‘양식과 이데올로기라는 대립을 지양해 발전적 종합을 이루는 포스트모더니즘 미술’의 예로 자리매김했다. 한편 김홍희는 이런 모더니즘 계열의 역사관과 포스트 모더니즘 미술론을 수용하면서 포스트모더니즘과 페미니즘 미술의 친연성을 주장함으로써 대립과 발전이라는 모더니즘 역사관에 머무르게 된 것으로 보인다. 다음으로 이분법적 단선적인 목적론적 미술사에 도전하는 페미니즘으로 미술사를 쓰는 방법을 모색한다. 이를 위해, 신세대 미술 그룹 ‘뮤지엄’의 일원이자 포스트모던 페미니스트 작가로 호명됐던 이불의 예술이 그 담론들의 틀에 한정되지 않고 해체하고 있었음을 조명한다. 즉, ‘신세대 미술’은 ‘탈이데올로기적’, ‘비정치적’이라고 단언할 수 없음을 강조하고, 1990년대 이불과 1960-70년대 여성 실험미술가들의 예술을 각 사회 문화 정치적 상황에 대한 반응이라는 점에서 연속성,동시성, 차이 모두를 통해 이해하기를 제안한다. 또 이불이 초기 설치와 퍼포먼스를 통해 정형화된 여성 이미지에 도전할 뿐 아니라, 사회 문화 정치에 대한 암시적 비판을 가하고 있었음을 밝힌다. 스스로 말하듯, “전력으로 달아나는” 이불의 작업은 목적론적 미술사 인식 틀의 불완전성을 노출하며 다른 미술사 서술의 가능성을 여는 하나의 예시다. Korean contemporary feminist art history began in the point of view that it developed from an ideologically driven Yeoseong misul(Women’s Art) in the 1980s into an ideology-free postmodern feminist art that addressed universal issues of woman in various styles in the 1990s. This study is an attempt to deconstruct such a teleological historiography of art. The first section reviews modernist critics’ theories of Korean postmodernism and Sinsedae misul(New Generation Art), which assert a historical development of modern to postmodern art, and examines how dominant discourses were connected to the dichotomous-generational viewpoint of Korean feminist art history. Postmodernism introduced from the West in the late 1980s was reconstructed from different perspectives by the modernist and Minjung misul(People’s Art) critics. For the modernist critics, postmodernism was seen as an alternative to continue the history of aesthetic autonomy against Minjung misul. Yoon Jinsup, particularly, supported Sinsedae misul as an exemplary postmodern art characterized by its ‘indifference to ideological confrontation’ and ‘formal experiment on mass media.’ For Yoon, Sinsedae misul seemed to sublate the conflict between style and ideology, thereby achieving a developmental synthesis. Kim Honghee, by accepting such a modernist view of history and postmodernist theory and insisting on the affinity between postmodern and feminist art, perpetuated a modernist art history of conflict and development. The following section delves into a methodology for writing art history from a feminist perspective. It highlights that the art of Lee Bul, who joined the Sinsedae art group Museum and was named as a postmodern feminist artist, was actually not limited to the framework of such discourses, but was dismantling them. The study consequently reveals that the new generation art cannot be asserted as ‘ideology-free’ nor ‘non-political,’ given that Lee’s early installations and performances not only challenge the stereotypical image of women, but also implicitly criticizes Korean modern and contemporary society, culture, and politics. It also suggests writing a non-teleological feminist art history, through understanding ‘simultaneity, continuity, and difference’ between the art of Lee in the 1990s and the women artists who participated in Experimental Art in the 1960s and 1970s in each social, political, and cultural circumstance. As the artist herself says, Lee’s art “running away with all her might” exposes the imperfections in the framework of teleological art history and thereby opens a possibility for writing different art histories.

프리다 칼로의 자화상에 나타나는 성 정체성의 문제

조혜옥(Hea-Ok Cho) 현대미술사학회 2003 현대미술사연구 Vol.15 No.-

Frida Kahlo's self-portraits have been regarded as containing the life of a woman who has to fight against physical and mental pain during her lifetime. Her pain is attributable to the fact that her husband, Diego Rivera, has been constantly unfaithful and that she has been too ill to give birth. Yet her self-portraits do not only delineate a woman's suffering, but a victim's agony. And it cannot be appreciated at an angle of essentialist feminism only. I focused on the fact that Kahlo's self-portraits seemed to ridicule and reject the prescriptions of femininity and to represent the bisexuality in her works. And I also thought that the themes related to maternity should be reinterpreted from a new point of view. Julia Kristeva's theories on sexual identity appear to offer a framework for analyzing these problems. This study is designed to reexamine the established androcentric definition of femininity and to reread her self-portraits on the basis of Kristeva's theories. Chapter Ⅱ covers Kristeva's theories of identity and sexual identity. Kristeva insists that identity and sexual identity are not fixed. It is in the process of continuous 'signifiance' between 'the semiotic' and 'the symbolic'. The latter is related to social order, 'the Law of the father' and language inhibiting oedipal and incestuous desire for mother. On the other hand, the semiotic is related to marginal and oppressed feminine discourse, the pre-Oedipal phase, and the symbiotic relationship between the mother and child. Kristeva looks upon the subject as 'the subject in process/on trial', for the semiotic is not completely repressed by the symbolic, flowing over the boundary and challenging it. Chapter Ⅲ analyzes Kahlo's self-portraits according to Kristeva's theories. First, Kahlo's self-portraits have been read in accordance with conventional ideas on femininity in the androcentric society. But her self-portraits seem to challenge the prescriptions of femininity. For Kristeva, femininity is not inherent. I t is something only regarded as marginal in androcentric society, and it is equipped with 'negativity' and 'rejection', the attributes of the semiotic designed to subvert 'the Symbolic order'. Second, I looked into the expressions of bisexuality represented in Kahle's self-portraits. For Kristeva, the semiotic is bisexual. The semiotic is related to the mother at the pre-Oedipal phase, who cannot be reduced to an example of a biological femininity. The semiotic bears bisexulity, because the difference between femininity and masculinity doesn't exist at the pre-Oedipal phase. The semiotic challenging the authority of the patriarchal symbolic bears bisexulity Therefore, revealing bisexuality causes a crack in repressive gender ideologies dividing femininity and masculinity and imposing an unique identity on each gender. Third, Kahol's self-portraits reject and criticize oppressive ideologies instead of adhering to maternity in a compulsive manner. Images related to maternity can be newly understood through Kristeva's conception of 'abjection'. Kristeva puts much emphasis on the semiotic elements of motherhood. The maternal body is something horrible that threatens the boundaries and orders between the subject and the non-subject. As a result, the Symbolic order tries to suppress and accept the semiotic and abject mother. In spite of the operation of the patriarchal ideology, the maternal semiotic power is not completely repressed. Lastly, Kahle's self-portraits contain 'herethics', which is the ethics of the subject in process, and the characteristics of maternity accepting alterity. Her self-portraits should be not read as depicting women in pain sticking to repressive ideologies, but should shed light on it in terms of the fact that new sexual identity raises an objection to the dichotomy of distinguishing the superior from the inferior and the governing class from the governed class.

한국 페미니즘 미술의 연속성과 다양성: 윤석남, 박영숙, 정정엽의 1990년대 페미니즘 미술과 출판문화 활동

조혜옥(Cho, Hyeok) 한국미술사교육학회 2023 美術史學 Vol.- No.45

이 논문은 한국 페미니즘 미술의 역사를 재검토하는 하나의 시도다. 특히 한국 페미니즘 미술을 1980년대 민중미술에 뿌리를 둔 이념적 정치적인 ‘여성미술’과 1990년대 실험적 형식과 탈이념의 ‘포스트모던 페미니즘’으로 양분하는 세대 분석틀(generational framework), 그리고 앞선 시대의 한계를 다음 세대가 극복했다고 보는 목적론적 발전사를 해체하려 한다. 그 이분법적 목적론을 대신해, 둘이 아닌 다양성과 단절이 아닌 연속성을 페미니즘 미술의 역사에서 발견하고 조명하는 것이 이 글의 목적이다. 한국 페미니즘 미술의 다양성과 연속성은 1980년대 ‘여성미술’ 운동에 참여했고 1세대 한국 페미니즘 미술가로 불리는 윤석남(1939-), 박영숙(1941-), 정정엽(1962-)의 1990년대 미술과 그들이 함께한 출판문화 활동에서 잘 나타난다. 본 논문은 세 미술가가 참여했던 전시 ⟪여성과 현실⟫(1987~1994), ⟪99 여성미술제 팥쥐들의 행진⟫(1999)과 출판 프로젝트 『결혼이라는 이데올로기』(1993), 『페미니스트저널 이프』(1997~2006)를 중심으로 이를 살펴본다. 세 미술가는 1980년대 ‘여성미술’ 세대로서 1990년대의 ‘포스트모더니즘’과 ‘문화적’ 페미니즘 미술에도 적극적으로 참여했기에, 한국 페미니즘 미술사가 세대 간의 단절과 목적론적 발전보다는 긴 역사의 흐름 속에서 엮이고 만나는 서로 다른 여러 갈래의 페미니즘들로 이루어지고 있었음을 보여준다. 각기 다른 성향과 배경의 미술가들은 당시의 사회, 역사, 문화의 맥락에서 적절한 실천의 장을 찾아 만나고 흩어지는 가운데 다채롭고도 지속적인 페미니즘 미술을 실천하고 확장했음이 본 논문을 통해 밝혀질 것이다. The attempt of this essay is to reexamine the history of Korean feminist art. It specifically aims to dismantle a generational framework that divides Korean feminist art in two -an ideologically driven political movement of ‘Yeoseong misul (Women’s Art)’ in the 1980s and an ideologically free and formally experimental ‘postmodern feminist art’ in the 1990s-, also with the purpose to criticize the teleological historiography composed of conflict and linear development. Instead of the historiography based on dichotomy and disconnection, this paper detects to highlight a multiplicity and continuity in the history of Korean feminist art. The diversity and continuity of Korean feminist art is clearly expressed in art practices and publishing projects of Yun Suknam(b. 1939), Park Youngsook(b. 1941), and Jung Jungyeob(b. 1962) in the 1990s. The essay investigates them focusing on two of their exhibitions, “Women and Reality”(1987~1994) and “Patjis on Parade”(1999), with two publishing projects, The Ideology of Marriage(1993) and Feminist Journal IF(1997~2006), in which all of the artists participated. Being involed in the roots of the so-called 90s postmodern feminist art as the generation of the 80s Yeoseong misul, their activities disclose that the history of Korean feminist art consists, not of a disconnected generational development, but of different and multiple strands of feminist practices, braided one another making various knots. From diverse inclinations and backgrounds, the artists gathered and scattered in search of appropriate places of practice in the socio-cultural context at the time, practicing and expanding colorful and continuous feminist art.