전 지구화 시대의 중국 현대미술과 비평 = 우흥의 ‘실험적인 예술’ vs. 가오밍루의 트랜스 내셔널 ‘아방가르드’

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• Ⅰ. 들어가는 말: 전 지구화 시대의 현대미술과 비평
• Ⅱ. 1990년대 이후 중국 비평가들과 세계[서구] 미술계
• Ⅲ. 우흥의 ‘실험적인 예술’과 동시대 세계 미술
• Ⅳ. 가오밍루의 트랜스 내셔널 ‘아방가르드’
• Ⅴ. 나가는 말: 전 지구화 시대의 중국 현대미술비평의 새로운 쟁점들
• 참고문헌
• Abstract

참고문헌 (Reference)

1 가오밍루, "중국현대미술사:장벽을 넘어서" 미진사 2009

2 국립현대미술관, "중국현대미술" 삶과 꿈 2001

3 탕샤오빙, "중국미술에서 아방가르드 개념에 대하여" 한국근현대미술사학회(구 한국근대미술사학회) (21) : 207-234, 2010

4 이보연, "이슈, 중국 현대 미술 : 찬란한 도전을 선택한 중국 예술가 12인의 이야기" 시공사 2008

5 이지은, "노동과 글쓰기: 슈빙의 [S]low Technology" 현대미술사학회 18 (18): 5-5, 2005

6 후루타 신이치, "글로벌시대 중국현대 아티스트의 전략 -개혁개방 30년 중국미술의 궤적을 따라서-" 일본연구센터 12 (12): 51-60, 2009

7 Gao Minglu, "What i‘s Apartment Art,’ ”Art in turn"

8 Gao Minglu, "The Great Wall in Contemporary Chinese Ar,t”" 2 (2): 773-786, 2004

9 Gao Minglu, "Private Experiences and Public Happening, the Performance Art of Zhang Huan, ” Pilgrimage to Santiago , 2000"

10 Lu, Shelden Hsiao-peng, "Postmodernity, Popular Culture, and the Intellectual" 23 (23): 139-169, 1996

11 Gao Minglu, "Particular Time, Specific Space, My Truth: Total Modernity in Chinese Contemporary Art, in Antinomies of Art and Culture" Duke University Press 133-164, 2009

12 Wu Hung, "Making History:Wu Hung on Contemporary Art" Beijng and Hong Kong:Timezone 8 2009

13 Gao Minglu, "Inside Out: New Chinese Art exh. cat. San Francisco Museum of Modern Art and Asia Society Galleries" University of California Press 1998

14 Lin,Xiaoping, "Children of Marx and Coca Cola" University of Hawail Press 2009

15 Wu Hung, "A Conversation with Wu Hung” by Lu Yinghua"

16 Wu Hung, "A Chinese Dream by Wang Jin" 12 (12): 75-92, 2000