도시 공간의 전용과 개입을 통한 예술적 실천 = Artistic Practice Through Diversion and Intervention of Urban Space

다국어 초록 (Multilingual Abstract)

This study is about urban space as a new art venue and its practical form of art squats. In urban space, especially in the emergence and development of large cities in the modern sense, cities are no longer created by ecological inevitability and read in a neutral form. The city is a social product and is under the influence of economic, political, and social ideology and hegemony. This eventually caused inequality in space, and discrimination, deprivation, and alienation in space. In the late 1960s, artists showed remarks and various alternative forms of art activities in a more direct way about this human alienation of urban space. Among the various practices of art's intentional rejection and resistance shown in the system and system through the de-materialization of art, this study focuses on art squats. Squat is an art practice that directly challenges the concept of urban occurrence and unequal ownership that arises in it and shows that the subversion of space and the recontextualization of space can be unified and replaced in everyday urban space. In addition, squats can be seen as a strong character of public art, which actively opposed the ownership and materialization of art in terms of the methodology of occupying and arresting space in a city, and pursued art for the public in public space. In terms of the principle of art placed in a public space, the history of public art began with the history of humans, society, and space. However, how to define public art has changed in terms of public definition and having no choice but to reveal various identities of space in a specific public place (space). In particular, "new genre public art as a new genre," which was redefined by Suzanne Lacy in the late 1980s, is a point where the meaning of art squats can be expanded from the existing perspective of subversion and illegality. Starting from this point, this discussion focuses on art squats and directions as a form of interactive "public art as a new genre" that can be re-established in daily life and issues directly related to various audiences, which is significant for the study.
This study first examines the theoretical direction that showed the possibility and direction of urban space, and focuses on the framework of public art on squat activities that practiced the possibility of urban appropriation through artistic intervention in urban space. In particular, it is centered on French art squats, which showed the significance, positive and negative results of squats in the fundamental occurrence of squats, various experimental methods, and the flow of change. Squat denies private ownership of space as a false sense of space and argues for the concept of 'use' instead of the concept of ownership of space, land, buildings, vacant lots, and dwellings. It refers to occupation in creative rooms, etc.
Squats show various forms such as squats for housing according to the needs, values, needs, and interests of actors, squats as non-traditional forms of behavior that increase autonomy, squats as urban space movements, and squats as political struggles. It was only after the 1960s that squats began to be accepted as socially resistant and non-institutional political/cultural behavior in the West.
The 1960s was a time when the commercialization and bureaucracy of social relations were extensive and meticulous, and the areas where social conflicts could arise increased. In addition, as the paradigm of growth and stability was adhered to in a liberal welfare state established under a very comprehensive agreement after World War II, individuals with differences emerged as new antagonists as political parties and interest groups were adopted, and as media expanded, various cultural forms became possible. New social movements, called "alternative movements" in comprehensive terms, emerged new types of rights and profoundly changed the dominant common sense during this period, making issues with the principles and practices th...

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