선재(線材)를 이용한 탄력적 공간 확장에 관한 연구 : 연구자의 설치미술기법 '라인마커' 를 중심으로 = A study on flexible space expansion using linear medium : focusing on researcher's own installation art technique 'line marker'

다국어 초록 (Multilingual Abstract)

The researcher's space installation art examined by this thesis is a consideration on a 'method to reregulate a space' in which audiences can experience a new situation, by reorganizing the space, while making a close relationship with the existing environment. As the background from which such an installation art like the pieces of the researcher emerges, some theories of extending field of sculpture after the minimalism in 1960s are investigated in terms of the site-specific land art and the institutional critique art. Such a conversion of space, a concept of sculpture occurring between scenery and architecture, disorganizes some norms of the existing spaces in the architectural installation art and newly regulates them with unfamiliar forms suggested by the author. As the extending field after the minimal art, the steps of an experimental art combining space theory and architectural factors are distinguished through the 'installation art with space re-regulation'. The installation arts using the space re-regulation include <Merzbau> of Kurt Schwitters, <Seven Geometric Plywood Structures Painted with Gray> of Robert Morris and <Pomona University Project> of Michael Asher. The lad art and site-specific exhibitions serve as a bridgehead on which the installation art emerges. The idea that audiences' situations/experiences occurring in an experimental structure act as important factors in the installation pieces is examined in the work spaces of Gordon Matta-Clark and Anish Kapoor.
The pieces of the researcher place the line media on a specific site. The researcher's pieces which are constructed based on some factors such as new rule, repetition, vibration and entrance by using the linear form in a space, are characterized by elastic applications of linear form to various sites. The materials of linear form used in making such a space the art are commonly called 'line marker', and usages and effects of it are described. The uses of linear form are divided into elastic cord, masking tape, PVC hose and stainless pipe, according to their types of matter properties, and there is also another type showing a narrative extension by combining linear form and object, as a simultaneous combination between line marker and medium. The researcher's pieces using the linear form are characterized by shield(遮蔽) meaning that the space is covered, blocks, disorganizes and conceals the existing sites, so it ultimately become the spaces with overlapped the present and the past. Such a task realizes the physical extension by absorbing the previous environments as the parts of pieces and substituting the line marker into the existing spaces.
The researcher's some pieces such as <Extending Space>, <I'm Not Ready> and <Lost Animals> can tab the possibility of physical extensions of the existing spaces by using the linear form. All line materials are three-dimensional media as well as productive tools used, as done in ostensive drawings on the spaces; while as those for removing a given scene, they also perform the erasing function of line marker, highlighting the double-sided function of the line materials. In particular, a space filled with rubber bands, which is divided and structured as a elastic one maximizes animated(物活) sense of life. In the work-place of the researcher, it is noted that the 'rubber' is extended and widened by its flexibility, a characteristic of such a kind of medium, so the interactions with audiences bring about not only walking and vibration, but also a sense of motion. The slanted line marker free-standing wall with elasticity rather allows audiences to more easily invade into blocked boundaries. The 'wall that is not real wall(traversable wall)' in which audiences can freely go in and out it, going over a diagonal wall while bending waist forward or penetrating by widening a side of rubber band is the product of the researcher who has explores the elastic materials.
On the basis of various meanings and functions of such a line marker, sequential appearances of pieces to which some objects such as woods, houses and slide projections are added are described. In designing the space installation pieces, the researcher's approach to them with interests in historical, social and geographical environments is more extended than previous one. Although the initial pieces are related with tendency of structure changes regarding shield and extension by focusing on physical spaces, recent ones show different aspects. Thus, the exploration on the 'space' itself is gradually extended to include examinations on the combination between temporality and locality in a space as a visual narrative and metaphor containing a local narrative, as the linear form meets with symbolical objects.
Thus, the study on elastic space extension by using the linear form is a research of space disorganization and re-regulation using media of which economic efficiency and mobility are highlighted as their advantages. The line marker has a superior environmental adaptability with which it can be used as a tool joining belts, for embodying the pieces, regardless of inside and outside of exhibition spaces. The line marker occupying in the physical space by capturing the environment has a dual spatiality, in that it serves as a catalyst which blurs a past history and simultaneously allows the present and the past to coexist.
In particular, when the line marker is established on a routine space, rather than general white cube-type of exhibition space, an intersection between existence and non-existence occurs and time and space are simultaneously extended. Such a site-specific experimental work is often temporally conducted, so the pieces can be viewed only during the exhibition. Therefore, the last chapter describes that the recording practices with video or text remain as a part of important tasks in the installation art. In particular, as the architectural installation pieces are created around a specific site, essential items such as map, plan and idea sketch become the information drawings of project and recording of the pieces. After the installation pieces are removed, idea drawing or recording data become historical records as important as the original work.
The effects of current installation art have been stronger, as large, modern art galleries were opened over the world in 2000s. In the wide range of changes in the three-dimensional art in which the space is recognized as a piece, the researcher will aim toward open thought on architecture, site, local and environment, all of which mean the space. Moreover, the researcher will elaborate the production of flexible establishment related with spaces and thoughts and search out only experimental challenges, but also other studies associated with archiving embodiment of recordings regarding the projects and practices of the installation art, as various attempts for the empathy with public.

목차 (Table of Contents)

• I. 서론 1
• 1. 연구의 배경 및 목적 1
• 2. 연구 내용 및 절차 3
• II. 공간을 재규정하는 방식으로서의 설치미술 6
• 1. 로잘린드 크라우스의 공간론 8
• 2. 공간 재규정 방식의 설치미술 표현 22
• III. 라인마커의 의미 34
• 1. 라인마커의 정의 34
• 2. 라인마커의 유형 38
• Ⅳ. 라인마커를 통한 공간의 규정 48
• 1. 차폐(遮蔽)를 통한 공간분할 49
• 1.1. Extending Space 49
• 1.2. I'm not ready 54
• 1.3. 사라진 동물들 57
• 2. 유동적 벽으로서의 라인마커 61
• 2.1. Come in ! 61
• 2.2. 확장-파장-연장 63
• 2.3. In a Space 67
• Ⅴ. 공간의 확장도구로서의 라인마커 71
• 1. 오브제와 라인마커의 결합 71
• 1.1. 낙동강의 표류목 71
• 1.2. 사하 공단지역 가로수 79
• 1.3. 큐슈 지방 녹나무 83
• 2. 라인마커의 장소 특정적 적용 87
• 2.1. 감천 문화마을 어둠의 집 87
• 2.2. 영천 가시리 새장의 새 91
• 2.3. 송도 해변 총각집 93
• 3. 라인마커와 영상 이미지의 결합 97
• 3.1. 몽골 초원 No signal 97
• 3.2. 송도 조우 (松島 遭遇) 100
• 3.3. 장전동 The Golden Space 107
• Ⅵ. 라인마커를 통한 공간의 탄력적 가변성의 의미 114
• 1. 공간 및 오브제의 탄력적 대응성 114
• 2. 현존과 부재의 교차와 확장성 116
• 3. 드로잉 디스플레이를 통한 기록 효과와 제언 119
• Ⅶ. 결 론 130
• 참고문헌 134
• 그림목록 139
• 도표목록 143
• Abstract 144

참고문헌 (Reference)

1. 시간의 향기, 한은주(서평자), 미래사목연구소, 문학과 지성, , 2013

2. 백과 https://ko, 위키, wikipedia.org/wiki/,

3. 『철학예술』, 김재옥, 퍼플, , 2015

4. 『리 : 네이쳐』, 장문경, CAN foundation, , 2011

5. 『창조의 제국』, 임근혜, 지안출판사, , 2009

6. 『코끼리의 방』, 전영백, 두성북스, , 2016

7. 『공간디자인론』, 박세연, 이석현, 지구문화사, 지구문화사, , 2011

8. 『데리다&들뢰즈』, 박영욱, 김영사, , 2009

9. 『현대조각 읽기』, 윤난지, 한길아트, , 2012

10. 『데이터베이스론』, 조선구, 이태동, 탑스팟, 오케이프레스, , 2005

11. 「숭고의 마조히즘」, 김성희, 서울대학교 미술관, , 2015

12. 「표류에서 표류로」, 김성호, 손몽주 ‘표-류-로’ 개인전 전시서문,

13. 『반디를 기록하다』, 김성연, 비온후 출판사, , 2008

14. 『장소특정적 미술』, Kwon, Miwon, 현실문화, 현실문화연구, , 2013

15. 『플럭서스 예술 혁명』, 김진호, 조정환, 전성자, 갈무리, 갈무리, , 2011

16. 근대적 시․공간의 탄생, 이진경, 그린비, 그린비, , 2010

17. 엮음, 『현대미술사전』, 안연희, 미진사, , 1999

18. 『감천문화마을 이야기』, 백영제, 이명희, 김다희, 감천문화마을 운영협의회, , 2011

19. 『현대공간과 설치미술』, 정연심, 에이엔씨, A&c, , 2014

20. 『기호학이란 무었인가?』, 김경룡, 민음사, , 1994

21. 『아방가르드란 무엇인가』, 진휘연, 민음사, , 2002

22. “미술전시공간의 체제분석.”, 김영준, 경성대학교 박사학위 논문, , 2010

23. 로버트, 양은희 역, 『개념미술』, 모건, JRM, , 2007

24. 레비, 김동윤 옮김, 『사이버문화』, 피에르, 문예출판사, , 2000

25. 「확장된 공간에서 경계 넘음의 경험」, 김영준, 손몽주 '확장-파장-연장' 개인전 전시서문, , 2013

26. 리드, 이희수 역, 『조각이란 무엇인가』, 허버트, 열화당, , 2001

27. “조각과 공적 공간의 존재론적 장소성”, 이경희, 서울대학교 대학원, 서울대학교 박사학위 논문, , 2013

28. 불면 , 『 : 잠들 수 없는 저항의 형식들』, 강선학, 아트랩, , 2014

29. 「손은정의 작업 EXTENDING SPACE에 관한 연구」, 손은정, 부산대학교 석사학 위 논문, , 2004

30. 「플라타너스 잔가지가 만든 생성의 공간」, 김미진, 홍티아트센터 멘토멘티 전시 ‘Work in Progress’ 평론, , 2015

31. 환경예술로서의 자연미술 설치작품에 관한 연구, 임명숙, 상명대학교 일반대학원, 상명대학교 박사학위 논문, , 2014

32. 「설치미술을 통한 신체적 확장과 공간의 유연성」, 김윤경, 홍익대학교 대학원 박 사학위 논문, , 2014

33. 편집, 「부산비엔날레 바다미술제 : 비시간성의 항해」, 김창조, 전승보, 부산시 부산비엔날레조직위원회, 2008, , 2008

34. 「Portable Sculpture에 내재한 소통의 가능성에 관한 연구」, 이정윤, 부산대학교 박사학위 논문, , 2014

35. 「정주(定住)과정의 실존적 의미화로서 조각제작연구」, 이기칠, 부산대학교 대학 원 박사학위 논문, , 2013

36. 「사이버공간에서 버추얼이미지의 하이퍼이미디어시 효과」, 김창언, 홍익대학교 박사학위 논문, , 2012

37. 『현대미술의 시공간과 존재의 미학 : 김성호 미술평론집 4 』, 김성호, 사문난적, , 2016

38. 「자소상과 꽃으로 표현된 자기 대상화로서의 조각제작연구」, 유미연, 부산대학교 박사학위 논문, , 2015

39. ‘환경미술에서 생태의 개념과 장소성-생태미술의 유형을 중심으로’, 최성열, 홍익대학교 대학원, 홍 익대학교 박사학위 논문, , 2011