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초록· 키워드
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From the year 2000 onwards, the concepts of public and “publicness” have become a major issue in Korean society as a whole. Public art, which generally guarantees benefiting the public interest, has started changing together with the meaning of publicness. A new paradigm of public art, different in form and content from that of the past, has begun to develop. The new public art genre that began in the West was introduced to Korea after 2000, influencing this development process. Tangible and intangible project-style public art works that emphasized process emerged, broadening the scope of public art in Korea.
Before the 2000s, public art in Korea was generally taken to mean artworks found in public spaces and that were created mandatorily by state institutions. But as such works came under criticism for offering too narrow an understanding of publicness, the public aspects of art began receiving greater attention. This process led to demand for the introduction of new genres of public art.
New genre public art focuses on diverse communities in terms of sex, race and political interest, placing importance in communal participation and communication. Because it is temporary and consists primarily of process, it is unconstrained by medium or genre and sometimes uses art as a means of direct participation in social issues. Since the introduction of new genre public art after 2000, a large number of projects began to be conducted, using methods completely different to those of artworks in public spaces or decorative landscape sculpture, which were traditionally regarded as public art in Korea.
But Korean public art projects have a striking tendency to be centered on specific areas and local communities, among the many types of community signified by new genre public art. Public art uses methods that focus on specific local issues or can manifest local identity. In this process, the participation of local residents becomes an indispensable element, and is often regarded as a key factor in judging the success or failure of public art.
So is the meaning of publicness that was emphasized throughout society in the 2000s taking on a new shape and focussing on local areas and residents? In this study, I examine phenomena associated with local Korean public art and their meaning, based on Anyang Public Art Project and Maeulmisul Art Project, which have been running from the late 2000s to the present. Both projects represent new genre public art as public art based on public state funding, and regard participation and communication as core tasks. They also constitute examples of how public art projects in Korea have changed, since they have taken place continuously until now.
The prevalence of locally-based public art projects, a phenomenon pronounced enough to merit use of the term “local era,” can be seen as the result of the local government system that began operating in Korea in the 1990s, and of consequent efforts to develop the capacity of each region. It can also be explained as an approach to values of participation and communication that have begun to emerge as important elements throughout Korean society, and to local regions as life spaces for embodying these values.
Unlike in the West, where public art has evolved in stages, public art in Korea shows a tendency to embrace Western examples just as they are. Some take the critical view that this can make it appear limited. In order to understand the flow of public art in Korea, it is therefore necessary to to generate a discourse by studying Korea"s unique social characteristics.
Before the 2000s, public art in Korea was generally taken to mean artworks found in public spaces and that were created mandatorily by state institutions. But as such works came under criticism for offering too narrow an understanding of publicness, the public aspects of art began receiving greater attention. This process led to demand for the introduction of new genres of public art.
New genre public art focuses on diverse communities in terms of sex, race and political interest, placing importance in communal participation and communication. Because it is temporary and consists primarily of process, it is unconstrained by medium or genre and sometimes uses art as a means of direct participation in social issues. Since the introduction of new genre public art after 2000, a large number of projects began to be conducted, using methods completely different to those of artworks in public spaces or decorative landscape sculpture, which were traditionally regarded as public art in Korea.
But Korean public art projects have a striking tendency to be centered on specific areas and local communities, among the many types of community signified by new genre public art. Public art uses methods that focus on specific local issues or can manifest local identity. In this process, the participation of local residents becomes an indispensable element, and is often regarded as a key factor in judging the success or failure of public art.
So is the meaning of publicness that was emphasized throughout society in the 2000s taking on a new shape and focussing on local areas and residents? In this study, I examine phenomena associated with local Korean public art and their meaning, based on Anyang Public Art Project and Maeulmisul Art Project, which have been running from the late 2000s to the present. Both projects represent new genre public art as public art based on public state funding, and regard participation and communication as core tasks. They also constitute examples of how public art projects in Korea have changed, since they have taken place continuously until now.
The prevalence of locally-based public art projects, a phenomenon pronounced enough to merit use of the term “local era,” can be seen as the result of the local government system that began operating in Korea in the 1990s, and of consequent efforts to develop the capacity of each region. It can also be explained as an approach to values of participation and communication that have begun to emerge as important elements throughout Korean society, and to local regions as life spaces for embodying these values.
Unlike in the West, where public art has evolved in stages, public art in Korea shows a tendency to embrace Western examples just as they are. Some take the critical view that this can make it appear limited. In order to understand the flow of public art in Korea, it is therefore necessary to to generate a discourse by studying Korea"s unique social characteristics.
목차
Ⅰ. 머리말
Ⅱ. 공공미술의 어제와 오늘
Ⅲ. 지역공동체와 공공미술
Ⅳ. 지역성과 공공성의 관계
Ⅴ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (49)
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