1980년대 한국사회와 민중미술 - 대중소비사회의 시각이미지와 비판적 리얼리즘의 재고 Korean Society of 1980s and Minjoong Misool - Visual images of Mass Consumer Society and Re-thinking of the Critical Realism원문보기
This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked un...
This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.
This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.
넓게 보아 민중미술 속에 포함할 수 있는 작품들을 분석한 이 논문의 목적은 민중미술이란 개념의 범주에서 ‘비판적 리얼리즘’으로 분류되었던 작품들의 의미를 밝히는데 있다. 즉, 비판적 리얼리즘이란 개념 자체에 내재한 작가주의, 지식인 예술가에 의한 창작, 심지어 소시민적 작업이란 문제제기로부터 벗어나 이러한 경향의 작품을 제작한 작가들이 1980년대 초반 한국사회를 어떻게 인식하고 있으며, 그것을 어떤 형식으로 표현하고자 했는지를 규명하고자 한 것이다. 1980년대 초반에 나타난 새로운 형상미술1)은 미술내적인 맥락에서 1970년대의 보수적 아카데미즘과 모노크롬처럼 한국에서 번안된 서구 모더니즘 미술의 형식주의에 대한 비판이자 거부였다.
비판적 리얼리즘의 한계와 의의를 지닌 작가는 누가 있는가?
추상이나 전위미술을 비롯한 순수, 고급미술에 저항하면서도 사회주의 문예이론의 프롤레타리아 리얼리즘과는 다소 다른 지점에 위치하고 있었으나 변증법적 리얼리즘과 연결할 수 있는 비판적 리얼리즘은 “단 한 번도 이들 작가들이 스스로 명시하지는 않았지만 대체로 평자들에 의해 포괄적으로 지칭”되었으며, “진보적 성향의 지식인 미술가들의 주요 창작방법을 아우르는 용어로 사용”돼 왔다.6) 심광현은 비판적 리얼리즘에 대해 “기존 현실에 대한 강한 비판의식을 가지긴 했으나 현실의 모순구조를 근본적으로 파헤치고 그에 대한 대안적 전망을 제시하는 데까지는 이르지 못했다는 점에서 한계와 성과가 교차하는 지점”에 위치하고 있다고 평가하며 이러한 비판적 리얼리즘의 한계와 의의를 지닌 작가로 오윤, 노원희. 민정기, 임옥상, 박불똥, 신학철, 강요배, 김정헌, 황재형, 이종구 등을 거론하고 있다.7) 그가 거론하고 있는 작가 중 ‘임술년’의 황재형과 이종구, 그리고 신학철을 제외하면 모두 ‘현발’의 회원이었다.
민정기의 작품 중에서 영화적 기법의 활용의 특징을 잘 보여주는 것으로 어떤게 있는가?
즉 화면에 부조화스럽게 배치된 상반된 도상, 그러나 전체적으로 서로 연관이 있는 시각이미지들이 어지럽게 배합된 화면은 그 속의 인물들이 영화의 주인공이기 때문에 영화에 대해 떠올리게 만든다는 것이 아니라 텔레비전 드라마나 영화의 장면간의 간격, 시간의 압축, 장소나 시점의 이동, 복수의 내러티브가 공존하는 등의 편집방법이 영화와 연관을 맺고 있다는 말이다. 민정기의 작품 중에서 그런 특징을 잘 보여주는 것으로 <풍요의 거리>와 <영화를 보고 만족한 K씨>를 들 수 있을 것이다. 일상의 평범함을 뛰어넘어 컬러텔레비전의 보급과 함께 강화된 물신숭배와 풍요에 대한 헛된 약속, 광고, 만화, 영화, 디자인 등 미국을 중심으로 한 서구 대중문화의 위력, 소비예찬 등을 키치적 방법으로 콜라지한 민정기의 <풍요의 거리>(도 6)는 연출된 이미지의 세계를 우화적으로 보여준다.
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