• 미술이론과 현장
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• 제6호
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• pp.123-145
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• 2008

Artist-in-residence which gets chances to create by artists' moving and encountering new culture is heightening its level in 21th century. Under the circumstance that issue of cultural diversity and the role of artists which is for city revitalization and sustainability are affect residency program in the midst of highly proceeded globalization that international exchange. Therefore, in the aspect of creative city, a new model is creating by reuse of abandoned industrial facilities and Asia or Eastern country become the subject in residency program management, the issue of cultural diversity is getting more important, programs based on project not just residence are managing. Furthermore, it has inter-country cooperating system in the rage of cultural management. It means that artists' space of creating activity has a new, social role in spontaneously we need to approach to following model in Korea, as well.

• 미술이론과 현장
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• 제10호
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• pp.85-103
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• 2010

Mona Hatoum and community make unlikely bedfellows. From her beginnings as a teenage exile to her maturity as an internationally celebrated artistic nomad, Hatoum defies classification within any single geographical or cultural community. Attempting, however, to locate specific points of contact between her and certain communities in terms of artist-in-residence projects in which she participated might be a particularly fruitful way of circumventing her notorious critical resistance to identity and her refusal of homogeneity. This paper starts with Miwon Kwon's critique of contemporary practices in community-based art, which locate an essentialising force that isolates a single point of commonality and overlooks authentic differences. It then turns to Jean-Luc Nancy's reconceptualization of community as 'unworked' and 'being-in-common' to provide analytical tools for avoiding the dangers of essentialism. By examining the three residencies that Hatoum accepted in the mid-1990s in the light of Nancy's observations and theories, and by bringing the idea of artistic nomadism and that of community into juxtaposition, we hope to show that Hatoum succeeds in finding an equilibrium between art and community, and that this sheds new light on the issues raised in recent discussions on such relationship.

• 건축역사연구
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• 제27권3호
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• pp.73-82
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• 2018

Gosan(孤山) Yun Seon-do is a literary artist and poet, Nogudang House(綠雨堂) is an invisible space composition a ${\Box}$-type of arrangement in Jeollanam-do. The study of related architecture together with Gosan Yun Seon-do has been studied variously early, Mostly, the study of the life of Haenam Yun clan(海南尹氏) and the life of Gosan Yun Seon-do. In this study, HaeNam Yun compares the houses under the roof of the public house centered on buildings. In this study, we compare and analyze Nogudang House and Gongjae Historic House(恭齋古宅), Yun Cheol-ha's Historic House(尹哲夏古宅) in the Haenam Yun clan's house building. Analyze the characteristics of architecture and analyze changes in space usage and components and settlement process. The purpose of this study is to clarify differences in structural features and to analyze what structural characteristics maintain structural characteristics. In the comparative analysis process, architectural characteristics are used as variables and each correlation is investigated, and shape difference is analyzed by difference analysis. In addition, the architectural characteristics are analyzed by analyzing the relational factors influencing the morphological change, focusing on the results of the analysis of differences between the comparative analysis objects.