• 비교문화연구
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• 제34권
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• pp.7-41
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• 2014

This article examines magical realism in contemporary european film, which is considered to be one of the most popular styles in the present culture, with regards to Antonio Negri's theory of art. Magical realism is "alternative approach to reality" (Maggie Ann Bowers, Magic(al) Realism) and defined as "a fictional technique that combines fantasy with raw physical reality or social reality in a search for truth beyond that available from the surface of everyday life" (Joan Mellen, Magic Realism). The term of Magic Realism was coined in 1923 by Franz Roh, German art historian, as the concept for the post-expressionist painting in Germany. It has flourished in the Latin-American literature during the 1950s to 1980s and spread worldwide. Since 1980s magical realism is considered to be a universal artistic mode. Since 1990s magical realism is to find in the various novels, and since 2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art and the political in his book Art et Multitude. According to Negri, the hard life of people in the present society liberates the imagination and this creates the art as "the excess of the existence". In this process the aesthetic becomes to the political. Negri calls this space of art as "magical time and space". Claire Denis' film Vendredi Soir is analyzed as a contemporary magic realist text, which realizes Negri's concept of art: vendredi soir (friday night) in Vendredi Soir is the magical time, when the impossible becomes the possible, and paris in the public transportation strike is the magical space, where the individuals meet the other in a new situation. The film analysis associates itself with Negri's theory of art: in Vendredi Soir, it is to see, that the excess of the existence liberates imagination and creates the magic reality both in the movements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understood as the symptom of the emotional and existential pains of contemporary people in the current world. The contemporaneity of the magical realism can be read in the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become "the aesthetic redemption" (Negri, Art et Multitude) for us. At the same time "(t)his is where aesthetics can be transformed into the political." (Lee, "Communism and the Void")

• 디자인학연구
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• 제12권1호
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• pp.85-94
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• 1999

It is very signigicant to study a dominant drift of the contemporary formative art. And it's research not only gives us a great pleasure of study but also will be a big help for designers to study how the dominant drift of the contemporary art has developed thereafter, and what it has influenced upon the following formative movement of it. In this sense I think I cannot emphasize it too strong that I gave a subtitle 'Especially analyzed in War and Peace' do my paper because we can find a real aspect of the formative movement rather by sociological point of view than by formative art itself. In this sense, 1 selected Art Deoo as a thesis of research among other things because Art Deco developed socially in respond to general pressure to adapt to modem World, specially, was a stage in an already burgeoning revolution in the decorative arts. Through this sociological point of view on Art Deco I found lots of things worthwhile to research it Art Deco, which I think shows us a special aspect of the sandwich culture between both world wars in Europe, played the important role of a bridge likning its peculiar style with those of contemporary arts in Europe. In this paper the sociological research of Art Deco style will reveal what the European's emotions meant in the socio-psychological circumstances of Deco between both world wars, and where the peculiarity of Art Deco style came from, and especially why the colors of Art Deco was so gorgeous as called 'color for color's sake'. I tried to put the importance of research of Art Deco largely on the sociological or socio-psychological points of view not on the only formative viewpoints. I could draw a conclusion that Art Deco has a contradictive duplicity in its style that can be expressible in a word like 'naivety in gorgeousness, simplicity in complexity, orderliness in confusion, and peacefulness in noisiness'.

• 디자인학연구
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• 제15권2호
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• pp.47-58
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• 2002

오늘날 도시 환경을 비롯한 공공환경은 국가의 문화적 잠재력이라는 점에서 매우 중요시되고 있다. 또, 지금껏 국내의 환경 디자인이 건축, 도시계획의 관점에서만 주로 연구 되어져오고, 다양한 문화요소의 복합체로서 고찰된 측면은 아직 미비한 상황이다. 더욱이 사람과 환경간의 지대한 커뮤니케이션 역할을 담당하는 도시의 슈퍼 그래픽에 대한 연구는 미흡하여 슈퍼그래픽이 실제로 공공의 충분한 공감대를 형성하지 못하고 있다. 본 논문은 이러한 슈퍼그래픽에 대한 이해와 그 발전과정의 중요한 동기와 역할이 되는 현대미술과의 상관성을 고찰해봄으로서 슈퍼그래픽이 더욱 예술적, 정보학적, 미학적 관점의 커뮤니케이션 수단으로 활성화 될 것을 연구 목적한다. 현대미술을 모더니즘 미술과 포스트모더니즘 미술로 구분하여 슈퍼그래픽과의 상관성을 연구하였다.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2005년도 제22회 학술대회 발표 논문집
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• pp.154-159
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• 2005

The most common conception of a work of art is as a unique object. In conservation the prevalent notion of authenticity is based on physical integrity, this guides judgements about loss. For the majority of traditional art objects, minimising change to the physical work means minimising loss, where loss is understood as compromising the (physical) integrity of a unique object, and this forms the focus of conservation. Fundamental to conservators' approach to the conservation of contemporary art is the notion that the artist's intent should guide conservators' practice. Since most of the artists creating installation art are living, it is possible to interview them about the details of the installation, attitudes to changing technology, parameters of acceptable change and their views about what aspects of the installation are essential to preserve. Conservation is no longer focused on intervening to repair the art object but has become concerned with documentation and determining what change is acceptable and managing those changes. In order to accurately install works in the future it is necessary to broaden our focus to include elements of an installation that affect the viewer's experience. This might mean documenting the space, the acoustics, the balance of the different channels of sound, the light levels and the way one enters and leaves the installation. These are as important as the more tangible or material elements in the conservation of the work. It is also necessary to work with industry and specialists outside the field of conservation to develop new skills to preserve and manage new types of objects in our care. We can also document the less tangible details of an installation such as the light levels, the character of the sound etc. This is a new area of conservation and as a profession our understanding and knowledge will deepen with time. All of these strategies work together to help to limit the risk of not being able to accurately install these works in the future. Deciding what can be changed and how to best care for any element of an installation will depend on its meaning and role. For both contemporary and traditional objects such decisions are documented by conservators and although the focus of the conservator may have moved away from the material object, the approach is still rooted in traditional notions of collection care.

• 한국조경학회지
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• 제32권6호
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• pp.68-81
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• 2005

The styles of contemporary landscape design have diversified since the emergence of Postmodernism in landscape architecture. The diversification was mostly influenced by contemporary fine arts and architecture. This study examines the pluralistic development of Postmodern landscape design through the investigation of the influences from those sister arts. In this point of view, the main approaches of Postmodern landscape design are thought to be classified into three categories;'the formal abstract approach', 'the figurative approach' and 'the new picturesque approach'. The first category of the formal abstract approach was formulated with the concepts and vocabulary of Minimal Art and Installation Art. Its representative icons such as 'point grids' and 'stripes', and the main concepts such as the sense of 'flahess', 'expansion' and 'materiality' are mostly thought to be originated from these art forms. The second category of the figurative approach is characterised by the concepts and vocabulary of Pop Art and New Image Paintings. Its representative icons such as 'map' or 'figurative forms' and main concepts like the sense of 'reality', 'context' and 'symbolism' are mostly thought to be originated from these art forms. The third category of the new picturesque approach was formulated with the concepts and vocabulary of Land Art and Late Deconstructive Architecture. Its representative icons such as 'hybrid', 'layer' and 'fold', and the main concepts such as the sense of 'complexity', 'continuity' and 'reversibility' are thought to be originated from these art forms. The research shows that the main stream of contemporary landscape design seems to be gradually moving toward the second and third approach above, in step with the cultural orientation and the dynamism of contemporary urban life. Therefore, the study focused especially on the new picturesque approach which would be in greater need for coping with the hybrid culture today.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.38-45
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• 2010

Surface has been an important issue in contemporary architecture. That originates in structural freedom of surface since the end of modern architecture and the current stream of surface becoming an identity of building. Development of digital-media has brought a great change to our society in general. Digital-media is characterized by use of digital-information and interactive communication. Digital-media has been applied on surface in contemporary architecture lately. It is a purpose of the study to analyze the characteristics of digital-media application on surface based on the related characteristics of installation art. The categories and the contents for the frame of case analysis were arranged through document research. The foreign and domestic cases of digital-media application were analyzed based on the frame of analysis. Digital-media, which is installed on surface, is interacted with human and surroundings. It enhances emotional communication between human and architecture. Surface is not any more a simple fixture but an interactive creature. It makes surface more dynamically and fluidly that the course of light and human movement affect on digital-media. Surface itself is also turned into an object of art. It reflects the interweaving characteristics between contemporary architecture and installation art. It was analyzed through the study that emotional level of people is the important issue shared in digital-media application on surface and installation art. The complementary relationship between surface of contemporary architecture and installation art can be manipulated by the application of digital-media on surface.

• 복식
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• 제57권7호
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• pp.70-83
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• 2007

Contemporary fashion design has been made a new attempt to extend restricted expressions through fusion with other genres in art. The recognition of fashion has recently been changed not only product but as a piece of work in specific value, concept and meaning created by fashion designer. It is observed that the contemporary fashion design has a notion to persue formative intentions and manners of Conceptual Art in Post-modern era. This study is to define this region of fashion design represented in cultural phenomena as 'Conceptual Fashion', also analyze the formative feature of this from a point of view in Conceptual art. The results which are analyzed according to outward techniques and forms, meanings and elements immanent in aesthetic contemplation of conceptual fashion lead to four distinctive things in such as anti-form, intervention and appropriation, metaphor and detour, process and series. The intrinsic values in conceptual fashion through aesthetic contemplation are indicated the four significant values in the following: the pluralistic interpretation, the parody and amusement, the pursuit of essence and truth and the participation and interaction. Conceptual fashion design is appeared complex not doing separate through classified formative features previously. And It has been evolved as a indeterminate concept which is able to variable elucidation by a non-player, as a instrument for communication on fashion culture which is aggrandized. The purpose of this study is to present of theoretical foundation about Conceptual fashion design and also to make proper understanding about interrelationship between contemporary fashion and art.

• 디지털융복합연구
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• 제18권4호
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• pp.439-451
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• 2020

본 연구는 현대 예술에서 나타난 죽음 미학의 의미를 깊게 이해하기 위해, 먼저 예술 작품에 담긴 죽음의 미학적 발전 과정을 통시적 관점으로 정리하고, 다음으로 현대 예술 작품에서의 죽음의 미학을 분류하고 의미를 살펴보았다. 본 연구의 결과는 다음과 같다. 첫째, 죽음의 미학적 표현 형식은 죽음의 재현과 죽음 상징의 두 가지로 구분한다. 죽음의 재현은 실질적 대상 재현, 상상의 대상 재현을 포함한다. 죽음의 상징적 표현은 외면적 표현 상징과 내면적 표현 상징으로 나눌 수 있다. 둘째, 현대 예술에서 죽음의 재현성 표현은 죽음의 장면에 대한 묘사를 통해 죽음으로 인한 다양한 문제 및 철학적 의미를 더한다. 셋째, 현대 예술에서 죽음의 상징적 의미는 죽음과 직접적으로 관련된 것뿐만 아니라 죽음에 따른 다양한 심리상태를 표현한다. 후속 연구에서는 예술 작품에서 죽음의 미학에 대한 작가의 시각적 표현과 그에 따른 심층적인 의미 변화를 진행할 것이다.

• 한국실내디자인학회논문집
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• 제25호
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• pp.94-102
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• 2000

The line of demarcation separating architecture from the art in recent years has blurred, due to the expantionist aspects between. This is a study of the direction which contemporary architecture and art are now taking. The results of the study are as follows: 1. The direction of contemporary architecture is revealed through the works of deconstructivist architects and Hans Hollein. Deconstructivist architects have incooperated abstract forms and concepts for their expression. Also Hans Hollein has brought a new aspect to architecture by combining the aura of spirituality and the use of collage. 2. The direction of contemporary art is revealed through the works of installation artists. Daniel Buren works on the interactivity between the object and the observer. Dan Graham deals with the social issues which caused by the interrelation between the eyes and the visual media. Jae-en Choi works on the actual architectural site and space capturing the spirit of what the space is for shile Jung-hwa Jung deals with the layers of perception within a particular space. Another realm coming into being is the cooperation between artists and architects. The cooperation of Holl and Acconci is expressed through their joint project Storefront Gallery. It is the development of Accocis concept of boundary and Holls methodology. Another example of this realm is revealed through the Fish Gallery of the Guggenheim Museum Bilbao. Gehry was introduced to the nature of material by Serra and Serra learned of new ways of viewing the existence of space between materials from Gehry. These new relationships between contemporary architecture and art are reciprocal in nature are indicators of a dynamic and new changing cooperation now emerging.