• 제목/요약/키워드: multi-nationalism

검색결과 18건 처리시간 0.032초

지리정치경제학적 관점에서 본 창원공단 설립 전사(前史) (The Historical Background of the Development of Changwon Industrial Complex: A Geopolitical Economy Approach)

  • 최영진
    • 대한지리학회지
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    • 제49권2호
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    • pp.178-199
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    • 2014
  • 본 논문은 창원공단이 1973년 '중화학공업화정책추진선언'에 따라 중앙정부 주도로 '공업기지'로 일사분란하게 건설되었다는 기존 설명을 지리정치경제학적 관점에서 비판하고, 1960-70년대 마산, 창원의 기계공단조성 과정을 새로이 해석하고자 한다. 구체적으로 1960년대 기계공업육성안의 변천과 창원공단의 전사前史를 분석하는데 촛점은 크게 3가지이다. 첫째, 다중스케일적 관점에서 60년대 마산 창원지역 공단 조성 계획안의 변화를 추적한다. 둘째, 60년대 제출된 기계공업 육성안들의 내용과 이를 둘러싼 여러 사회세력들의 경합 과정을 살펴보고 그 결과가 73년 창원공단설립에 끼친 영향을 살펴본다. 세째, '4대핵공장사업'의 실패과정을 현대조선의 성공과 대비해 살펴보고 이것이 기계공업 육성에 끼친 영향을 밝히고자 한다. 이러한 사례분석을 통하여, 중앙정부의 역할에 방점이 주어진 기존 연구를 비판하고 다양한 스케일의 행위자들의 주도성을 복원하고 한국 발전주의 시기 공업단지 개발의 계급적 성격을 밝히고자 한다.

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인류학적(人類學的) 분류(分類)에 따른 스트리트 스타일의 발생(發生)과 계보(系譜)에 관한 연구(硏究) (A Study of Origination and Genealogy on Street Style according to Anthropology)

  • 이영재
    • 패션비즈니스
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    • 제11권4호
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    • pp.183-203
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    • 2007
  • This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

한국학 연구에서 사회-공간론적 관점의 필요성에 대한 소고 (Looking for More Space-sensitive Korean Studies)

  • 박배균
    • 대한지리학회지
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    • 제47권1호
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    • pp.37-59
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    • 2012
  • 한국학 연구가 방법론적 영역주의, 방법론적 국가주의와 같은 영역적 함정에 빠져 위기를 맞이하고 있다. 이러한 상황을 극복하기 위한 한 방법으로 본 논문은 공간과 사회 사이의 내재적 연관성을 강조하는 사회-공간론적 관점을 한국학 연구에 적극 도입하기를 주장한다. 특히 사회-공간적 관계의 4가지 차원이라는 장소, 영역, 네트워크, 스케일에 주목하여, 이들이 어떻게 서로 중첩되고 결합되며 역동적으로 상호작용하는지를 '다중스케일의 네트워크적 영역성'이라는 관점에서 논의한다. 또한, 이 개념을 바탕으로 한국 자본주의 발전을 사회-공간론적 관점에서 이해하기 위해서 중요하게 고려해야 할 요소들을 간단히 살펴본다. 결론적으로 필자는 한국학 연구의 진전을 위해서는 글로벌, 국가, 지역, 도시 등과 같은 다양한 지리적 스케일에서 펼쳐지는 정치, 사회, 경제, 문화적 힘과 과정들이 만들어내는 한국이라는 지역의 다층적이고 다중스케일적인 속성을 제대로 이해하는 것이 필요함을 주장한다.

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한국 다문화 사회의 도덕적 공황 상태에 대한 연구 (A Study of Moral Panics of Multi-cultural Society in Korea)

  • 송선영
    • 윤리연구
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    • 제77호
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    • pp.73-112
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    • 2010
  • 이번 연구의 목적은 한국 다문화 사회의 특성과 문제점을 도덕적 공황 상태의 측면에서 탐구하는데 있다. 이를 위해 우선 다문화주의 연구의 경향에서 문화에 대한 연구의 중요성을 살펴보고, 다문화주의 연구에서 문화 개념들을 수준별로 적용한다. 그리고 한국 다문화 사회가 안고 있는 근본적인 문제, 즉 소수자(집단)-외국인에 대한 다수자(집단)-한국인의 국적별, 인종별 편견과 계층화의 상태를 도덕·윤리학의 영역에서 모색할 수 있는 근거를 마련하고자 한다. 다문화주의 연구에서 주목하는 문화 개념은 크게 두 가지로 정리할 수 있다. 첫째, 문화를 의미의 패턴으로 간주한다. 둘째, 문화를 완전성에 관한 연구로 바라 본다. 전자는 타문화에 대한 이해와 해석에 유리하고, 후자는 도덕성을 토대로 하는 정체성 확립에 관심을 기울인다. 한편, 다문화주의 연구에서 주요 쟁점들 또한 두 가지로 요약할 수 있다. 첫째, 정체성과 다양성의 논의이다. 20세기초반까지 국민국가는 정체성을 강조했지만, 오늘날에는 다양성의 주제들이 부각되고 있다. 둘째, 소수 개인(집단)의 권리와 보편적 가치에 대한 논의이다. 이는 개인의 자유에 대한 강제를 반박하는 자유주의와 공동의 선을 추구하는 공동체주의 간의 간격에서 진행하고 있다. 다문화주의 연구에서 문화 개념은 지향별, 수준별로 확대 적용되어야 한다. 한개인이 정체성을 확인하는 내적 지향의 문화 관념은 매우 강하고, 타문화에 대한 이해와 해석의 외적 지향 관념은 다소 약하다. 이를 집단 차원에서 상호보완해서 연결된다면, 시민성과 자율성을 내적 지향에서 확인할 수 있고, 정의와 평등에 대한 의미 파악과 적용은 각 집단의 외적 지향에서 실행할 수 있게 된다. 이럴 경우에만 다문화가 공존할 수 있는 사회가 바람직하게 형성될 수 있다. 이를 한국 다문화 사회에서 적용하려면, 관주도형의 집행위주의 정책에서 벗어나, 각 개인별, 집단별 특성을 파악해서 그들에게 어떤 문화 관념이 보완되어야 하는지를 먼저 해결해야 한다. 오늘날 다양한 정책들의 지원에도 불구하고, 한국 다문화 사회가 안고 있는 모순은 다수자(집단)-한국인으로부터 발생한다. 왜냐하면 순혈주의, 단일민족주의와 같은 매우 강한 내적 지향의 문화 관념이 무의식적으로도 영향력을 발휘하기 때문이다. 이는 정부와 미디어와 같은 2차적 정의자들이 소수자(집단)-외국인에 대한 왜곡과 결부되면서 다수자(집단)-한국인에게 커다란 사회적 위협으로 다가온다. 예컨대, 외국인 범죄의 경우, 실제로는 불법체류자 검거, 외국인 폭력조직 및 마약과 관련해서 발생하지만, 정부는 이를 국적별, 인종별로 외국인 관리 감독 차원의 강화로, 미디어는 외국인 거주 지역을 범죄, 가난의 상징으로 확대 생산한다. 하지만 국적별, 인종별로 본다면, 미국과 일본 등의 이른바 선진국 출신의 외국인 범죄가 더 악영향을 미친다. 이번 연구는 이처럼 왜곡된 한국 다문화 사회의 도덕적 공황 상태가 바로 2차적 정의자들인 정부와 미디어, 동시에 다수자(집단)-한국인에게 있다고 본다. 바로 이것이 한국 다문화 사회가 안고 있는 실제 도덕적 공황 상태라고 할 수 있다. 그러므로 한국 다문화 사회에 대한 연구에서는 소수자가 아니라 다수자(집단)-한국인을 주로 대상으로 해야 하고, 근본적으로 순혈주의와 단일민족주의의 정체성을 개방적으로 전환시킬 수 있는 도덕·윤리적 과제를 보다 심도 깊이 다루어야 한다. 하지만 현재 다문화 정책으로는 이와 같은 반성이 결여되어 있기 때문에, 어떤 정책도 한국 다문화 사회의 발전 방향을 제시할 수 없다.

현대 복식에 표현된 맥시멀리즘 연구 (A Study on the Maximalism Depicted in the Contemporary Costumes)

  • 이효진
    • 복식문화연구
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    • 제11권2호
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    • pp.275-292
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    • 2003
  • The purpose of this study is to recognize the aesthetic characteristics of the Maximalism depicted in contemporary costumes of new millennium. This is done by analyzing and examining the social and cultural background of fashion in the few years of 21st century. The fashion trend of the beginning of 21st century was coexisted conflicting factors with ultramodern factor and past recurrent factor. For that reason, new millennium is to be existence background of Maximalism style in contemporary costumes. The social and cultural background of Maximalism was regarded as characteristics of the Glocalism, fusion style, bobos. Glocalism means a compound word of Globalism and Localism, and used various fields of policy, economics, society etc. Consequently, the aesthetic formativeness of Maximalism of the contemporary costumes was investigated as the 'Romantic Hippie Look' and 'Romantic Sports Look' 1) Romantic Hippie Look New millennium fashion trend is affected by hippie style of 1970's. That is major reason that the antiwar consciousness of 9.11 terror, USA-Afganistan war and the economic depression is similar to 1970's situation. Accordingly, fashion trend is developed into bright, light, romantic style and fashion designers chose materials with flowers, butterflies, dragonflies pattern. Because the clothing of these material reflects well modern people's feeling to escape misgivings, unrest of political terror, war etc. The characteristics of hippie style expressed freedom as the greatest merit was raised new trend, so called 'Romantic Hippie Look' on new millennium. That is, the romantic hippie look of the contemporary costumes is depicted as the formative beauty of the multiculturalism and nationalism. 2) Romantic Sports Look : The beginning of new millennium, many fashion designers intend to graft the details of sports wear on order made or ready made clothing and try to show luxury and cheerful fashion design with combination of sporty and romantic factors. Accordingly, theses fashion trends expressed 'Romantic Sports Look' with a harmony or disharmony of unusual factors. The fashion trend of new millennium centering around special cities like New York, Paris, Milan moved to various regional culture. Accordingly, the features of fashion depicted not unique theme but multiplicity of the clothing of dissimilar style or material by the mixture of 2 or 3 factors like the fusion of femininity and masculinity and the combination of past and present of details. That is, the romantic sports look of the contemporary costumes is depicted as the formative beauty of the multi-functional and crossover.

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한국수산업의 해외진출전략에 관한 연구 (Foreign Entry Strategies for Korean Fishery Firms)

  • 김회천
    • 수산경영론집
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    • 제15권1호
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    • pp.131-153
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    • 1984
  • Fishery resources are still abundant compared with other resources and the possibility of exploitation is probably great. The Korean fishery industry has grown remarkably since 1957, and Korea is ranked as one of the major fishery countries. Its of fishery products reached the 9th in the world and the value of exports was 5th in 1982. But recently a growth rate has slowed down, due to the enlargement of territorial seas by the declaration of the 200 mile, Exclusive Economic Zone, the tendency to develop fishery resources strate-gically in international bargaining, the change in function of the international organizations, the expansion of regulated waters, the illegal arrest of our fishing boats, the rapid rise in oil prices, and the fall in fish prices, the development of fishery resources as a symbol of nationalism, the fishing boats decreptitude, the rise of crew wages, regulations on fishing methods, fish species, fishing season, size of fish, and mesh size, fishing quotas and the demand of excessive fishing royalties. Besides the the obligation of coastal countries, employing crews of their host countries is also an example of the change in the international environment which causes the aggravation of foreign profit of fishing firms. To ameliorate the situation, our Korean fishery firms must prepare efficient plans and study systematically to internationalize themselves because such existing methods as conventional fishing entry and licence fishing entry are likely to be unable to cope with international environmental change. Thus, after the systematic analysis of the problem, some new combined alternatives might be proposed. These are some of the new schemes to support this plan showing the orientation of our national policy: 1. Most of the coastal states, to cope with rapid international environmental change and to survive in the new era of ocean order, have rationalized their higher governmental structure concerning the fishery industries. And the coastal countries which are the objectives of our expecting entry, demand excessive economic and technical aid, limit the number of fishing boats’entry and the use of our foreign fishing bases, and regulate the membership of the international fishery commissions. Especially, most of the coastal or island countries are recently independent states, which are poorer in national budget, depend largely on fishing royalties and licence entry fees as their main resources of national finance. 2. Alternatives to our entry to deep sea fishing, as internationalization strategies, are by direct foreign investment method. About 30 firms have already invested approximately US $ 8 million in 9 coastal countries. Areas of investment comprise the southern part of the Atlantic Ocean, the Moroccan sea and five other sea areas. Trawling, tuna purse seining and five other fields are covered by the investment. Joint-venture is the most prominent method of this direct investment. If we consider the number of entry firms, the host countries, the number of seas available and the size of investment, this method of cooperation is perhaps insufficient so far. Our fishery firms suffer from a weakness in international competitive ability, an insufficiency of information, of short funds, incompetency in the market, the unfriendliness of host coastal countries, the incapability of partners in joint-ventures and the political instability of the host countries. To enlarge our foreign fishing grounds, we are to actively adopt the direct investment entry method and to diversity our collaboraboration with partner countries. Consequently, besides proper fishing, we might utilize forward integration strategies, including the processing fied. a. The enterprise emigration method is likely to be successful in Argentina. It includes the development of Argentinian fishing grounds which are still not exploited in spite of abundant resources. Besides, Arentina could also be developed as a base for the exploitation of the krill resources and for further entries into collaboration with other Latin American countries. b. The co-business contract fishing method works in American territorial seas where American fishermen sell their fishery products to our factory ships at sea. This method contributes greatly to obtaining more fishing quotas and in innovation bottom fishing operation. Therefore we may apply this method to other countres to diffuse our foreign fishing entry. c. The new fishing ground development method was begun in 1957 by tuna long-line experimental fishing in the Indian Ocean. It has five fields, trawling, skipjack pole fishing and shrimp trawling, and so on. Recently, Korean fisheries were successful in the development of the Antarctic Ocean krill and tuna purse seining. 3. The acceleration of the internationalization of deep sea fishing; a. Intense information exchange activities and commission participation are likely to be continues as our contributions to the international fishery organizations. We should try to enter international fishery commissions in which we are not so far participating. And we have to reform adequately to meet the changes of the function of the international commissions. With our partner countries, we ought to conclude bilateral fishery agreements, thus enlarging our collaboration. b. Our government should offer economic and technical aids to host countries to facilitate our firms’fishery entry and activities. c. To accelerate technical innovation, our fishery firms must invest greater amount in technical innovation, at the same time be more discriminatory in importing exogeneous fishery technologies. As for fishing methods; expanded use of multi-purpose fishing boats and introduction of automation should be encuraged to prevent seasonal fluctuations in fishery outputs. d. The government should increases financial and tax aid to Korean firms in order to elevate already weak financial structure of Korean fishery firms. e. Finally, the government ought to revise foreign exchange regulations being applied to deep sea fishery firms. Furthermore, dutes levied on foreign purchaed equipments and supplies used by our deep sea fishing boats thould be reduced or exempted. when the fish caught by Korean partner of joint-venture firms is sold at the home port, pusan, import duty should be exempted.

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식민지 신문 '사회면'의 감정정치 -사회적 사실들의 정치적 서사화 (The Society Page of Newspaper of the colonized Korea, its politics of sentiment and modulation of social facts)

  • 유선영
    • 한국언론정보학보
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    • 제67권
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    • pp.177-208
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    • 2014
  • 이 연구는 1920~1930년대 식민지 시기 신문의 사회면-사회적 보도가 정치적으로 부호화되고 해독되는 양식화의 메커니즘을 분석하고 있다. 민족국가와 정치부재, 그리고 주밀한 검열체제 하에서 신문은 비정치적 장르를 정치화하는 담론전략을 시도하며 사회면은 이 식민지적 맥락 안에서 정치적 언설로 구성되고 해독되었다. 이를 규명하기 위해 첫째 민간지의 사회면의 위상 및 편집방향, 둘째 사회면의 사회적 사실을 생산하기 위한 취재, 조직, 기자, 기사작법, 셋째 사회면을 둘러싼 신문과 기자의 부호화 전략 및 이에 공조하는 독자의 해독 규약을 분석했다. 사회면 또는 사회적 사실의 정치적 양식화는 객관적 사실보다 이면의 심리적 사실을 중시하고, 식민지 현실의 부정적 현상(現狀)에 주목하면서 운명공동체로서 민족적 비참을 형상화하며 뉴스를 극적 구조의 감정적 현실 서사(實事敍辭)로 구성하였다. 사회면은 민족공동체적 감각을 공유하고 유지하는 데 의미를 부여하며 이를 위해 민족적 감정을 동요하는 취재보도와 기사의 양식화를 이룬 것이다. 식민지에서는 모든 사회적 사실들이 정치적 문제로 환원된다는 점을 전제하면 사회면에 배치되는 사회적 사실들에 정치적 함의를 덧씌우기 위한 식민지 지식인/기자들의 전략과 전술, 의도는 식민지 저널리즘의 한 특수한 양상을 드러낸다.

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인도네시아 현대미술에 있어서의 설치미술 - 미디엄과 사회적 공간을 위한 탐색 (Installation Art In Indonesian Contemporary Art; A Quest For Medium and Social Spaces)

  • A. 릭릭 쿠스마라
    • 미술이론과 현장
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    • 제5호
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    • pp.217-229
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    • 2007
  • Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

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