‘한국적 모더니즘’의 창안: 1970년대 단색조 회화

Abstract

Silence could be symbol of unyielding resistance or apathetic indifference upon its context. Restoring the political and social conditions of 1970’s developed around monochorome painting, the rhetoric of its ‘Korean Modernism’ such as fine art detached from any other social realities, spiritual emptiness, hermit’s asceticism, or abstinence of Taoism, could not be read as itself. The achievement of monochrome painting could be discursive reproduction of political and economical dynamics of 1970’s as well as cultural and artistic breakthrough. Behind the transcendental silence, artists of monochrome could find out not only an aesthetic retreat from social oppressions but also an artistic alignment with the political dictatorship of Yushin government imposed by President Park Jeong-Hee. While ignoring political conflicts and social struggles, they showed smart response to the opportunities of international exhibitions, and got successful careers in commercial art market which newly developed in Korean art scene replacing the academicism of National Art Exhibition. They engaged in exclusive aestheic formalism which had flourished in America especially after World War Ⅱ, then found out safe and comfortable refuge in the Korean tradition carefully selected and encouraged by Korean government. As a result, they blocked out different ways of art and experiments of avant-garde as well as modernization of different traditions. The ‘Korean Modernism’ of Monochrome painting was restricted achievement of specific social groups and artists. It was a product of alliance between enforced ‘modernization’ and invented ‘tradition’ under the censorship of military government. They never resolved and overcame the dilemma of post-colonial modernizaion, that derived from double subjects of Western forms and Korean tradition. As a most successful Korean Modern Art, Monochrome painting erased out the possibilities of different ways of modern art, challenges of pluralism, voices of different classes and genders. Then in 1980’s Korean art scene witnessed the strong reaction of people’s art, ‘Minjungmisool’, which arguing social and political participation. The confrontation between Monochrome and Minjungmisool continued until the emergence of ‘New Generation’ in the mid 1990’s.