1960년대 후반 한국 기하추상미술의 도시적 상상력과 이후 소환된 자연

Abstract

Geometric Abstract Art in Korea was actively performed in the late 60’s when urbanization andindustrialization were advanced in full steam. Here, the study reviewed the frontispiece painting of LeeSang, the architect and poet and considered the meaning of ‘Sinjohyeongpa(New Formative movement)’ inthe late 50’s to see the pre-history of connections between Geometric Abstract Art and cities in the historyof Korean modern art. Also with analysis on the painting of Ha Jong-Hyun, the frontier in the hard edgegeometric abstract paintings or Mural in Seun Sangga of Kim Young-Ju, the study shed light on the fact thatthe geometric imaginative energy of Korean art in the late 60’s came from the rapid environment changes inthe process of urbanization. Yet, what's interesting is that Geometric Abstract in Korea significantly regressed in the 70’s when theurbanization movement expanded across the nation with ‘Saemaul Undong(New Village Movement’ and‘the National Land Development Plan’. Instead, ‘Lee U-Fan style’ Installation Art under the influence ofMono-Ha and Monochrome Abstract Art began to take the front stage. Also public media and culturalmagazines were f looded with the images of the nature and hometown in country side. The researchertried to find the cause of the summon of the nature in these paintings and photos from the chasm ofmodernization and urbanization project of Korea. To validate the argument, the study took a look at theKorean Monochrome Paintings and the work of Shim Moon-Sub and found that on the backside of thediscourse of formalistic art there lies the sentiment of nostalgia, longing for the hometown. It is also pointedout that this discourse of ‘Muwijayeoun(Letting the nature be)’ commonly argued by modern artistsin Korea, coupled with the discourse of identity of the nation, responded to the Military AuthoritarianRegime. On the other hand, the series of <Maul(village) Series> by Kang Woon-Gu using the media ofphotography protested against the repressive authoritarian regime by recreating the scenes of the age incritical perspectives. The study also confirmed that the rebellious imagination about the Ruin generated bythe process of modernization was initially portrayed by the video work and photo montage of Kim Gu-Lim. Eventually, looking at the two attitudes of bringing back Geometric Abstract Art in the late 60’s and theimage of the nature of photos and paintings later days, it has been reviewed that the modern art of Korea actively participated in the changes of environment space with urbanization and stood along to join the conscious or subconscious willingness of the public in the days to recover the community life in the midst of rapid urbanization.