중국현대미술에서 우상과 트라우마의 문제 - 냉소적 사실주의 작가 위에민쥔(岳敏君)을 중심으로 -
Study on ‘Icon’ and ‘Trauma’ in Chinese Contemporary Art - Focused on Yue Minjun, artist associated with Cynical Realism
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초록
This research has its focal point on clarifying the fact that specific figures which had been repeatedly appeared in Cynical Realism work; one of the representative type of 1990’s Chinese contemporary art - is directly combined with the artist’s suppressed individual memories that are resulted during the artist’s experience against the history. To rephrase, this research’s object is to examine how the relationship is formed between self-figures which are frequently appeared in Yue Minjun’s work and notion of ‘icon’. Furthermore, this research’s purpose was to prove concretely in what point does the fact above and manifestation intersects. This research has discovered the fact that Chinese contemporary artist’s historical events were not only contributing as etiological factors in their works, but also as sources on the work’s detailed presentation style. Particularly in Yue minjun’s work, it is so seemed that his continuos self-portraits are due to the trauma based on his historical events. To rephrase, the specific-figures in some works which had been appeared on the basis of repetition, can be considered as artist’s trauma; which the artist intended to conceal. Also, purpose of verifying the possibilities of trauma’s manifestation which is revealed in Chinese contemporary art is to overcome the limit of previous art criticizing by suggesting both alternative and pluralistic interpretation.
Abstract
This research has its focal point on clarifying the fact that specific figures which had been repeatedly appeared in Cynical Realism work; one of the representative type of 1990’s Chinese contemporary art - is directly combined with the artist’s suppressed individual memories that are resulted during the artist’s experience against the history. To rephrase, this research’s object is to examine how the relationship is formed between self-figures which are frequently appeared in Yue Minjun’s work and notion of ‘icon’. Furthermore, this research’s purpose was to prove concretely in what point does the fact above and manifestation intersects. This research has discovered the fact that Chinese contemporary artist’s historical events were not only contributing as etiological factors in their works, but also as sources on the work’s detailed presentation style. Particularly in Yue minjun’s work, it is so seemed that his continuos self-portraits are due to the trauma based on his historical events. To rephrase, the specific-figures in some works which had been appeared on the basis of repetition, can be considered as artist’s trauma; which the artist intended to conceal. Also, purpose of verifying the possibilities of trauma’s manifestation which is revealed in Chinese contemporary art is to overcome the limit of previous art criticizing by suggesting both alternative and pluralistic interpretation.
참고문헌 (22)
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