중국현대미술의 동시대성 - 아트퍼포먼스를 중심으로
Chinese arts’ contemporanéitéé - Focusing on art performance
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This article shows art society’s movement against the Socialism since Gai-ge Kai-fang(Openness) in 1978. It was a concep of ‘Modern’ that has been introduced in Socialist China. The Modern is more like 1920’s European Avant-garde concept rather than time concept. Chinese artists in this era did performance art which did not belong to Socialist art, making Chinese contemporary art exist with art of the other part of the world. Their art performance was not an art form at all in the Socialist country. By the way, this has been maturing through following three stages. First stage is from 85 Movement to Tiananmen Massacre. Second, from 1990 to 1998 Old Summer Palace crisis. Third, from 2000 until now. Which is important about this time seperation is that political pressure plays a key role in each stage. Three stages’ individual arts show off collective as well as private characteristics. Collective form of artists started from regional Unit Labor, moved through conceptual Unit, and arrived at commercial group. They conducted exhibition and published magazines. Those artists rejected gallary as a exhibition space, creating a totally new form of art. Individual form of artists mimicked 1920’s Dada 1960’s Japanese High Red Center Group. They performed art style which was too common to be called arts, giving birth to Chinese arts’ contemporanéité. In conclusion, their art performance is closely related to the identity of what is Chinese. Conducting contemporanéité as Chinese artists is something that contributes intellectual system in post-Socialist China.
Abstract
This article shows art society’s movement against the Socialism since Gai-ge Kai-fang(Openness) in 1978. It was a concep of ‘Modern’ that has been introduced in Socialist China. The Modern is more like 1920’s European Avant-garde concept rather than time concept. Chinese artists in this era did performance art which did not belong to Socialist art, making Chinese contemporary art exist with art of the other part of the world. Their art performance was not an art form at all in the Socialist country. By the way, this has been maturing through following three stages. First stage is from 85 Movement to Tiananmen Massacre. Second, from 1990 to 1998 Old Summer Palace crisis. Third, from 2000 until now. Which is important about this time seperation is that political pressure plays a key role in each stage. Three stages’ individual arts show off collective as well as private characteristics. Collective form of artists started from regional Unit Labor, moved through conceptual Unit, and arrived at commercial group. They conducted exhibition and published magazines. Those artists rejected gallary as a exhibition space, creating a totally new form of art. Individual form of artists mimicked 1920’s Dada 1960’s Japanese High Red Center Group. They performed art style which was too common to be called arts, giving birth to Chinese arts’ contemporanéité. In conclusion, their art performance is closely related to the identity of what is Chinese. Conducting contemporanéité as Chinese artists is something that contributes intellectual system in post-Socialist China.
참고문헌 (16)
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