한국 근현대 미술에서의 민족주의와 코스모폴리타니즘: 글로벌 미술의 단초 찾기
Tracing ‘Global Art’ in Korea: Nationalism and Cosmopolitanism in Modern and Contemporary Korean Art
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The Korean contemporary art scene indicates that artists are conscious ofglobalization and the transnational art systems supported by cosmopolitan artists andprofessionals in the rest of the world. Yet, the current phenomena are indebted to thelong dualistic history of nationalism vs. cosmopolitanism since the colonial period whenthe concept of modern art was imported from the west and became the platform fornational identity against empirical cultural advances. It would not be an exaggeration todescribe nationalism as having determined the forms and logic of art trends since that time, while artists aspired to becoming familiar with art outside Korea. This paper examines the presence of the globalization process in Korean art or theimplementation of the so called ‘global art’ in the consciousness of artists in Korea. Moving away from the binary structures of nationalism and cosmopolitanism, I focusinstead on the dynamics of the two attitudes located in the texts and practices since the1920s. Close scrutiny reveals that while most of the discourses on Korean art dwelled inthe vicinity of nationalism as if it occupies the core of artistic identity, they alsoacknowledged art as an independent arena or common resource for bonding with theworld outside Korea. This paper traces such paths as discourses on ‘local color’ before1945, Dansaekhwa movement of the 1970s, and Minjung Misul of the 1980s, andemphasizes the ‘cosmopolitanization’ of Korean art and art systems throughout theperiods which eventually enabled the embrace of globalism through the newlyestablished museums and biennials in the 1990s.
Abstract
The Korean contemporary art scene indicates that artists are conscious ofglobalization and the transnational art systems supported by cosmopolitan artists andprofessionals in the rest of the world. Yet, the current phenomena are indebted to thelong dualistic history of nationalism vs. cosmopolitanism since the colonial period whenthe concept of modern art was imported from the west and became the platform fornational identity against empirical cultural advances. It would not be an exaggeration todescribe nationalism as having determined the forms and logic of art trends since that time, while artists aspired to becoming familiar with art outside Korea. This paper examines the presence of the globalization process in Korean art or theimplementation of the so called ‘global art’ in the consciousness of artists in Korea. Moving away from the binary structures of nationalism and cosmopolitanism, I focusinstead on the dynamics of the two attitudes located in the texts and practices since the1920s. Close scrutiny reveals that while most of the discourses on Korean art dwelled inthe vicinity of nationalism as if it occupies the core of artistic identity, they alsoacknowledged art as an independent arena or common resource for bonding with theworld outside Korea. This paper traces such paths as discourses on ‘local color’ before1945, Dansaekhwa movement of the 1970s, and Minjung Misul of the 1980s, andemphasizes the ‘cosmopolitanization’ of Korean art and art systems throughout theperiods which eventually enabled the embrace of globalism through the newlyestablished museums and biennials in the 1990s.
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