장소 특정적 예술에 있어서 장소성의 표현방법에 관한 연구- 에치고츠마리 아트 트리엔날레 작품분석을 중심으로 -

Abstract

The purpose of this thesis is to discuss how placeness is engaged in site-specific arts, and conclusion is as following. 1, although works are situated in the same place, each individual artist chooses different themes, and artists generally prefer a singular subject rather than plural subjects. 2, placeness is divided into “Nature,” “Culture,” and “History.” Many artists understand well enough not only the characteristics in-depth but also the characteristics of places. 3, in terms of form and material, artists tend to use various materials for the same place they use for their art. 4, form structure is mainly divided into faceable style, touchable style, and surroundable style while the subject of how to appreciate art is divided into 7 sections. In the subject of how to appreciate artworks, how the viewer “physically experiences” places is more general than just “seeing” the works. 5, how to visualize placeness is mainly divided into “emphasis,” “examination,” and “visibility.” Any form structure can pertain to each expressing method above, but the most suitable expressing method is different for the form structure. 6, when one thinks about the relationship between placeness and expressing method, it is the most widely used to “emphasize” nature even more to understand the invisible “Nature.” “Culture”which is invisible to eyes but can be recognized through objects can be understood by “emphasizing” and “examining.” “History” which can be understood with the biggest difficulty generally takes the method of “visibility.”