중국실험미술에 있어서 은유적 역사기술의 문제

Abstract

This study proceeded with its investigation targeting Chinese Experimental Art as a research subject, which has strengthened its position in the arts field of China since the 1980’s. The study looked into especially issues in relation to metaphorical historiography, the most clearly-recognized basic way to express. In particular, as focusing on those very much obvious differences in the aspects of Chinese Experimental Art of the 1980’s and the 1990’s, respectively, before and after the Tiananmen Square Massacre in 1989, the study did research on how either particular historical facts or scenes would be described in various art forms of new contexts through icons in pieces of work. After the investigation, the study learned that the expressive style of Chinese Experimental Art, which are considered both extremely concentrative and collective as well, could be understood as some practical act of an individual artist to introspect or survive this “historical trauma” caused by any oppressed history, such as the Tiananmen Square Massacre and the Great Cultural Revolution. Those oppressed historical events, there were what this individual artist has experienced oneself. Not only that, the study confirmed that in terms of a phenomenon that the historical icons would be repeated endlessly but also obsessively, it goes even beyond simply claiming to characteristics of the styles or the patterns but plays a role as the most significant factor in what or how these artists’ psychological mechanisms do to design works. In conclusion, the study recognized that as these methods, which the artists had chosen to express the metaphorical historiography under the political, social situations of censorship and suppression, had been no longer regarded merely as one of those art styles but secured this sense of authenticity of its own new meanings, those methods were able to take the value of Chinese Experimental Art to even a higher level. Furthermore, the study also found out that Chinese Experimental Art is something more than being shared simply as a creative work but that it has a new possibility to be interpreted as either historical sources or media of historiography in a form that has been expanded based on the individual memories.