공유와 고유감각의 확장에 대한 큐레이팅 고찰 - 58회 베니스 비엔날레의 리투아니아관과 프랑스관 -

Abstract

For the past two decades, curating has been focused on social acceptance of art and public communication influenced by the Relational aesthetics of curator and theorist Nicolas Bourriaud and the Field theory of sociologist Pierre Bourdieu. This study is more about the expandability of the art in the curating, which creates synergistic effect with the collaboration between the artist and the curator, and emphasizes on finding the beginning in the sense of artist and art at the 2019 Venice Biennale. The Lithuanian Pavilion which won the 2019 Golden Lion Award and the French Pavilion show the curating which embraced the current art theme, how to deal with the sense of art in the environment that surrounds us, with interdisciplinary, multi-genre, and time-space. The Lithuanian Pavilion captures heavy themes such as climate and the environment, it gives a very poetic and sensual resonance in opera, performance, and mise en scène's comprehensive expressions in a light, humorous and mundane routine. The French Pavilion also expresses emotionally and poetically the various ways in which space-time sharing and uniqueness exist together. The fake becomes more realistic in the representation of the reality, and art becomes real and comes into life. The beaches we see are utopian and at the same time the gap. However, through the sound, movement, smell coming from the gap, the audience's sentimentality, and the shooting with the cell phone, etc., sharing and unique senses are expanded, making it another marvelous daily life. The French Pavilion in Jardini intends to be the 'head of the octopus' structure, which passes through a dark underground room reminiscent of an undersea tunnel connecting France and England. It expresse the sense of tentacles, extending from the nervous system, by connecting to sound, dance, performances, glass sculptures, and lighting works. Artists and curators, who are a little out of the way of central thinking in mainland France, twist and transform French words sensitive to signifier and signified into humorous style. The coexistence of artists with the power of imagination and transformation and curators with the power of organized and logical socialization makes the curating which extends the sharing of the essence of art and the unique sense of the essence to the audience. I would conclude that the two pavilions of the 2019 Venice Biennale is the curating in the eras such as a mollusc-like exhibition that accepts a variety of growing media and genres, instantly or as a process, along with new places found within human heritage.