사이트 담론의 역사적 고찰과 비전

• 영문명: Site as a Discourse: Theoretic Development and its Vision
• 발행기관: 한국예술종합학교 미술원 조형연구소
• 저자명: 진휘연(Jin, Whuiyeon)
• 간행물 정보: 『Visual』vol.2, 32~45쪽, 전체 14쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2003.09.30

영문 초록

A piece of art works is always involved with a place where it is exhibited. It was built-in project from the beginnings, but through the modernization, a distinction took place between the art work and the space it is displayed. Since the Minimalism artists, questions on the real function of the space where the viewer experienced art works, were raised. In his writings, Robert Smithson explored the meaning of site and he differentiated it from the secondary, exhibitory space, so-called ‘non-site’. Site represents the historic geological sedimentation and it reveals the decay which transforming the energy from the good to bad, useful to obsolete. Smithson’s argue gets even more power after other critics and art-historians developed the discourse of the ‘site’ and a number of art works were produced as either monuement, installation, or site-specific art. Among many names, Sooja Kim’s 〈Lighthouse Woman〉(2002) in Charleston is extraordinary. She worked on light for the lighthouse to lit the history and its meaning as a sacrifice to the town, and she changed the lighthouse to a woman. Dukhyun Cho buried thirty six iron dogs and digged them as significant artifacts which prove the real history of ‘Eso-guk’, the country existed two thousand years ago. He reversed the Smithson’s theory on the site, yet manipulated and enriched the narrative for the Eso guk.

목차

1. 사이트의 개념 - 일반적 이해와 보편적 기능

2. 스미슨의 사이트

3. 정치적 이론적 공간으로 전환된 사이트

4. ‘장소-구체적’ 작품들

5. 한국 작가들의 공간 사용과 구체적 - 장소성의 사용에 대해

참고문헌

Abstract