고인돌, 용, 엄지손가락, 세종대왕: 올림픽 조각공원 형성과정을 통해서 본 ‘미술과 공공장소’의 관계 (Reading the Olympic Sculpture Park in Seoul: Formation and Transformation)

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 12권 / 227 ~ 257페이지
· 저자명 : 양은희

초록

This essay examines the Olympic Sculpture Park in Seoul
as a public space, or heterotopia, a concept formulated by
Michel Foucault. As a site consisted of heterogeneous
functions and roles, the Park has been transformed from a
political production to promote Seoul Olympics to a
cultural arena for increasing middle classes in the
south-eastern Seoul for the last twenty years. Over the
years, it had to embrace diverse roles imposed or
demanded by the public whose concerns and interests vary
as time goes by.
This study focuses on the roles of the public space and
its relation to public sculptures. The two compete and
reconcile as the society becomes affected by diverse
ideologies. To illustrate these points, the thesis reads the
Park's formative period between 1987 and 1988 when it was
conceived and established to celebrate Seoul Olympics in
1988. By uncovering the archival materials and letters
from the period, written by Pierre Restany, the French art
critic, and others, this essay examines the Park's initial
role as a forum to host the international artists' works
semi-permanently and to become a landmark of Seoul.
Yet, the role was difficult to accomplish even at that time.
The various interests unprecedently expressed by many
artists' groups and organizations in Korea made the
process harder than the Olympic Organizing Committee
first imagined. Compromises were made but the success of
the park for outdoor sculptures was to face more
challenges as the park become frequented by the increased
number of people to attend concerts, meetings, and
festivals.
The thesis concludes with the idea that the roles of
public sculpture in the public space are threatened and
overshadowed by other social roles of the park as Foucault
suggested. In the process, the dignity and autonomy of art
is often forgotten and concedes to those other social roles.

영어초록

This essay examines the Olympic Sculpture Park in Seoul
as a public space, or heterotopia, a concept formulated by
Michel Foucault. As a site consisted of heterogeneous
functions and roles, the Park has been transformed from a
political production to promote Seoul Olympics to a
cultural arena for increasing middle classes in the
south-eastern Seoul for the last twenty years. Over the
years, it had to embrace diverse roles imposed or
demanded by the public whose concerns and interests vary
as time goes by.
This study focuses on the roles of the public space and
its relation to public sculptures. The two compete and
reconcile as the society becomes affected by diverse
ideologies. To illustrate these points, the thesis reads the
Park's formative period between 1987 and 1988 when it was
conceived and established to celebrate Seoul Olympics in
1988. By uncovering the archival materials and letters
from the period, written by Pierre Restany, the French art
critic, and others, this essay examines the Park's initial
role as a forum to host the international artists' works
semi-permanently and to become a landmark of Seoul.
Yet, the role was difficult to accomplish even at that time.
The various interests unprecedently expressed by many
artists' groups and organizations in Korea made the
process harder than the Olympic Organizing Committee
first imagined. Compromises were made but the success of
the park for outdoor sculptures was to face more
challenges as the park become frequented by the increased
number of people to attend concerts, meetings, and
festivals.
The thesis concludes with the idea that the roles of
public sculpture in the public space are threatened and
overshadowed by other social roles of the park as Foucault
suggested. In the process, the dignity and autonomy of art
is often forgotten and concedes to those other social roles.

참고자료

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