《세계현대미술제》의 프랑스 편향성과 그 이면 -냉전시대의 한·불 미술교류 (French Bias of the ‘Olympiad of Art’ and its Other Side: Artistic Exchange between Korea and France in the Cold War-era)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 36호 / 203 ~ 226페이지
· 저자명 : 전유신

초록

This study focuses on the criticism that was leveled at the Seoul Olympic Arts Festival’s Olympiad of Art for being an exhibition heavily biased toward France and attempts to gain a clearer understanding of such bias by exploring its background. After providing an overview of the factors that gave rise to the French bias criticism, this study analyzes the careers of the participating artists in order to better explain the bias toward France. This study also aims to track the process by which France’s unique Cold War-era politics and culture influenced the Korean art world through the Olympiad of Art. In particular, it emphasizes the fact that the exhibition’s French bias played a decisive role in encouraging the participation of artists from the Soviet Union/Communist bloc and that the exhibition was a watershed event that provided a rare opportunity for exchange between Korean and Communist bloc artists. This study also highlights the fact that the Olympiad of Art offered a succinct summary of the history of artistic exchange between Korea and France and explores the history of such exchange in the years leading up to and immediately following the exhibition. With particular focus on the history of bilateral artistic exchange in the 1980s (the period in which the Olympiad of Art was held), this study reveals the circumstances that led to the Olympiad of Art’s French bias. In this way, the study emphasizes the fact that the Olympiad of Art was a major inflection point in the history of artistic exchange between Korea and France and ultimately reconstitutes Korean art history within a broader international framework.

영어초록

This study focuses on the criticism that was leveled at the Seoul Olympic Arts Festival’s Olympiad of Art for being an exhibition heavily biased toward France and attempts to gain a clearer understanding of such bias by exploring its background. After providing an overview of the factors that gave rise to the French bias criticism, this study analyzes the careers of the participating artists in order to better explain the bias toward France. This study also aims to track the process by which France’s unique Cold War-era politics and culture influenced the Korean art world through the Olympiad of Art. In particular, it emphasizes the fact that the exhibition’s French bias played a decisive role in encouraging the participation of artists from the Soviet Union/Communist bloc and that the exhibition was a watershed event that provided a rare opportunity for exchange between Korean and Communist bloc artists. This study also highlights the fact that the Olympiad of Art offered a succinct summary of the history of artistic exchange between Korea and France and explores the history of such exchange in the years leading up to and immediately following the exhibition. With particular focus on the history of bilateral artistic exchange in the 1980s (the period in which the Olympiad of Art was held), this study reveals the circumstances that led to the Olympiad of Art’s French bias. In this way, the study emphasizes the fact that the Olympiad of Art was a major inflection point in the history of artistic exchange between Korea and France and ultimately reconstitutes Korean art history within a broader international framework.

참고자료

· 없음