조양규(曹良奎)와 송영옥(宋英玉)- 재일화가의 민족의식과 분단조국 (Divided Motherland and Korean diaspora in Japan: Jo Yang-Kyu and Song Young-Ok)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 18호 / 120 ~ 136페이지
· 저자명 : 윤범모

초록

In the case involved with the Korean residents in Japan, diaspora implicates more than simply residing abroad. It was the result of the special situation in Korean peninsular, under which people had to make a choice between different ideologies of each side of the divided homeland, and the struggle against each other was demanded. Even complicated was the social status of the Korean residents, being discriminated and contempted, in Japan since the colonial administration.
At this time, artists who were working more concerned with their own country were mostly from the pro-North Korean group. On the contrary the artists of the South Korean group generally entered into the western modernism. That is, it was mainly the artists of the Jochongnyeon (pro-North group) who recognized the diaspora and reflected it strait in the work. This caused these artists more difficulty, for the realist tendency in the art work was to be withered and even disregarded in the contemporary art field in Japan.
Among Korean artists residing in Japan, Jo Yang-Kyu and Song Young-Ok produced very symbolic paintings. Their works are based on the reality of their divided country and the life of compatriots in Japanese society. While the painters of the Mindan (pro-South group) was oriented to the modernism, being careless of the problem of the society and the people, they stubbornly focused on the spirit of the times and the national consciousness. So it is easy enough to sense the critique, from their canvases, to the society and the sentiment they had as a diaspora from a divided country. With the series of Warehouse and Manhole, Jo Yang-Kyu brought into relief the problem of the alienation of the human, as Song Young-Ok emphasized the absurdity in general through the scream in a sealed room. These paintings are worthy of notice, because they started from the Japanese society, specially the life of the Koreans in it, right after the War, faced and embodied the reality of the artists’fatherland.
Unfortunately, however, the art world of the South Korea has once neglected them by the reason that they were either pro-North oriented, or crossed over into the North Korea. But since we can rarely find Korean artists abroad so intensely expressed the concept of diaspora with their works, I’d like to introduce these two with the new data.

영어초록

In the case involved with the Korean residents in Japan, diaspora implicates more than simply residing abroad. It was the result of the special situation in Korean peninsular, under which people had to make a choice between different ideologies of each side of the divided homeland, and the struggle against each other was demanded. Even complicated was the social status of the Korean residents, being discriminated and contempted, in Japan since the colonial administration.
At this time, artists who were working more concerned with their own country were mostly from the pro-North Korean group. On the contrary the artists of the South Korean group generally entered into the western modernism. That is, it was mainly the artists of the Jochongnyeon (pro-North group) who recognized the diaspora and reflected it strait in the work. This caused these artists more difficulty, for the realist tendency in the art work was to be withered and even disregarded in the contemporary art field in Japan.
Among Korean artists residing in Japan, Jo Yang-Kyu and Song Young-Ok produced very symbolic paintings. Their works are based on the reality of their divided country and the life of compatriots in Japanese society. While the painters of the Mindan (pro-South group) was oriented to the modernism, being careless of the problem of the society and the people, they stubbornly focused on the spirit of the times and the national consciousness. So it is easy enough to sense the critique, from their canvases, to the society and the sentiment they had as a diaspora from a divided country. With the series of Warehouse and Manhole, Jo Yang-Kyu brought into relief the problem of the alienation of the human, as Song Young-Ok emphasized the absurdity in general through the scream in a sealed room. These paintings are worthy of notice, because they started from the Japanese society, specially the life of the Koreans in it, right after the War, faced and embodied the reality of the artists’fatherland.
Unfortunately, however, the art world of the South Korea has once neglected them by the reason that they were either pro-North oriented, or crossed over into the North Korea. But since we can rarely find Korean artists abroad so intensely expressed the concept of diaspora with their works, I’d like to introduce these two with the new data.

참고자료

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