초국적 정체성 만들기: 백남준과 이우환 (Constructing Transnational Identities: Paik Nam June and Lee Ufan)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 18호 / 209 ~ 226페이지
· 저자명 : 김영나

초록

Paik Nam June and Lee Ufan are the two most well known Korean expatriate artists. Paik Nam June left Korea at the youthful age of seventeen in 1949, studied in Japan, debuted in 1959 in Germany as an avant-garde composer and performance artist, and moved to New York to become the first artist to experiment the new medium of video art. Lee Ufan who came to Japan when he was 20 years old, began his career as an art critic in 1969 and became an important artist of the Japanese Mono-ha, the School of Things, from the late 1960s and early 1970s.
Through his early Zen-titled performances in Germany, not only was Paik able to combine Eastern mysticism with Western avant-gardism, he was also able to build up his image as an artist who transcended the limits set between the East and the West. By satisfying the Western desire to see the‘ otherness’of Asian artists and at the same time identifying with the Western avantgarde tradition through his spectacular performances and experimental video art, Paik succeeded in constructing the image of artist who was both Asian and world transnational at the same time.
Compared to Paik’s free movement between cultures, Lee Ufan’s artistic boundary is rather complicated and ambiguous. His critical writings against Cartesian rationalism and rejection of Western modernism construct the West as the binary opposition, a characteristic of modern Japan, and this puts him in the context of Japanese culture. Moreover, his writing which were based on modern aesthetics and theories of ontology from Martin Heidegger and Nishida Kitaro, give him an image of an ‘artist-philosopher’. Thus he was able to escape the stigma of being a Korean resident living in Japan to construct his image of an intellectual artist who had a firm grasp of Japanese ethos and aesthetics. But then, his proposition to see East and West as the binary opposition trapped him within Orientalism. Subsequently Lee Ufan’s artistic identity is positioned on border where Modern and Post-Modern, Orientalism with Post-orientalism intersect while it also is fluidly and unstably positioned within the transnational space in between Japan, Korea, the East and the West.

영어초록

Paik Nam June and Lee Ufan are the two most well known Korean expatriate artists. Paik Nam June left Korea at the youthful age of seventeen in 1949, studied in Japan, debuted in 1959 in Germany as an avant-garde composer and performance artist, and moved to New York to become the first artist to experiment the new medium of video art. Lee Ufan who came to Japan when he was 20 years old, began his career as an art critic in 1969 and became an important artist of the Japanese Mono-ha, the School of Things, from the late 1960s and early 1970s.
Through his early Zen-titled performances in Germany, not only was Paik able to combine Eastern mysticism with Western avant-gardism, he was also able to build up his image as an artist who transcended the limits set between the East and the West. By satisfying the Western desire to see the‘ otherness’of Asian artists and at the same time identifying with the Western avantgarde tradition through his spectacular performances and experimental video art, Paik succeeded in constructing the image of artist who was both Asian and world transnational at the same time.
Compared to Paik’s free movement between cultures, Lee Ufan’s artistic boundary is rather complicated and ambiguous. His critical writings against Cartesian rationalism and rejection of Western modernism construct the West as the binary opposition, a characteristic of modern Japan, and this puts him in the context of Japanese culture. Moreover, his writing which were based on modern aesthetics and theories of ontology from Martin Heidegger and Nishida Kitaro, give him an image of an ‘artist-philosopher’. Thus he was able to escape the stigma of being a Korean resident living in Japan to construct his image of an intellectual artist who had a firm grasp of Japanese ethos and aesthetics. But then, his proposition to see East and West as the binary opposition trapped him within Orientalism. Subsequently Lee Ufan’s artistic identity is positioned on border where Modern and Post-Modern, Orientalism with Post-orientalism intersect while it also is fluidly and unstably positioned within the transnational space in between Japan, Korea, the East and the West.

참고자료

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