문화올림픽과 미술의 민주화 - 1980년대 미술운동의 제도비판과 올림픽문화정책체제의 규정적 권력에 관한 고찰 (Cultural Olympics and the Democratization of Art: Reflection on the Relationship between the Institutional Criticism of Art Movement in the 1980s and the Definitive Power of Cultural Policy for the Se)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 36호 / 145 ~ 181페이지
· 저자명 : 박소현

초록

The 1980s in Korea has been defined as the era of democratization movement. However, the 1980s was also over-determined by the Seoul Olympic Games. This paper attempted to restore the 'multi-layered structure' of art in the 1980s in the context of the tension between democratization and the Olympics. The art movement in the 1980s, including 'Reality and Remarks', raised a question about such definitive power from the viewpoint of institutional criticism and activated critical discourses surrounding 'democratization of art.' On the other hand, the military dictatorship government structured cultural policies under the name of "Cultural Olympics" in the preparation process of the Seoul Olympics, and made an efforts to suppress and exclude the art movements' institutional criticism and their practices.
Therefore, this paper examined the institutional criticism of the 1980s art movement and the cultural policy that used "Cultural Olympics" as a just and a way, and critically analyzed the relationship between the cultural policy and the art movement of this Olympic era. By doing so, I intended to question the paradoxical situation in which democratization "supports the victory of the old thing" in the era after democratization was the legacy of the Seoul Olympics, which the dictatorship government had put its all-out efforts throughout the 1980s.
The Olympic cultural policy system, which was operated as an emergency system for the success of the Seoul Olympics, was implemented as a permanent cultural policy system in the era of democratization. And the violent oppression and exclusion of the 'rebelliousness' inherent in the emergency system of the 1980s was also inextricably permanent, and the 'fiction of art democracy', which, Sung Wan-kyung said, separated art from politics and bound it to the myth of modern art, was further strengthened. This is because the process of preparing and hosting the Olympics required to approve and mobilize state-led cultural policies, and in such process the definitive power about art, art movement, and art system has been transferred to the framework of national cultural policy. The process of transfer revealed the violence of the definitive power of the state, which distinguished between 'pure' art and 'rebellious' art, between art and non-art. Therefore, this violent and regulatory power of the state in the 1980s was not separate from the "Cultural Olympics" created by the government and the Olympic cultural policy system, which was a support for it, but an important part.

영어초록

The 1980s in Korea has been defined as the era of democratization movement. However, the 1980s was also over-determined by the Seoul Olympic Games. This paper attempted to restore the 'multi-layered structure' of art in the 1980s in the context of the tension between democratization and the Olympics. The art movement in the 1980s, including 'Reality and Remarks', raised a question about such definitive power from the viewpoint of institutional criticism and activated critical discourses surrounding 'democratization of art.' On the other hand, the military dictatorship government structured cultural policies under the name of "Cultural Olympics" in the preparation process of the Seoul Olympics, and made an efforts to suppress and exclude the art movements' institutional criticism and their practices.
Therefore, this paper examined the institutional criticism of the 1980s art movement and the cultural policy that used "Cultural Olympics" as a just and a way, and critically analyzed the relationship between the cultural policy and the art movement of this Olympic era. By doing so, I intended to question the paradoxical situation in which democratization "supports the victory of the old thing" in the era after democratization was the legacy of the Seoul Olympics, which the dictatorship government had put its all-out efforts throughout the 1980s.
The Olympic cultural policy system, which was operated as an emergency system for the success of the Seoul Olympics, was implemented as a permanent cultural policy system in the era of democratization. And the violent oppression and exclusion of the 'rebelliousness' inherent in the emergency system of the 1980s was also inextricably permanent, and the 'fiction of art democracy', which, Sung Wan-kyung said, separated art from politics and bound it to the myth of modern art, was further strengthened. This is because the process of preparing and hosting the Olympics required to approve and mobilize state-led cultural policies, and in such process the definitive power about art, art movement, and art system has been transferred to the framework of national cultural policy. The process of transfer revealed the violence of the definitive power of the state, which distinguished between 'pure' art and 'rebellious' art, between art and non-art. Therefore, this violent and regulatory power of the state in the 1980s was not separate from the "Cultural Olympics" created by the government and the Olympic cultural policy system, which was a support for it, but an important part.

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