현대미술과 ‘대중’프로그램 : 팔레드도쿄 사례를 중심으로 (Contemporary art and public program : Focus on the Palais de Tokyo’s cases)

서지정보

· 발행기관 : 유럽문화예술학회
· 수록지 정보 : 유럽문화예술학논집 / 5권 / 2호 / 125 ~ 140페이지
· 저자명 : 이보경

초록

In the world of contemporary art, where codes that the public can comprehensively share are rare, a viewer is unconsciously consumed for the exhibition and work in different ways. As soon as one enters the exhibition venue, he interprets the artwork using intellectual labor instead of simply observing it. This is again directed as a part of another work for other viewers. The role of the public, already a part of the work, shifts the position from a viewer to a producer. Then, what is the way that the public can recover their position and independently participate in the work? A contemporary creation (Le Site Création contemporaine) site Palais de Tokyo, opened in Paris of France in 2002, introduced a public program intending to narrow the gap between contemporary art and the public, and it is a good example to work out the problem. When Palais de Tokyo was opened, they placed meditators, a combination of docent and guard, at the exhibition location. A meditator stands by at the venue and helps viewers well observe artworks. Rather then understanding work by acquiring information from the text at the site, viewers can enjoy work by thinking and sharing emotions.
The meditator leads extension of thoughts and emotional communication by encouraging viewers to ‘interact’, not having them describe and copy plastic properties of work, at the center of the public program managed by Palais de Tokyo. After a11, the issue about the public program is not to m하<:e viewers grasp the meaning of work, but to have them independently have an inner trip beyond the meaning. One of the purposes that we view contemporary artworks is to develop the life of today through the artistic fruit of the era.

영어초록

In the world of contemporary art, where codes that the public can comprehensively share are rare, a viewer is unconsciously consumed for the exhibition and work in different ways. As soon as one enters the exhibition venue, he interprets the artwork using intellectual labor instead of simply observing it. This is again directed as a part of another work for other viewers. The role of the public, already a part of the work, shifts the position from a viewer to a producer. Then, what is the way that the public can recover their position and independently participate in the work? A contemporary creation (Le Site Création contemporaine) site Palais de Tokyo, opened in Paris of France in 2002, introduced a public program intending to narrow the gap between contemporary art and the public, and it is a good example to work out the problem. When Palais de Tokyo was opened, they placed meditators, a combination of docent and guard, at the exhibition location. A meditator stands by at the venue and helps viewers well observe artworks. Rather then understanding work by acquiring information from the text at the site, viewers can enjoy work by thinking and sharing emotions.
The meditator leads extension of thoughts and emotional communication by encouraging viewers to ‘interact’, not having them describe and copy plastic properties of work, at the center of the public program managed by Palais de Tokyo. After a11, the issue about the public program is not to m하<:e viewers grasp the meaning of work, but to have them independently have an inner trip beyond the meaning. One of the purposes that we view contemporary artworks is to develop the life of today through the artistic fruit of the era.

참고자료

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