인문학
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자연과학
공학
의약학
농수해양학
예술체육학
복합학
DBpia AI
AI 에이전트
AI 아이디어
AI 리더
AI 뷰어
Citeasy
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지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록·키워드
This paper examines the identity of Korean video art in the late 1970s and 1980s in light of the “cultural translation” theory raised by Lydia Liu, Rey Chow, and others. Liu’s “translingual practice” discusses the way non-Western regions translate Western language and mediums. In the genealogy of video art, Nam June Paik has his authority as the founder of video art, but his Korean counterpart, Park Hyun-Ki, has established as the first generation of Korean video art. Park, eclectically relying on performance art, conceptual art, and Arte Povera style process art, established his video art in the context of an architectural media installation. After raising theoretical issues concerning the translation of mediums from one culture to another, chapter two discusses the “translingual practice” of video from Paik (United States) to Park (Korea). Chapter three queries the vernacular medium situation of Park’s video installation by looking at his significant works of art in detail.
My paper discusses the way architecture plays a mediatory role connecting humans, environments, and artistic mediums such as video or video installation. Whereas Western video artists such as Bruce Nauman, Vito Acconci, Joan Jonas, and others explored the medium specificities of video screens, Park dealt with video as the medium of “translatability” in accepting the new medium in the mid-1970s. Park’s video installation was exhibited in the 1979 San Paolo Biennale and the 1980 Paris Biennale, the latter showing the first video art in its exhibition history.
My paper discusses the way architecture plays a mediatory role connecting humans, environments, and artistic mediums such as video or video installation. Whereas Western video artists such as Bruce Nauman, Vito Acconci, Joan Jonas, and others explored the medium specificities of video screens, Park dealt with video as the medium of “translatability” in accepting the new medium in the mid-1970s. Park’s video installation was exhibited in the 1979 San Paolo Biennale and the 1980 Paris Biennale, the latter showing the first video art in its exhibition history.
본문·목차
인공지능 문자 인식 모델을 통해 추출된 텍스트로, 일부 오타나 오류가 포함될 수 있으나 지속적으로 개선 중입니다.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
최근 본 자료 전체보기
UCI(KEPA) : I410-ECN-0101-2016-609-001249467
