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We are living in biennale's best days. Currently it is known that the biennales in the world come to 130 sorts , which get more if they are extended into the name called 'international art event'. Like this, even we have a variety of reasons that a biennale is getting revitalized internationally, in terms of sociology, one of the reasons is a change of popular awareness according to change of media circumstance. In New-museology, as exhibition is dealt with one of the communications, a biennale is being recognized with active media for mutual understanding with others, which means a tool of one.
In modern society, a biennale is connected with the public as a media of mutual understanding, which is being extended into various main body in the world of art. The media such as an art market or an art museum and a college or the press, a cultural organization, NGO, an academy, an association etc. have been contributing to extending a category of mutual understanding through extension. In this related network, a biennale is dealt with the basis of cultural authority related to the tourist business and political hegemony between countries, hegemonism of the knowledge society or the diplomatic strategy etc. beyond a level of regular exhibition showing art works to the public.
The goal of this article is to see how a biennale has been formed a connection with ideology mutually with non-visible substance as one of cultural authorities. Namely, 'A biennale as a means of ideology production', which is a topic of conversation consisting of a basis of this article. Even 'ideology' has been used mainly by meaning the tendency of certain dominated thought in politic or social context for a long time, when it is used with a form of concept systematized or a way of thinking as a framework of thought, it can be dealt with language indicating cultural phenomenon. Also, an modern art culture closely-connected with political-sociological conversation in the course of creation and interpretation raises possibility of cultual working. A ideology of a biennale is a sort of background of biennale activities, and ideological result produced by a biennale at the same time.
As warned, an art of the past 20th century has been converted from in Europeanized single structure of the early of the century into mutual structure between The US and Europe, and into design structure in the latter half of the broken-cold war. In this stream, conversations included what is called centralism and hegemonism, broken-centralism and multi-culturism, globalism and regionalism etc. accepted or produced and reproduced by a biennale. These huge conversations regularized in the latter of 1980s was absorbed into a topic of newborn biennale or became ideology changing existing biennale newly. And, these huge conversations worked a change a terrain map of an art accepting nutrients from postmodernism introduced as a principle interpreting new art phenomenon of the day. These conversations according to changed century are reaching critical phase of new change. In the middle of being discussed on importance of culture lively, cultural ideology is brought to the fore into a new authority form. A change shows a overall complicated aspect according to deepening phenomenon of information society. When handled as 'ideological apparatus of state' of Louis Altusser, a biennale will be able to grasp multiple critical views-points such as strategy and authority and conversations etc hided.
In modern society, a biennale is connected with the public as a media of mutual understanding, which is being extended into various main body in the world of art. The media such as an art market or an art museum and a college or the press, a cultural organization, NGO, an academy, an association etc. have been contributing to extending a category of mutual understanding through extension. In this related network, a biennale is dealt with the basis of cultural authority related to the tourist business and political hegemony between countries, hegemonism of the knowledge society or the diplomatic strategy etc. beyond a level of regular exhibition showing art works to the public.
The goal of this article is to see how a biennale has been formed a connection with ideology mutually with non-visible substance as one of cultural authorities. Namely, 'A biennale as a means of ideology production', which is a topic of conversation consisting of a basis of this article. Even 'ideology' has been used mainly by meaning the tendency of certain dominated thought in politic or social context for a long time, when it is used with a form of concept systematized or a way of thinking as a framework of thought, it can be dealt with language indicating cultural phenomenon. Also, an modern art culture closely-connected with political-sociological conversation in the course of creation and interpretation raises possibility of cultual working. A ideology of a biennale is a sort of background of biennale activities, and ideological result produced by a biennale at the same time.
As warned, an art of the past 20th century has been converted from in Europeanized single structure of the early of the century into mutual structure between The US and Europe, and into design structure in the latter half of the broken-cold war. In this stream, conversations included what is called centralism and hegemonism, broken-centralism and multi-culturism, globalism and regionalism etc. accepted or produced and reproduced by a biennale. These huge conversations regularized in the latter of 1980s was absorbed into a topic of newborn biennale or became ideology changing existing biennale newly. And, these huge conversations worked a change a terrain map of an art accepting nutrients from postmodernism introduced as a principle interpreting new art phenomenon of the day. These conversations according to changed century are reaching critical phase of new change. In the middle of being discussed on importance of culture lively, cultural ideology is brought to the fore into a new authority form. A change shows a overall complicated aspect according to deepening phenomenon of information society. When handled as 'ideological apparatus of state' of Louis Altusser, a biennale will be able to grasp multiple critical views-points such as strategy and authority and conversations etc hided.
목차
Ⅰ. 머리말
Ⅱ. 비엔날레와 소통
Ⅲ. 비엔날레와 이데올로기
Ⅳ. 비엔날레와 권력
Ⅴ. 맺는말
참고문헌
Abstract
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