인문학
사회과학
자연과학
공학
의약학
농수해양학
예술체육학
복합학
DBpia AI
AI 에이전트
AI 아이디어
AI 리더
AI 뷰어
Citeasy
크롬 서지관리 다운로드
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
The object of this paper are for illuminating and understanding of the situation of the today in which the value of existence of the artwork is replaced with the exhibition value and exhibition becomes more the center of a history than the art creative work. Because the aura of the art is nullified and the exhibition would rather be the initiative location in the whole process of art, it is due to be the very important factor.
In these contexts, this paper deals with various problems such as a fact that spectaclism line which is favorable to get the cheers of the public affects the process of creation of the art closely.
Curating, the frame of this era about the exhibition plan and the excessive priority are the matter to it told to the part causing the vocabulary, that is the caricature which is like 'the artist hunting', moreover importantly has to handle.
Therefore, in this time flow, it is difficult that it denies that the skepticism of not only the art originator but also the art creative work itself and devaluation are already contained.
In this process, the exhibition and exhibition planning have became more clear knowledge whereas the art be dramatically vague. Today the knowledge enjoying popularity is to relate to the technology it produces an exhibition.
Recently, we stand on the contacting position that makes the push-pull action between the creative work and planning, and acute discord.
It is the reality that the different story is intersected in which this needs our reflection. Between this alternated two kinds of order, two dimensions, there is the action of some closely mutual power.
The subjects of the exhibition plan have a tendency of perceiving themselves as new subjects of a discussion. They want to understand an exhibition as the chapter accomplishing its own concept. Consequently this new subject tries to rank a predominately when a discord was caused in the creative work of its own 'planning' and writer.
However, it also cannot also be ever free from a danger including the subjective point of view or the prospect of the selves, the objectification of the recognition, a colonization, and etc. for new heroes of this exhibition era too. Therefore, it is also doubtful with the point of view and position of the exhibition plan of today. Hence the excessive priority which is given to this must be advisedly examined.
The most important thing is that watches whether the excessive frame which is imposed on an exhibition doesn't act in the base rather suppressing the creative work of a writer as the creative work and a situation has been being adjusted so that curatorship and exhibition culture may not lose this kind of the balance sense.
Though an exhibition is the creative performance, it is the creative behavior performed on the much more social, political, economic communication bases.
Due to this nature of exhibition curating, it will be difficult that an exhibition replaces the profundity, diversity and the potentiality of the truth which only can be obtained by sound immersion and result of an ardor of one subject without damage.
In conclusion, this paper as to be proposed, is like the exhibition culture and flow of this era: The exhibition can be accomplished the goals such as true companion of creative work which is beyond the methodological and instrumental knowledge, companionable creation for those who expands and engraves creatable profound rich groping and the meaning of the results on the basis of personal memory of life, experience, and imagination.
In these contexts, this paper deals with various problems such as a fact that spectaclism line which is favorable to get the cheers of the public affects the process of creation of the art closely.
Curating, the frame of this era about the exhibition plan and the excessive priority are the matter to it told to the part causing the vocabulary, that is the caricature which is like 'the artist hunting', moreover importantly has to handle.
Therefore, in this time flow, it is difficult that it denies that the skepticism of not only the art originator but also the art creative work itself and devaluation are already contained.
In this process, the exhibition and exhibition planning have became more clear knowledge whereas the art be dramatically vague. Today the knowledge enjoying popularity is to relate to the technology it produces an exhibition.
Recently, we stand on the contacting position that makes the push-pull action between the creative work and planning, and acute discord.
It is the reality that the different story is intersected in which this needs our reflection. Between this alternated two kinds of order, two dimensions, there is the action of some closely mutual power.
The subjects of the exhibition plan have a tendency of perceiving themselves as new subjects of a discussion. They want to understand an exhibition as the chapter accomplishing its own concept. Consequently this new subject tries to rank a predominately when a discord was caused in the creative work of its own 'planning' and writer.
However, it also cannot also be ever free from a danger including the subjective point of view or the prospect of the selves, the objectification of the recognition, a colonization, and etc. for new heroes of this exhibition era too. Therefore, it is also doubtful with the point of view and position of the exhibition plan of today. Hence the excessive priority which is given to this must be advisedly examined.
The most important thing is that watches whether the excessive frame which is imposed on an exhibition doesn't act in the base rather suppressing the creative work of a writer as the creative work and a situation has been being adjusted so that curatorship and exhibition culture may not lose this kind of the balance sense.
Though an exhibition is the creative performance, it is the creative behavior performed on the much more social, political, economic communication bases.
Due to this nature of exhibition curating, it will be difficult that an exhibition replaces the profundity, diversity and the potentiality of the truth which only can be obtained by sound immersion and result of an ardor of one subject without damage.
In conclusion, this paper as to be proposed, is like the exhibition culture and flow of this era: The exhibition can be accomplished the goals such as true companion of creative work which is beyond the methodological and instrumental knowledge, companionable creation for those who expands and engraves creatable profound rich groping and the meaning of the results on the basis of personal memory of life, experience, and imagination.
#Artwork
#Exhibition
#Art Communication
#Curating
#Curator
#Curatorship
#Skepticism
#Modernism
#Post-Modernism
#denaturalization of Art
#Saturation of Exhibition
#Saatchi Foundation
#YBA
상세정보 수정요청해당 페이지 내 제목·저자·목차·페이지정보가 잘못된 경우 알려주세요!
목차
- 1. 들어가면서 : 예술과 전시, 두 이야기의 교체
- 2. 예술의 박탈(denaturalization)과 전시의 포화(saturation)
- 3. 창작(creation)/기획(curating), 예술가(Artist)/큐레이터(curator) 사이의 차이와 충돌
- 4. 전시의 포스트모던적 개방성과 기획의 양가성
- 5. 전시와 미술 시장의 상호성
- 6. 나가면서 : 창작을 지지하는 창의적인 큐레이팅
- 참고문헌
- Abstract
참고문헌
참고문헌 신청최근 본 자료
UCI(KEPA) : I410-ECN-0101-2009-605-018445781
