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In the mid-1980s, postmodernism is a complicated term that has not only emerged as an area of academic study but also including art, architecture, music, film, literature, sociology. It is a concept that appears in a German and Franch academie study. At that time in France, the national government takes a leading role in supporting the arts as a system of cultural depending on the scale and complexity of projects. Centre George Pompidou 'le Musee national d'Art Moderne(MNAM)' exhibited often emerging ideas and developments in recent art production, to reflect the diversity of contemporary artistic practice.
In 1987, at MNAM, exhibited 〈L'epoque le mode la morale la passion, Aspects de l'art aujourd'hui, 1977-1987)〉 with direction Bernard Blistene, Catherine David and Alfred Pacquement. In 1989, curator Jean-Hubert Martin set out to create a show that was opposed manners and customs of the people's practices 〈Les Magiciens de la terre〉 within the contemporary art world as a replacement for the format of the traditional Paris Biennial.
This two exhibition are, like postmodernism, follows most of these same ideas, rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions.
〈L'epoque le mode la morale la passion〉, the exhibition includes some of the finest modern European masterpieces like Pattern Painting, Peinture-graffiti, Bad-painting, Trans-avant-garde, Figuration Libre, Neoexpressionnisme. And Some of photographers Gibert & George, Jeff Well, Cindy Sherman, Video artists also some of artist of installation. The central importance of the subjective point of view when experiencing this exhibition, points toward a regard for traditional modernism.
〈Magiciens de la Terre〉, the Primitivism is only a fine art of native cultures as it fell into a similar Modernist trap of providing. An art of Primitivism stated that it was only interested in displaying tribal works that influenced Modern artists and studying how this phenomenon functioned within the Modernist discourse. Many of the non-western works selected were second-rate artists in style and content of artistic movements that originated in the West.
It was felt that these exhibitions were exemplary of the diversity of human cultures, and their work only strengthened French hegemony.
In 1987, at MNAM, exhibited 〈L'epoque le mode la morale la passion, Aspects de l'art aujourd'hui, 1977-1987)〉 with direction Bernard Blistene, Catherine David and Alfred Pacquement. In 1989, curator Jean-Hubert Martin set out to create a show that was opposed manners and customs of the people's practices 〈Les Magiciens de la terre〉 within the contemporary art world as a replacement for the format of the traditional Paris Biennial.
This two exhibition are, like postmodernism, follows most of these same ideas, rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions.
〈L'epoque le mode la morale la passion〉, the exhibition includes some of the finest modern European masterpieces like Pattern Painting, Peinture-graffiti, Bad-painting, Trans-avant-garde, Figuration Libre, Neoexpressionnisme. And Some of photographers Gibert & George, Jeff Well, Cindy Sherman, Video artists also some of artist of installation. The central importance of the subjective point of view when experiencing this exhibition, points toward a regard for traditional modernism.
〈Magiciens de la Terre〉, the Primitivism is only a fine art of native cultures as it fell into a similar Modernist trap of providing. An art of Primitivism stated that it was only interested in displaying tribal works that influenced Modern artists and studying how this phenomenon functioned within the Modernist discourse. Many of the non-western works selected were second-rate artists in style and content of artistic movements that originated in the West.
It was felt that these exhibitions were exemplary of the diversity of human cultures, and their work only strengthened French hegemony.
목차
1. 들어가며
2. 시대, 유행, 정신, 열정 오늘의 상황 1977-1987
3.〈대지의 마술사들(Les Magiciens de la terre)〉
4. 마무리
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