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조형작품전시공원과 공원의 경계에서

표지

조은정(한남대학교)

  • 2018.12
  • 119 - 144(26 pages)

DOI : 10.46834/jkmcah.2018.12.36.119

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내서재 0

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초록·키워드 목차

After 30 years has passed since the 1988 Seoul Olympics, nowadays Olympic Park and Olympic Sculpture Park are indistinguishable to the nearby residents. At the point where publicity and individual freedom merges, everything around becomes privatized. Where even nature such as mountains and rivers, sunrises and sunset occupies space, Korean society is driven by extreme capitalism and therefore, Olympic Sculpture Park can be just seen as a ‘garden’. This is a reflection of the Korean society that has reached extreme capitalism and an aftereffect of an event that has been pushed by public power that desired oblivion. Even though the evaluation of a memorial monument that has to be remembered publicly changes over time, it is located in the society as a scene of history. This is a different way from environmental sculptures on the premise of beautiful urban landscape. If the sculptures in the Olympic Sculpture Park only rely on the history, which means that if they don’t become art pieces in connection with life, and don’t be evaluated as an artistic sculpture park, it will always encounter with personal freedom that has been experienced by Cesar’s 〈Thumb〉.<BR> The art pieces at Olympic Sculpture Park were created even by the Cold War Era Eastern European artists. Though these art works, the park could become a location that symbolizes peace and harmony beyond ideology, and even by satisfying the desire of internationality. However, the generation who remembers the Cold War Era is no longer the ones who raise their children and strolling in the park. In addition, the artistic evaluation of the works displayed in the ‘Sculpture Exhibition Park’ are changing and have rapidly lost their aura in national events. Beyond the title of the world’s first Olympic sculpture park or a large scale sculpture park, and being beyond the ‘Sculptures in Olympic Park’ and becoming the main subject is not the necessarily figure that the modern society aims. The starting point of building the Olympic Sculpture Park that has been filled with art works was hinged on the creation of a competitive space of expression that gets abreast of the event of competitive sports matches that is based on nationalism.<BR> The artistic works of the Olympic Park are still part of the world art. The fact that the world-renowned work in in the Olympic Park proves that we have joined the world’s level of the time. The Olympic Sculpture Park is located within the Olympic Park, which is represented by common memories in a public place. As social existences seem to be inevitably changed as time passes by, the public art that were location focused has changed to community characteristic art starting from the issues. Thus, Olympic Park and Olympic Sculpture Park have now become a point where the desire of admitting the place as a proof of globalization and where the environmental sculptures that are located in a personal experienced space conflicts. In the world where the awareness of Olympics is changing, the Olympic Sculpture Park is located at the point where the desire of private gardens and public parks meets. #88서울올림픽 #올림픽공원 #올림픽조각공원 #국제야외조각심포지엄 #공원 #조각공원 #전통 #국제성 #몽촌토성 #예술작품공원 #88 Seoul Olympic #Olympic Park #Olympic Sculpture Park #International Open-air Sculpture Symposium #Park #Sculpture Park #Tradition #Internationality #MongChon Tosung #Artwork Park

Ⅰ. 머리말
Ⅱ. 문화올림픽과 올림픽조각공원
Ⅲ. 올림픽조각공원의 조각과 기념물
Ⅳ. 맺음말
참고문헌
Abstract

저자의 논문

[학술저널]

올림픽조각공원

[학술저널]

올림픽조각공원

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