Searching for tag: korean-artists
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（四）
Nam June Paik (Paik Nam-June) represents Korean contemporary art, but only becoming a solid case in the 1980s, 34 years after he lived away from his home country. Artists and their fame are often appropriated to be subsisted to political agendas. The story remains, unveiling the story of globalization, what is missing, and what voices are never recorded, in the mainstream discourse of Korean art history? 白南準離開本家韓國34年。他的蜚聲國際把他「送回」南韓，成為1980年代及往後國內全球化策略下的國際級大節慶紅人。白南準的藝術地位和貢獻不可置疑。問題是，著眼於他這樣級數的藝術家的同時，我們失卻了甚麼？誰的主體性被泯滅？那些有關藝術的實存被滅聲？這不單是寫藝術史的人的問題，是每一個人如何存活與政治機器中要關注的。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (3) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（三）
In response to continuous authoritarian governments, anti-traditionalist Monochrome Painting versus pro-social participatory Public Art were born. The irony is that dictatorship incited economic growth which subsequently created a new class of art consumers: art galleries were born, inciting a growing demand for new species art and younger artists of promise. 韓國南北割裂之後，獨裁政府的持續在藝壇導致兩種不同的反應。抽象藝術的出現以反傳統、反具象、反日本影響為目標；而民眾藝術則伴隨民主運動，把創作帶到街頭，強調藝術的社會參與的面向。同時，獨裁統治催生經濟，新的財富階級打開了藝廊的潮流，藝術商品投資化令藝術品種類擴大，發現新進藝術家的需要亦由此而起。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (2) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（二）
Korea’s 35-year long colonial history as Japanese occupied territory (1910-1945), followed by domination of the US and other powers which turned the country into the battlefield of a long Cold War, has every step of the way imprinted the legitimacy of art, thus also the relaxing and tightening of the circle of entitlement to artists. 2nd of a 4-part essay 繼朝鮮皇朝近二千年的「宮廷畫師」至深受中國宋明影響的「文人畫家」，辛庚珍進入一個歷史斷層，由日佔35年的殖民時期到戰後的冷戰時期韓國分裂為南北，藝術的存在價值以及藝術家入圈的合法性，看來都不是純粹的藝術問題。全文四部之二。
Photographic Survey: Korean experimentation of the animated picture 地域實驗 I －圖像勘測
EXiS Program Director Hangjun Lee surveyed the contemporary scene of experimental cinema in Korea in relation to animation and its expanded forms. 「首爾實驗電影錄像節」節目總監李幸俊素描當代韓國實驗活動影像的風景，尤其與動畫和動畫的延伸的千絲萬縷。
