Earticle

초록

영어

This paper explores the key figure of minjung misul (“the people’s art”), Kim Bongjun, and the art collective Dureong in the relationship between ‘dialogue’ and the dissidents’ structural critique of Korea’s modernities. During the 1980s’ prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans’ experience of modern history, which they saw as “alienating” and “inhumane,” but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans’ modernities. They endeavored to create “art of life,” which presumes its being part of people’s lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church’s and the alternative-life movement’s confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective’s vision of a new art and community.

목차

I. 서론
 II. 대안의 가치와 작동원리로서의 ‘소통’
 III. 소통에서 공동체로
 IV. “산 미술”로 가는 길
 V. “별따세 별따세 하늘 잡고 별따세”
 VI. 결론
 참고문헌 Bibliography
 Abstract

저자

• 유혜종 [ Yoo, Hyejong | 홍익대학교 ]

참고문헌