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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)

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。

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