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Kukjin Kang's art activities based on “performative performance” - with a focus on early experimental art -
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'수행적 퍼포먼스'를 기반으로 하는 강국진의 예술행위 : 초기 실험예술을 중심으로

논문 기본 정보

Type
Academic journal
Author
Eunjoo Lee (아트스페이스 와트)
Journal
KOREA ASSOCIATION FOR HISTORY OF MODERN ART Journal of History of Modern Art Vol.42 KCI Accredited Journals
Published
2017.12
Pages
119 - 149 (31page)

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Kukjin Kang's art activities based on “performative performance” - with a focus on early experimental art -
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This paper holds meaning in reestablishing Kukjin Kang’s early experimental art activities from mid to late 1960s to early 1970s as the concept of performance art. Among Kang’s experimental art activities, the foundation of what led a new style in the art world at the time began with Noncol Art . This booklet was created as a catalogue for the Noncol Dongin Exhibition , and consisted of content on raising awareness of problems within the Korean art circle and searching for solutions. The researcher discusses the new art experiment movement led by young Korean artists by analyzing the writings of the critics as well as fellow and senior Artists in Noncol Art . After Noncol Art , the experimental spirit of Kukjin Kang continues on to Happening with Plastic Umbrella and Candlelight in the Union Exhibition of Korean Youth Artists in 1967, The Night of Contemporary Art and the Happening , to the famously known The Transparent Balloons and a Nude and Murder at the Han Riverside by Kukjin Kang, Chanseung Chung, and Kangja Jung. One after another, Kang’s art activities as such deducted various artistic implications surrounding happenings and performances. His experimental spirit of seeing beyond masterpieces and attempting performance art at a time when the abstract circle was mainstream, transforming the audience into performers, and seeking new media gradually set the stage for the function and dynamic situations seen in performance art of today. The researcher sheds light on how Kang’s series of performance experiments developed gradually with time, and analyzed it as a discussion on “performative performance.”

Contents

Ⅰ. 들어가는 글
Ⅱ. 작가공동스튜디오 개념의‘ 논꼴 아뜰리에’: 『논꼴아트』(1965)
Ⅲ. 수행성 창출로의 이행 : 〈투명풍선과 누드〉의 관객참여와 〈한강변의 타살〉의 사회참여
Ⅳ. 관객참여 매개로서의 ‘멀티플(Multiple) 아트’ : 〈꾸밈〉 작업을 중심으로
Ⅴ. 나가는 글
참고문헌
국문초록
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UCI(KEPA) : I410-ECN-0101-2018-609-001705188