지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.12
- 수록면
- 223 - 245 (23page)
- DOI
- 10.46834/jkmcah.2019.12.38.223
이용수
초록· 키워드
오류제보하기
While the Incheon Women Artists" Biennale (2004-2011) was recognized and listed in the directory of world biennials in The Global Contemporary and the Rise of the New Art Worlds (2013) along with three major Korean biennials such as Gwangju, Busan and Seoul, it was nevertheless suspended. It is not surprising that the latter three major biennials continued given the fact that their host cities promoted and supported the events with stable funding and staffs. Incheon"s biennial garnered press and attention but it failed to survive the precarious political and social climate.
This paper examines the ways in which Incheon Women Artists" Biennale appeared, its reception, and some of the reasons the first women artists" biennale was suspended despite the general positive response from the outside Korea.
The Biennale was initiated by female artists in 1996 who despite their struggle as women to maintain family life, pursued opportunities to found a forum for women artists of various backgrounds. Triggered by the birth of the Gwangju Biennale in 1995, the Incheon Biennale was not only the outcome of local women artists"s efforts but also a potential site for "global feminisms" in an era of subalterns.
However, the Biennale abruptly lost its funding and did not survive after 2011. One of the reasons is that from its inception, the Biennale was hardly endorsed by the local male population who aggressively and overtly expressed antimony. They disagreed that women could represent the city of Incheon in the name of a biennial. The second reason was that the Korean elite feminist artist sector refused to participate in the Biennale arguing that the Incheon women artists were not "feminist" enough. The third was the ongoing conflict between artists" organizations which accidentally publicly posed the Incheon Biennale artists as being on the far right. Finally, the heavy reliance on governmental funding brought about the biennials" cessation as it fell victim to the unending change in the political cycle that effected the organizing committee members" loyalties.
This paper examines the ways in which Incheon Women Artists" Biennale appeared, its reception, and some of the reasons the first women artists" biennale was suspended despite the general positive response from the outside Korea.
The Biennale was initiated by female artists in 1996 who despite their struggle as women to maintain family life, pursued opportunities to found a forum for women artists of various backgrounds. Triggered by the birth of the Gwangju Biennale in 1995, the Incheon Biennale was not only the outcome of local women artists"s efforts but also a potential site for "global feminisms" in an era of subalterns.
However, the Biennale abruptly lost its funding and did not survive after 2011. One of the reasons is that from its inception, the Biennale was hardly endorsed by the local male population who aggressively and overtly expressed antimony. They disagreed that women could represent the city of Incheon in the name of a biennial. The second reason was that the Korean elite feminist artist sector refused to participate in the Biennale arguing that the Incheon women artists were not "feminist" enough. The third was the ongoing conflict between artists" organizations which accidentally publicly posed the Incheon Biennale artists as being on the far right. Finally, the heavy reliance on governmental funding brought about the biennials" cessation as it fell victim to the unending change in the political cycle that effected the organizing committee members" loyalties.
목차
Ⅰ. 서론
Ⅱ. 《인천여성미술비엔날레》의 전개와 중단
Ⅲ. 글로벌 미술의 지형과 《인천여성미술비엔날레》
Ⅳ. 《인천여성미술비엔날레》의 지속을 저해한 요인들
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (20)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Direction for Design Biennale
한국디자인학회 국제초대전도록
2016 .12
-
동시대 한국 미술에서 발현되는 여성 미술의 지형 : 광주비엔날레를 중심으로
기초조형학연구
2024 .08
-
1970년대 한국현대미술의 결정적 장면, 《서울비엔날레》(1974)와 ‘새로운 평면
한국예술연구
2022 .06
-
광주비엔날레 전시 경험 마케팅 전략 연구
기초조형학연구
2023 .12
-
2024 부산비엔날레 《어둠에서 보기》 8.17~10.20
월간미술
2024 .11
-
[테마기획] 비엔날레 수확의 계절: 걷기 · 보기 · 감각하기
월간미술
2023 .11
-
제14회 광주비엔날레 물처럼 부드럽고 여리게
월간미술
2023 .05
-
[방콕] Bangkok Art Biennale 2024
월간미술
2025 .02
-
[ARTIST] 물속에서 세계 짓기
아트인컬처
2025 .02
-
[Emerging Artist] 꿈이 이루어지는 지금 여기, We Are!
월간사진
2024 .09
-
베니스비엔날레 국가관의 탈/국가적 지향과 기후변화 시대의 지속가능성 : 한국관의 역사, 전망, 모색
한국근현대미술사학
2024 .07
-
제15회 광주비엔날레 《판소리, 모두의 울림》 9.7~12.1
월간미술
2024 .11
-
1990년대 이후 한국미술의 세계화 맥락에서 본 광주비엔날레와 문화매개자로서의 큐레이터
현대미술사연구
2016 .12
-
제7회 창원조각비엔날레 《큰 사과가 소리없이》_깎여 나간 자리를 따라 걷기
월간미술
2024 .12
-
An artist’s eye from three perspectives
한국디자인학회 국제초대전도록
2024 .06
-
제15회 광주비엔날레 주제, 방향성 발표_《판소리-21세기 사운드스케이프》
월간미술
2023 .08
-
예술가교사(teaching artist) 체험에 관한 생애사 연구
조형교육
2024 .02
-
‘개인’의 위치 : 2010년대 미술가/개인의 존재 방식과 사회적 발언
한국근현대미술사학
2018 .12
-
‘직업 예술인’의 정체성 - 복수의 직업 정체성을 지닌 예술가와의 심층인터뷰를 중심으로 -
한국영상학회논문집
2015 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
대한제국기 황실에서 사용된 프랑스자기의 유입과 특징 - 국립고궁박물관 소장품을 중심으로
엄승희
한국근현대미술사학
2020
.07
이승조의 〈핵(核)〉 연작 - 한국적 모더니즘의 또 다른 가능성
조수진
한국근현대미술사학
2020
.07
글로벌프랜차이즈의 중국진출 전략: 파리바게뜨 케이스
류성민
,
장우정
,
조혜정
한국유통학회 학술대회 발표논문집
2013
.06
제과제빵기업의 마케팅 커뮤니케이션 전략의 공사례연구 : 파리바게뜨를 중심으로
함성원
,
김상혁
관광레저연구
2011
.02
《대한민국미술전람회》 출품작을 통해서 본 1960년대 한국사진의 모더니즘과 주관적 사진의 수용
유지의
한국근현대미술사학
2020
.07
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2020-605-000262361