타이베이 예술대학(Taipei National University of the Arts, 國立臺北藝術大學) 대학원 수업에서 워크숍을 하루 진행하게 되어 보냈던 제안서를 공유해봅니다. 워크숍은 Jau-lan GUO 선생의 제안으로 이뤄지게 되었어요.
어제(10월 28일) 통역 겸 참석했던 Chao Jiaxing의 세미나에서 인상깊었던, “Similar works, different contexts”라는 표현이 오늘의 워크숍에서는 어떤 식으로 보여지게 될 지에 대한 기대와, 오늘 워크숍 참여자들을 통해 얻게 될 지식을 통해 그간 계속해서 생각 중인 연구 주제들을 어떻게 다시 볼 수 있을지에 대한 궁금증이 큽니다. 워크숍 참여자들과 함께, 거친 ‘타임라인’을 함께 써볼 요량이에요. 지난 9월 초 공간 413 개관 10주년 기념 세미나 시리즈에서 활용했던 문서를 다시 한 번 살펴보는 계기가 될 것도 같고요. https://docs.google.com/document/d/1tNo_O5HfoPvqT4OzAOJ4fxB1TAyT8hwf7-H57i9A1oo/edit?usp=sharing
한편, 좀 뒤늦은 본 포스팅을 하는 시점은 바로 10월 29일 오전 10시. 오후 두 시 반에 시작될 워크숍 진행을 위해 이른 아침 비행기로 타이베이 타오유안 공항에 도착해 공항버스로 시내로 가는 길입니다.
October 1, 2019
Jayong Park
Title: Shaped by Infrastructure? Changes of an Art Scene from an Infrastructural Perspective
Target participants / audience: Graduate students
Language: English
Length: 3 hours (can be extended, if
needed)
Lecturer: Jaeyong Park is a curator, writer, and translator based in Seoul. Park is an organizer of Seoul Reading Room, a small library of art books he congregated over ten years. Park has previously run a curatorial collective Work on Work and served as curators of the 5th Anyang Public Art Project and Ilmin Museum of Art, Seoul. Park is also a contributing writer to several Korean and international art magazines and translator specialized in art and humanities.
Statement:
How are we – artists, curators, and practitioners alike – are shaped within the framework of particular ‘scenes’ in which we are located? In this 3-hour workshop, I would like to delve into the infrastructural changes happened over the last ten years in South Korea, in a hope that surveying the changes in the South Korean art scene would give the Taiwanese participants a chance to build narratives about the development of contemporary art in Taiwan as well as the shaping of their practice within the broader landscape of contemporary art in Taiwan and beyond.
In particular, this workshop will quickly survey the changes in the South Korean art scene between 2009 and 2019, focusing on the changes in the institutional landscape – which is something we tend not to realize when such changes are happening in present tense, in front of our eyes.
If time allows, the workshop will also delve into the case of the 1993 Whitney Biennial Seoul, in which a nominally a “biennial of American art” was invited by Korean organizers and ended up happening at the National Museum of Contemporary Art, drawing approximately 150,000 visitors over the duration of about forty days.
For the sake of the lecturer’s research interest, the workshop is to be done in two-way communication. The participants are required to provide counter examples, reflections on what they see as the Taiwanese situation, and what they consider as juxtapositions, similarities, and equivalents of the presented topics and phenomena. In this way, both the lecturer and participants/students shall benefit from the accumulation and multiplication of knowledge on exhibition history, institutional critique, and different modes of art practices – all of which are major topics of the course of which this workshop is part.
Goals:
- For students: Exposure to ideas of the relations between art infrastructure, which expands beyond funding structures and major art events – especially in the South Korean context.
- For lecturer: Gather ideas and examples in the context of Taiwanese contemporary art (scene).
Requirements/assignment for participants:
- Bullet point at least five major social, economical, cultural changes happened over the last ten years, reflecting on their relevance to contemporary art (within Taiwan).
- Try to draw a timeline of the openings and closings of art institutions of your interest over the last ten years.