문화정책의 인구정치학적 전환과예술가의 정책적 위상

The purpose of this literature is to examine the structural characters and problems of cultural policy bringing about the present ‘blacklist of the artists’ created and managed by Korean government. Korean cultural policy has changed since the late 1980s, by introducing the demographic concept of ‘the public in general’ for the purpose of relating culture with the pan-governmental goal of ‘improvement of the public’s quality of life. In the process, the concept of ‘cultural welfare’ contributed to change the cultural policy from centering on supporting artists as creators or providers to focusing on the public in general as demanders enjoying arts. This change of central axis in cultural policy resulted in firmly ensuring the national status of cultural policy. However, I think that the status of artists within cultural policy remained as a serious problem in the process of such a great turn. This literature focused on this problem, and critically examined that the ‘blacklist’, with which Korean government arbitrarily labeled a lot of artists as the left and excluded them from public funding, reached the fundamental problems of cultural policy.
To do so, first, I examined that cultural policy in Korea developed itself as a real demographic project by introducing the concept of ‘cultural welfare.’ And then, I intended to reveal the fact that the status of artists has been underestimated in this demographic turn through the case of the late Gu Bon-ju, a well appreciated sculptor within art world, and with the enactment of Artists Welfare Law. Finally, I reconsidered how the ‘blacklist’ uprose as an important cultural policy and worked forcefully on the crux of underestimated status of artists in cultural policy. By doing this, I tried to discuss that the unstable status of artists is the very core of the structural problem in Korean cultural policy, and the ‘blacklist’ trespassed on the problem, deepening the crux of cultural policy and shaking it to its very foundation. Therefore, it will be possible to redesign cultural policy after the ‘blacklist’ only through starting from the ontological argument about artists within cultural policy based on the fundamental reflection.