Abstract
Contemporary art mainly developed in Europe in the 1990s has a few signs we cannot understand judged by past standards. In terms of form, it moved beyond the category of art we referred to for convenience sake and in terms of content, it no longer conveyed some unwavering, singular message or does not stick to any absolute truth and ideal. If so, what issues did 1990s artists raise concerning contemporary art and what forms and meanings did their artworks have? This article addresses the distinct features of work by the artists who led contemporary art in 1990s Europe and diverse critical perspectives alongside this question. It pays particular attention to contemporary art marked by bilateral interchange, relationships, engagements, and communication. This article also classifies the modes of 1990s contemporary art into categories such as scenario and inference, mutual exchange and relationship, viewer participation, collaborative work, and post-production, reviewing works by artists representing each type and their meaning. An analysis of the features of 1990s contemporary European art has been made to suggest critical perspectives with which we can grasp and appreciate the present status of contemporary Asian art and simultaneously broaden our understanding of 1990s contemporary art and its critical discourse that has so far been misunderstood in the Korean art scene.
Translated title of the contribution | Aesthetics of Mutual Interchange and Coexistence - A Study on the Distinct Features of 1990s Contemporary Art |
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Original language | Korean |
Pages (from-to) | 111-121 |
Number of pages | 11 |
Journal | 한국영상학회논문집 |
Volume | 13 |
Issue number | 2 |
DOIs | |
State | Published - Feb 2015 |