城市中的地堡:韩国艺术的非军事化

IF 0.7 Q3 ANTHROPOLOGY
Timothy Gitzen
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引用次数: 0

摘要

首尔艺术博物馆(SeMA)地堡距离繁忙的汝矣岛巴士换乘中心仅几英尺,是20世纪70年代专制韩国的前军事地堡,现在展示着不断变化的艺术展品。2019年11月首次亮相的坡州(由艺术家金承雷(Kim Seung Rea)创作)展示了一系列绘画和雕像,这些绘画和雕像捕捉了分隔朝鲜和韩国的非军事区(DMZ)边界附近的京畿道坡州镇的生活。作为对军事化的批判,《坡州》不仅展现了守卫塔、堡垒和铁丝网中盛开的生活,还挑战了掩体空间中隐含的权力动态。冷战意识形态在SeMA地堡中重叠,因为据称,这个地堡是为了在朝鲜可能发动袭击时保护前总统朴正熙(Park Chung-hee)的安全,坡州镇则是为了保障韩国其他地区的安全而牺牲人员和基础设施。因此,通过展览将坡州带入地堡是为了扭转这种权力关系,从而使空间、城镇和最终的赞助人非军事化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。

A city in a bunker in a city: Demilitarizing art in South Korea

A city in a bunker in a city: Demilitarizing art in South Korea

Located mere feet from the busy Yeouido Bus Transfer Center, the Seoul Museum of Art (SeMA) Bunker is a former military bunker from 1970s authoritarian South Korea that now showcases changing art exhibits. Debuting in November 2019, Paju (by artist Kim Seung Rea) features a series of paintings and statues capturing life in the town of Paju in the Geyeonggi Province near the border of the Demilitarized Zone (DMZ) that separates North and South Korea. As a critique of militarization, Paju not only offers a glimpse into the life that blossoms amidst the guard towers, bulwarks, and barbed wire, it challenges the power dynamic implicit in the space of the bunker. Cold War ideologies overlap in SeMA Bunker, for while the bunker was purportedly designed to keep the former president, Park Chung-hee, safe during potential North Korean attack, the town of Paju was to act as human and infrastructural sacrifice to keep the rest of the country secure. Therefore, to bring Paju into the bunker via the exhibit is to inverse that power relationship and thus work to demilitarize the space, the town, and ultimately the patrons.

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来源期刊
Museum Anthropology
Museum Anthropology ANTHROPOLOGY-
CiteScore
0.80
自引率
75.00%
发文量
23
期刊介绍: Museum Anthropology seeks to be a leading voice for scholarly research on the collection, interpretation, and representation of the material world. Through critical articles, provocative commentaries, and thoughtful reviews, this peer-reviewed journal aspires to cultivate vibrant dialogues that reflect the global and transdisciplinary work of museums. Situated at the intersection of practice and theory, Museum Anthropology advances our knowledge of the ways in which material objects are intertwined with living histories of cultural display, economics, socio-politics, law, memory, ethics, colonialism, conservation, and public education.
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