공공미술을 둘러싼 공동체의 담론

Abstract

The purpose of this paper is to show that the controversial discourse over the existence of Richard Serra's public art works, “Lifted Arc”, over the past seven years, had a profound influence on the changes in public art. Public art was divided into location and aesthetic aspects, and the cause of the failure of “Lifted Arc” was found in each of them. The cause of the locational aspect is related to the understanding of “public”, where the place of life and the physical place intersect, and the aesthetic aspect is due to the conflict between the artist's free expression and public taste. When pursuing a desirable form of public art through the above, first, publicity is not limited to physical places, but is made up of the participation and intervention of people living there, and second, the aesthetic achievement of public art can be obtained from the discourse of interaction rather than from the aesthetic experience itself. This public art as a “discussion venue” symbolizes cultural democracy that guarantees freedom and equality in that art creates a place for the pursuit of meaning.