21세기 한국화의 재구성 : 2022년 한국화 전시와 행위자-네트워크 이론을 중심으로

Abstract

This article proposes a new present viewpoint on variations in contemporary Korean painting by analyzing the relationship between artists and artworks, curators and exhibitions, viewers, and the art appreciation and acceptance culture. First, the article examines the characteristics of major Korean painting exhibitions held by public/private museums and newly opened galleries in 2022. Several works from those exhibitions, which not only imply the purpose of the exhibition but also predict the new aspect of Korean paintings, will be further scrutinized throughout the research. Moreover, Bruno Latour’s actor-network theory (ANT) is applied to address the development of contemporary Korean painting inferred in those exhibitions and artworks. The actor-network theory has been under the spotlight in humanities and social science studies, especially since the beginning of the 21st century, and recently became an issue in art theories as well. While borrowing the main concepts of this theory to articulate the argument, this article aims to explore the methodological applicability of the actor-network theory to the analysis of Korean painting, and reconstruct ‘Korean painting’ based on the variations made by artists and artworks of the 21st century.