‘문화 번역’의 맥락에서 본 한국 미디어 설치: 제1세대 비디오 작가 박현기를 중심으로

Abstract

This paper examines the identity of Korean video art in the late 1970s and 1980s in light of the “cultural translation” theory raised by Lydia Liu, Rey Chow, and others. Liu’s “translingual practice” discusses the way non-Western regions translate Western language and mediums. In the genealogy of video art, Nam June Paik has his authority as the founder of video art, but his Korean counterpart, Park Hyun-Ki, has established as the first generation of Korean video art. Park, eclectically relying on performance art, conceptual art, and Arte Povera style process art, established his video art in the context of an architectural media installation. After raising theoretical issues concerning the translation of mediums from one culture to another, chapter two discusses the “translingual practice” of video from Paik (United States) to Park (Korea). Chapter three queries the vernacular medium situation of Park’s video installation by looking at his significant works of art in detail. My paper discusses the way architecture plays a mediatory role connecting humans, environments, and artistic mediums such as video or video installation. Whereas Western video artists such as Bruce Nauman, Vito Acconci, Joan Jonas, and others explored the medium specificities of video screens, Park dealt with video as the medium of “translatability” in accepting the new medium in the mid-1970s. Park’s video installation was exhibited in the 1979 San Paolo Biennale and the 1980 Paris Biennale, the latter showing the first video art in its exhibition history.