95개국 5,000명의 예술전문가를 회원으로 둔 국제예술비평가협회(AICA)는 2011년부터 매년 탁월한 업적을+ 남긴 예술비평가에게 미술비평 특별 공로상을 수여했다. 이 책은 2014년 수상자 故 이일의 주요저술을 영문으로 엮어 알리고자, AICAㆍ프레스레알이 유족과 국내 관계자의 도움으로 프랑스에서 발간한 두 번째 예술비평가 총서이다. 그는 한국아방가르드협회(AG)의 창립 멤버이며 서울비엔날레 개최, 베니스비엔날레 한국관 커미셔너 역임 등으로 한국 미술계에 큰 영향을 끼친 1세대 비평가다. 한국전쟁 이후 1990년대 중반까지 한국 예술ㆍ예술가를 다룬 글을 통해, 서구의 이론을 국내에 도입해 국제화에 기여하는 한편 아시아로 뭉뚱그려진 한국 현대미술의 정체성을 확립시키고자 했던 치열한 삶을 기린다.

책소개

This book, the first major publication in English devoted to the Korean critic and art historian Lee Yil, is a collection of texts on aesthetics, theory and history of art by the main observer of “Dansaekhwa”, or Korean monochrome. It also brings together essays and monographic prefaces that gave wide coverage to artists who had been active from the end of the Korean war up until the mid-1990s.

Lee Yil is not a household name among art critics, but his impact on art criticism is undeniable, not just in his native South Korea, but also internationally. He was highly versed in the lingua franca of 20th-century art criticism, and used it with the intellectual rigor of a scholar, as well as the elegance of a writer in his prolific work, some of which was written in French, although most is in his native language, Korean. Generations of Korean artists, art historians, and other art professionals greatly benefited from his deep knowledge of modern and contemporary art in their work. Now, due to this publication, Lee Yil’s writings are available to the audience abroad as well.

“Art as a ‘transcription of anonymity’ is, in itself, pure art. Art is reduced to its most fundamental self, and yet, at the same time expands into a condition of life before art was ‘art’. What lies in between such ‘expansion and reduction’ is neither history nor a dialectic, but there is nevertheless a dynamics of the total and true meaning of existence, as true creation lies in awakening to awareness of existence”—as Lee Yil wrote in “Dynamics of Expansion and Reduction” (1970), which opens the selection of his writings in this book. He writes about artistic practices, but the same could be stated about his own art critical output, which gives a powerful voice to “pure art” and its impact on our lives and thoughts.

AICA’s series, “Art Critics of the World”, aims to offer the widest possible readership texts by original critics who best represent their countries, and who are not yet as internationally famous as they should be.

Lee Yil (1932-1997), born in Gangseo, Pyeongannum-do (now part of North Korea), is one of the most influential postwar art critics in Korea. Until his death in 1997, he taught art history and art criticism at Hongik University and worked actively as an art critic. His significant essays range from his writings on the Paris Biennale, in which Korean artists participated, to numerous essays and monographs on Korean abstract and experimental artists. In particular, Lee wrote on Dansaekhwa artists such as Park Seo-bo, Ha Chong-hyun, Chung Sang-hwa, Chung Chang-sup, Yun Hyong-keun, Kim Tschang-yeul, Lee Kang-so, Kwon Youngwoo, Suh Seung-won, and Choi Myung-young.

원문 출처[http://www.aicauk.org/2018/02/27/dynamics-of-expansion-and-reduction-selected-writings-on-korean-contemporary-art/]

지은이 | 이일

서울대 불문과 졸업. 파리대학 고고학 미술사연구원 수료. 국제 미술평론가협회 회원. 홍익대 미술대학 교수 역임.

엮은이 | 정연심

뉴욕대학교(New York University)에서 예술행정과 근현대미술사, 비평이론을 공부했으며, 뉴욕대학교 인스티튜트오브파인아츠(Institute of Fine Arts)에서 미술사 박사학위를 취득했다. 구겐하임미술관(The Solomon R. Guggenheim Museum)에서 개최된 백남준 회고전의 리서처로 일했으며, 프랫인스티튜트(Pratt Institute), 와그너칼리지(Wagner College), 몽클레어주립대학교(Montclair State University) 등에서 강의했고, 뉴욕주립대학교(State University of New York) 패션인스티튜트오브테크놀로지(Fashion Institute of Technology)의 미술사학과에서 조교수를 역임했다. 『비평가 이일 앤솔로지』 『현대공간과 설치미술』 등 다수의 저서와 번역서가 있으며, 2014년 광주비엔날레 20주년 특별전 협력큐레이터를 역임했다. 현재는 홍익대학교 미술대학 예술학과 부교수로, 미디어아트와 한국 설치미술에 대한 글을 집필 중이다. 

엮은이 | 장-마르크 푸앵소

Jean-Marc Poinsot est historien de l'art, docteur en histoire de l'art contemporain, professeur d'histoire de l'art contemporain à l'université de Haute Bretagne, Rennes 2, président des Archives de la critique d'art, à Châteaugiron. Commissaire d'expositions, il a également organisé des rencontres et des colloques, participé à l'écriture de plusieurs catalogues du capcMusée d'art contemporain de Bordeaux, rédigé de nombreux ouvrages individuels et collectifs. 

Jean-Marc Poinsot est par ailleurs le premier à avoir mis en place un Fonds régional d'art contemporain, en France, en 1980.

출처[http://www.lespressesdureel.com/ouvrage.php?id=1031]

엮은 곳 | AICA PressㆍLes presses du réel

International Association of Art Critics

http://www.aicausa.org/
http://www.lespressesdureel.com


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