예술의 공공성 개념 재정립 위한 시론(試論): 광장 이후, 예술계 백래시와 대응을 중심으로

초록

This article asks why the political imagination of hospitality and solidarity shown in the square is not becoming a reality. Raising such issues, this study examines the experiences after the candlelight square from 2016 to 2017, focusing on the situation in the performing arts world. Focusing on the blacklist situation, which was the most important event in the culture and arts world at the time of impeachment of the Park Geun Hye, we look at how the subsequent time made the reaction and regression acceptable. In particular, we look at ‘erased voices’ and ‘deleted rights’ during the time when the blacklist situation was resolved with law and politics. To this end, Chapter 2 examines the harm left by the blacklist situation in the culture and arts world to the art world. It examines how the unresolved blacklist situation has divided the art world, while how the art administration has become bureaucratic. And the harmful effects and risks of such bureaucratic art administration are reviewed, focusing on the temporary suspension of the webzine 《Theater in》 by the ‘Seoul Cultural Foundation’ in 2025. Chapter 3 deals with the issue of ‘publicity’ exclusive to the government and administration. We review the situation in which the concept of publicity in art has been limitedly reduced to state-centered public affairs, and reveal what negative implications it has for the democratic public sphere in the art world. Under this awareness of the problem, the concept of publicity of art is reexamined focusing on the concepts of ‘commons’ and ‘public sphere’. Through this, we criticize the current situation in which the language of politics and administration monopolizes the publicity of art, and re-discuss the concept of publicity of art centering on art as a ‘commons’ and art as a ‘gift’ that circulates and forms relationships between social actors.

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