안녕하세요  저는 송원입니다 . 중국에서 온 사진작가입니다 .

Hello, I’m SongWen, a Chinese photographer.

 오늘 제가 발표할 내용은 중국 당대 예술의 현재 상황에 대한 제 개인적인 견해와 이해 입니다 . 비록 전면적이진 않고 완전히 객관적이지도 않겠지만 

많은 이해 부탁드립니다 

Today, I’m going to talk about my personal opinions on the present situation of modern art in China, which might not be

comprehensive or objective enough. So your kind understanding would be appreciated.

중국은 지금 쾌속발전의 시기이다 . 쾌속발전과 동시에 사회와 경제의 변화가 사람들의 사상상의 변화도 가져왔습니다 . 이것은 예술가에게도 더 큰 사고공간과 사고의 깊이를 가져다 주었습니다 . 이런 현상은 중국의 당대 

예술이 근래 몇 년간 아주 강렬한 욕망을 표현하게 했습니다 

China is developing at a high speed. And the rapid change in the society and economy is making a huge difference to

people’s mind, which makes it possible for artists to think in much wider and deeper scope. Such a phenomenon provides

modern Chinese artists with the strong desire to express themselves.

중국 각지간에 큰 문화적 차이가 있으며 경제발전 , 개방 정도가 다르다 . 각 지역 , 도시가 당대 예술을 받아들이고 이해하는 정도가 다릅니다 ..

There are big cultural differences in various regions in China. The degree of economic growth and openness is also at

different levels. So the extent of acceptance and understanding of modern art is different in various areas and

cities.

당대예술로 말하면 북경과 상해가 가장 중요한 도시이다 . 북경은 중국의 수도이며 문화의 중심지이기도 하며 학교 , 미술관 , 화랑 , 공작실등 각종 예술기관이 집중되어있다 . 근 몇 년간 국가정책의 조정과 경제발전의 필요로 인하여 일정규모의 예술구를 북경에 건립하기 시작했다 . 빈번한 전람과 

예술활동이 많은 관중을 매료시켰으며 예술구 내의 공간건설을 더욱 완벽하게 했다 . 대표적으로  798, 양조장 (술공장 ), 풀밭 (목초지 )등이 있다 . 특별히  798은 북경을 넘어서 전국의 창의 산업 성공의 본보기가 되었다 . 상해는 중국에서 가장 유명한 상업도시이다 . 넓은 국제교류공간은 

예술시장에 더 많은 기회를 제공했다 . 상해의 모치엔산루  50호는 북경의 798의 지위이다 . 예술공간은 폐기창고와 공장을 개조해서 만들어졌고 , 화랑이 빽빽하게 있다 . 상해 당대 예술의 기운이 주변 지역에 영향을 미쳤다 . 예를들면 남경의 사방당대미술관 ,  중국 당대 예술의 생존 환경을 개선하고 , 대중의 당대 예술에 대한 인식도를 높이고 , 당예술과 전사회의 교류 진행을 

부르짖음으로 경영의 근본 목적 , 당대 예술을 육성했다 .

Beijing and Shanghai are the most important two cities for modern arts. Beijing, being the capital city of China, is also the center of

culture. All kinds of art institutions gather there, including art schools, museums and galleries, etc. With the adjustment of the state policies and the development of the economy, a number of art districts start to take shape in Beijing in recent years. Frequent art exhibitions and

activities attract a lot of visitors, which push these art districts to further improve their facilities. Some typical representatives of these art districts include #798 (Da Shan Zi), Song Zhuang, Jiu Chang and Cao Chang Di, in which #798 has become a successful raw model in this field not only in Beijing but also in the whole country. Shanghai is the most famous commercialized city in China. Frequent international

communications provide the artistic market there with better chances. #50 in Moganshan Street in Shanghai is similar to #798 in

Beijing so far as their status are considered. Both of them are now full of galleries, where there were only abandoned warehouses and

factories years ago. The active atmosphere of modern art in Shanghai has its impact on nearby cities. For instance, the Sifang Art Gallery in Nanjing gives support to modern art with the aim of “improving the environment of existence of the Chinese modern art, enhancing the

awareness of modern art among average people, leading the communication between modern art and the entire society”.

광동성은 중국 경제발전이 최고로 빠른 지역중 하나이다 . 비록 예술시장은 막 시작되었지만 , 비교적 넓은 문화환경이 발전을 촉진하는데 도움이 된다 .

광주시에 위치하고 있는 ‘비타민창의공간’은 , 자칭 현재 ‘중국주장강삼각주지역의 유일한 링레이예술공간’이라고 한다 .

Guangdong Province sees the fastest economic growth in China. Its tolerant cultural environment provides a good

chance of development though the art market there just starts to arise. The “Vitamin Creative Space” located in Guangzhou

city alleges itself as “the only alternative art district in Zhujiang Delta at the present”.

사천성의 성도와 중경은 당대예술을 선도하는 도시이다 . 중경에 자리잡고 있는  사천미술학원은 서남지역에 중대한 영향력을 끼치고 있다 . 그곳의 교수 , 졸업생들은 창작이든 비평이든 전체 중국당대예술계에 영예를 누리고 있다 .

Chengdu and Chongqing cities are pioneers of modern art in Sichuan Province. Sichuan Art Academy located in Chongqing

City has great impact on Sichuan and even the southwest China. The art creations and criticisms of the teachers or

graduates from there enjoy high reputation in the field of art in the entire country.

중국 서북지역 , 서안미술학원은 예술의 중심이라고 말할 수 있다 . 비록 이곳의 전체환경은 여전히 더 많은 전통예술을 허가하고 있지만 , 당대예술도 

끊임없이 방향을 찾아 진행되고 있다 . 2007년에 개방된 ‘서안방직성예술구’는 어쩌면 당대예술이 앞으로는 새로운 번영을 누리는 

분야가 될 것을 예시할지도 모른다 .

Xi’an Art Academy is eligible to be called the center of art in northwest China. Although there is still strong existence of

traditional art in this area, modern art is exploring its own way. The opening of “Textile Town Art District” in 2007 in Xi’an City

might herald the booming of modern art in another area in China.

전체를 봤을 때 중국 사회는 지금 광범위하게 당대 예술을 받아 들이고 있다 .

On the whole, China has started to accept modern art in a large scale.

중국의 당대 예술가중 많은 사람들이 사회에서 각기 다른 역할을 담당하고 있다 .

Many of the modern Chinese artists are presently playing different roles in the society.

구지걸 (qiu zhi jie), 종합예술가로 중국 미술학원 부교수의 신분으로 , 북경의 ‘장정공간’이라는 예술 총감독을 맡았었다 . ’북경공사’의 경영인 ‘냉림’은 이전에 예술가이며 비평가 , 편집 , 큐레이터 ,

학자이며 경매용공작을 한 경력도 있다 . 젋은 예술가 방선 (pang xuan)은  2001년 M공사를 건립하고 같은 일을 하는 사람들을 조직하여 예술활동을 하고 있다 . 지금 그녀는 중경사범대학의 영상매체학과의 교수로 있다 . 주경일 (zhu jing yi)은 전에 도렌현대미술관의 학술부 

주임이었으나  2007년  1 월에 사직하고 자유예술가가 되었다 . 서용 (Shu yong)은 북경과 광주에 공작실이 있다 . 하지만 그의 주요 경제적 공급은 예술창작에서 오는 것이 아니다 . 그는 자신의 기업을 가지고 있으며 그곳에서 생활비와 예술활동에 

필요한 자금을 얻는다 .

QIU Zhijie, who is now an artist and an associate professor, used to be a chief art director of “Changzheng Artspace”. LENG Lin, the operator of “Beijing Commune”, is an artist,

critic, editor, planner and scholar. He also has the experience of working for an auction agency. Young artist PANG Xuan established “M Commune” in 2001 with the

purpose of organizing artistic activities for fellow artists. She is now a teacher of the Media College in Chongqing

Teachers University. ZHU Jingyi was the academic director of Shanghai Duolun Museum of Modern Art. She quit her job there in January 2007 and became a freelance artist. SHU Yong has his own studios in both Beijing and Guangzhou

cities. Nevertheless, his main source of income is his business rather than his artworks. He has his own

enterprises, which supply his daily expenses and provide sufficient fund for his activities in the field of art.

각기 다른 신분은 예술가들에게 더 많은 사고의 각도를 준다 . 하지만 그와 동시에 예술가들에게 많은 충돌과 훼방들을 준다 . 피할 수 없는 현실은 

지금의 중국은 성숙하지 못한 예술시장과 질서가 없다 . 대부분의 예술가들이 직면 하게 되는 문제는 예술창작을 진행함과 동시에 어떻게 생활에 필요한 물질을 채울 수 있을까이다 . 그래서 여러가지 직업을 가지는 것이 하나의 

해결방법일 것이다 .

Different positions taken by the artists make it possible for them to think from various angles. However, such a

phenomenon might also bring about conflicts and distractions that artists have to face. The market of art in China is far from mature. A challenge for most of the Chinese artists is how to

survive in the material world while making art creations. Multiple positions might be an effective solution.

당대예술은 각종 다른 예술유형을 포함한다 . 예술창작 /전시장소의 요구도 다 다르다 . 비록 모든 예술가가 모두 전시공간을 설계하여 작품과 어울리게 만들어 개인의 신념을 전달하고 싶을 것이다 . 하지만 모든 공간이 다 전시의 구체적인 요구에 따라 조정할 수 있는 것은 아니다 . 그래서 예술가와 공간 간에 방법을 찾아야 한다 . 서로에 대한 적응력을 높이고 서로의 필요에 대해 

만족을 최대화해야 한다 .

 Modern art has different types which require different creation and exhibition venues. Not all the exhibition spaces can be

adjusted or reconstructed according to specific needs though every artist wishes to have a space specially designed for his works in order to better convey his messages. This requires the artists and the spaces to take flexible measures so that

they can adjust themselves to each other and meet the demand from both sides to the largest extent.

비록 중국의 환경으로 보자면 다수의 전람이 공간의 구성과 설계에 특별히 주목하고 있지 않다 . 하지만 점점 많은 예술가들 , 策展人들은 이미 비교적 진지하게 전시장의 빛 , 위치 , 배경 , 음향효과등 많은 요소들이 작품에 

영향을 끼친다는 것을 인식하고 있다 . 동시에 공간의 창조성과 응변력이 점점 화랑과 미술관의 우열을 가늠하는 기준이 되고 있다 .

Although it seems most of the exhibitions have not paid

particular attention to the layout and design of the space, more and more artists and planners have started to take

serious considerations about the impact of the light, position, background, sound and miscellaneous factors that may have

influence on the exhibited artworks.

공간의 ‘다양화’는 중국 당대예술의 복잡하고 다양한 면을 반영했다 . 이런 상황의 출현은 중국이 처한 역사시기와 사회의 현재상황과 밀접한 관련이 있다 .

간단하게 말하면 중국 당대예술은 현재 내부와 세계로부터 오는 압력과 도전에 직면해 있다 . 시장의 개방 , 외국자본의 유입 , 동서양 문화와 사상의 충돌이 예술에 새로운 발전기회를 제공했으며 국제경쟁체제도 도입되었다 . 동시에 당대예술은 여전히 사회주의의 전형기인 중국정부의 예술에 대한 완화된 제한속에서 조심스럽게 탐구되어지고 있다 . 예술 자체로 말하자면 당대예술은 중국에서 더큰 영향력을 가지고 있는 전통예술과 유행예술에 

맞서고 있다 . 예술가가 되려면 반드시 예술의 순수성과 상업의 유혹 사이에서 균형점을 찾아 지켜야 한다 . 이런 상황은 중국에 아주 보편적이며 이미 각자 

다른 모습으로 나타나고 있다 .

The diversity of spaces reflects the complication of modern Chinese art. The occurrence of such a situation is closely

related to the historical period and the present status of the society. In simple words, the modern Chinese art is now confronted with domestic and international pressure and

challenges: the openness of the market, the inflow of foreign investment, the encounter between western and oriental

thoughts. All these provide a new opportunity of development, and give rise to international competition as well. At the same time, modern art is still exploring the bottom-line of tolerance

of the Chinese government at the transforming period of socialism. From the perspective of the art itself, modern art is challenged by traditional art and popular art that are still in

stronger position. And for the artists, they have to find a balance point between the pureness of art and the commercial

temptations......All these are common phenomena in China that arise in different ways in various areas.

This is what I understand as the status quo of Chinese modern art. Hopefully it would be helpful for you.

Thanks!

下面这些照片是我在北京拍摄的一组作品，这组作品的计划是五年，现在看到的只是第一年的照片，五年大概会是一百张照片，我的想法是在记录他们生活的同时，照片所反映出来的情感也是我自己生活的记录，五年的时间，一切都会在改

变，他们和我。

송원 포트폴리오 설명

이 사진들은 제가 북경에서 작업한 것입니다 . 이 작업은 5년간 진행될 계획입니다 . 현재 보여드리는 사진은 첫해 작업입니다 . 5년 동안 대략 100장 정도 될 것

같습니다 . 이작업은 이웃들의 생활 기록이며 동시에 나의 기록입니다 . 사진이 담아내는 감정은 나의 기록 입니다 . 5년이라는 시간 동안 모든 것이 변할 것 입니다 .

그들과 나 또한 .   

This is a series of works of mine that were taken in Beijing. It is planned to be completed in five years. And what is presented today is

the works of the first year. There would be around one hundred photos in total in these five years. My idea is to record their lives, in

the meantime, the feelings reflected through these photos will become the record of my own life as well. Things are ever changing,

for both them and me in these five years.

在这一个月的时间里，我在韩国，在安山，感受到了一个独特、有趣的城市，一个月的时间很短，并不足以让我充分的去了解，但是在这里每一天的生活，都会让我永远留在记忆中，我的作品，就代表我在安山的生活，代表我的眼睛，不同的人，不同的文化，都自然的融合在一起，包括我也是，也是这之中的一份子，重叠的，交错的生活在一起，点点滴

滴。

저는 송원입니다 . 중국에서 온 사진가 입니다 . 여기 한국 , 안산이라는 곳에서 한달 동안 머무르고 있습니다 . 안산이라는 곳이 매우 독특하고 재미있는 도시라는 것을 느꼈습니다 . 한

달이라는 시간이 상당히 짧기 때문에 저에게 이해를 할 시간을 충분히 주지는 못했지만 , 여기에 있는 하루하루가 저의 기억 속에 영원히 남을 것입니다 .

나의 작업이 나의 안산에서의 생활과 , 내가 보는 시각을 대표할 것입니다 . 안산은 다양한 사람 , 다른 문화들이 모두 자연스럽게 융화되어있습니다 . 저 또한 마찬가지입니다 . 여기에 있었던

조각조각들 또한 중첩되고 , 생활에 함께 녹아 있습니다 . 한 방울 한 방울씩 .

I enjoyed my experience in Korea, in such a special and interesting city as Ansan, in the past month. A mere one month is far from enough to let me fully

understand, but each day of life here will be imprinted in my memory. My works represent my experience in Ansan. And my works represent my eyes.

Different people and different culture integrate naturally, including myself. I’m one of all these, getting blended into the life here, bit by bit.

End