XLVII. AICA International Congress South Korea 2014
2014 국제미술평론가협회 한국 총회
<학술대회 발표 원고 공모>
Call for papers of the XLVII. AICA International Congress in South Korea

한국미술평론가협회는 수원문화재단과 공동으로 제 47회 국제미술평론가협회 한국 총회(XLVII. AICA International Congress in South Korea, 조직위원장 윤진섭)를 개최함으로써, 현대미술에 정통한 미술비평가들의 논의를 통해 21세기 현대미술의 새로운 흐름과 아시아미술의 정체성 확인, 해외 유명 비평가들의 방문을 통해 한국현대미술의 질적 향상과 미술비평의 국제화 도모코자 합니다.

<행사개요>
-기 간 : 2014. 10. 8 ～ 10. 16 (학술대회/ 10월 11일 -13일, 3일간)
-장 소 : 수원, 경기도
-내 용 : 학술대회, 정기총회, 부대행사 등 3개 부문으로 구성
-참 여 : 61개 회원국 미술평론가 및 국내외 참가자
-주 최 : AICA International, 한국미술평론가협회, 수원문화재단
-주 관 : AICA International Congress 2014 한국 조직위원회, 한국미술평론가협회

● 이에 이번 총회의 중심 행사인 학술대회(3일간)을 위해 발제 원고 지원 신청을 받아 AICA (International Association of Art Critics) 본부 위원회(Congress Commission 2014)의 최종 심사를 거쳐 심포지움 발제자 선정을 하고자 합니다. 이에 국내외 미술 관련 비평, 미술사, 이론가 및 관계자분들의 많은 지원과 관심을 요청드립니다.

● 2014 AICA Congress 주제
- 미궁에 빠진 미술비평 (Art Criticism in a Labyrinth)
1) 분열된 사회에서의 예술과 비평(Art and art criticism in a divided society)
2) 소셜 네트워킹 시대의 비평적 글쓰기(Critical Writing in the era of social networking)
3) 동시대 아시아미술의 담론(Discourse on contemporary Asian art)
※ 자세한 주제 설명(영문)은 별도 첨부합니다.

● 신청 방법
-제출사항:
1) 주제 관련발표 예정 논문 초안 원고 1본
(분량: A4 1장, MS Word 문서 작성, 글자크기 10, 작성언어:영문)
2) 지원자 프로필 1종(연락처 포함/국문 및 영문)
-접수 기간: 2014년 2월 28일까지 (3월 이후 AICA 본부 위원회 심사 및 선정 절차 진행)
-접수방법: 이메일(2014aica@naver.com (제목에[Call for the papers:(이름)] 표기))
-문의: AICA Congress South Korea 2014 조직위원회 사무국
서울시 강남구 청담동 118-17 네이처포엠 B110 (Tel.02.545.9060)

자세한 정보는 아래 홈페이지를 통해 확인하실 수 있습니다.
홈페이지: http://www.aicakorea.org 참 고: AICA　Congress 2013 – Slovakia (http://www.aica.sk)
AICA International 홈페이지: http://www.aica-int.org(구) http://www.aicainternational.org

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첨부. 주제 설명문(Theme Draft of Call for the Papers)



Theme; Art Criticism in a Labyrinth

What is the role of art criticism in a global environment? What new approaches can we suggest? And what methodologies do we need to develop, to deal with the diversities of expression and the complexities of the contemporary art world?

We believe it is necessary to look again at crucial issues, such as the relationship between the art critic and curator, the art market and art institutions, the audience and the artist, and art and society. All these factors are interdependent and have totally transformed the conditions for making and exhibiting art, and for communicating it to a public. Art criticism’s crisis of identity and difficulty with value judgment affects the way that we have come to think about its role and function. We need to review some of the artistic, economic, social and technological factors that have contributed to this condition. The Greek metaphor of the labyrinth might serve as a basis for our critical debates, and we hope that the forthcoming Congress, KOREA 2014,willprovideuswithsomeofthecluesthatweshallneedtofindawayforward.

The theme of AICA Congress Korea 2014 is composed of three sub-themes

1 - Art and art criticism in a divided society
2 - Critical writing in the era of social networking
3 - Discourse on contemporary Asian art

1 - will deal with the situation of the artist and aspects of art criticism in different societies and nations and will address some of the relevant social, ideological, religious, cultural and ethical factors. When art critics address aspects of social conflict, how can they make sure that their voices will be heard? What can they tell us, in relation to the widely different situations with which they are faced?

2 - will discuss the new opportunities for art criticism to address new audiences with the aid of social media. How far does the changed environment and conditions in the era of social networking affect the nature of art itself and call for new types of critical discourse? E-publishing, Facebook, Twitter and SNS Media have also challenged the economic base of the print media. How will critical debate be affected, in the future?

3 - will deal with contemporary Asian Art, and may be expected to generate a certain amount of controversy. What is contemporary Asian Art? For a long time most discourses on contemporary Asian Art were produced by Asian scholars, or art critics. European and American art critics who have engaged with the field have often had only a superficial knowledge and understanding of their subject, and deep-rooted misunderstandings are hard to dispel. Contemporary Asian art is progressive and has succeeded in carving out a space for itself in the new, globalised art scene – as evidenced by the numerous art institutions, collections, art fairs and biennales that have sprung up in the last two decades. Can Asian art and Asian art history still be treated as the West’s 'Other'?