2006년은 한국미술에 대한 일반대중들의 기대가 한층 더 높아진 한 해였다. 전 세계적인 미술시장의 경기활성화를 반영하듯 한국의 미술작품들이 해외 경매에서 연이어 판매가의 기록을 경신하는가 하면 많은 화랑들이 젊고 새로운 작가들을 선점하기 위해 ‘전속계약’이라는 오랫동안 잊혀졌던 관행에 불을 붙이기도 했다. 메이저 화랑에서 새로운 경매회사의 문을 열면서 국내에 양대 경매회사 체제가 가동됨으로써 전체 미술시장 매출이 비약적으로 늘어났으며, 더 많은 경매회사들이 출범할 예정이라고 한다. 더 많은 화랑들이 생겼으며 세계 주요 미술시장의 문호를 두드리려는 시도도 더욱 증대되었다. 특히 중국 시장에의 진출이 커다란 가능성으로 대두되면서 많은 이들의 가슴을 부풀게 하기도 하였으며 실제로 북경에 문을 연 한국 화랑들의 숫자가 갑자기 늘어난 것도 2006년의 특징이라면 특징일 것이다. 이 모든 현상들이 의미하는 것은 무엇일까? 그것은 2006년 한국미술에 새로운 패러다임이 적용되었으며 ‘미술경제’가 그것의 키워드라는 사실이다. 

한 국가의 미술 경쟁력의 위상은 두 가지 지표를 통해 쉽게 확인할 수 있다. 하나는 국제적인 전시 혹은 아트페어에 참여하는 작가들의 수와 그들에 대한 평가를 통해 알아보는 것이고, 다른 하나는 미술시장의 매출규모를 통해 알아보는 것이다. 세계의 3대 메이저 전시인 베니스 비엔날레와 상파울로 비엔날레 그리고 카셀 도큐멘타에 참여하는 작가들을 보면 베니스 비엔날레의 한국관 전시와 상파울로 비엔날레의 국가별 작가 할당이라는 제도를 빼고 보면 사실상 베니스 비엔날레 본 전시와 카셀 도큐멘타에서는 한국 작가들의 전시가 거의 이루어지지 않았었음을 알 수 있다. 카셀 도큐멘타의 경우 1992년 육근병 씨의 참가를 제외하면 매번 4-500명의 작가가 전 세계에서 초대되는 이 대규모 전시에 이제까지 한국작가는 단 한번도 초대된 적이 없다. 

한국미술 국제적 위상은 빈약

미술시장 매출에 있어서도 한국은 엄청난 격차를 보이고 있다. 영국의 미술경제 전문가인 이앤 로버트슨(Ian Robertson)에 따르면 전 세계적으로 약 25조원(1999년 기준, $20,053million) 정도 되는 시장에서 한국 현대미술이 차지하는 비중은 약 6-700억, 즉 0.3~0.4% 정도에 머무른다. (당시와 지금의 시간적 차이를 감안하더라도 전체 시장이 커진 것을 감안하면 비율은 크게 다르지 않거나 격차가 더 현격하게 나타날 것이라고 판단된다.) 미국의 전 세계 미술시장 매출지분이 2003년 기준으로 42%, 영국이 28%에 이르는 것을 감안하면 도저히 비교할 수 없는 수치라고 말할 수 있겠다. 이를 뒷받침하기 위해 역시 로버트슨이 제공하는 자료에 의하면 2004년 4월 기준으로 작성된 아시아 주요도시의 미술 하부구조에 대한 평가에서 서울은 중국보다 약간 나은 하위인 18점을 얻고 있다. 런던이 34, 홍콩이 29, 타이페이가 27인 반면 상해는 16, 북경은 15점에 머물고 있다. 각 지표별 등급을 살펴보면 국제 작품가격 C, 현지미술시장 C, 국제적 경쟁 장려 E, 법적 규제완화 정도 D, 미술에 대한 공공지원 D, 문화에 대한 도시 인프라 D, 문화 교육 D 등 최하의 등급을 받고 있다. 반면 정부의 민주화 정도 A, 수입 대비 생활수준 C, 국가 신용도 D (BBB+), 외국인 투자 편의도 E 등도 고려해야 할 항목들로 꼽히고 있다. 여기서 C는 그다지 양호하지 못한 정도를 의미하며 E는 국제적 기준과 무관한 최악의 수준을 의미한다고 보면 되겠다. 

결론적으로 말하자면, 아직도 한국미술의 국제적 위상을 논하기에는 시기상조라고 말할 수 있다. 국제적 비평가나 전시기획자, 미술시장 전문가가 턱없이 부족할 뿐 아니라 매번 열고 있는 국내 비엔날레들에 대한 평가도 국제적인 평가치에 아직 다다르지 못하고 있으며 미술시장에는 투자자만 넘칠 뿐 제대로 된 애호가는 드문 실정이다. 작가들 역시 미술시장의 경기에 관심을 기울이기 보다는 장기적인 관점에서 자신의 작품들을 더 높은 수준으로 끌어올리려는 노력이 더 많이 필요하다. 결국 글로벌한 수준에서는 요행이란 없다. 냉정한 평가만 기다리고 있다. 

The reality of Korean Art in the Global Era

Many changes happened in 2006, especially in art market in Korea. As reflecting international growth in art production and marketing, many korean artists could experience successful sales record for the first time in abroad through auctions like Christie or Sotherby; new auction house founded by a major gallery started its business and triggered a new competition in the field also enlarging its size; many art galleries opened their new branches in China seeking bigger chances with immense potential, etc. What is the point of this whole new situation?  Many people wants to believe that this is some sign of growing importance of Korean Art in abroad. But the reality is different.

In fact, the status of korean contemporary art in the global context still occupies very small place. In major exhibitions like Venice Biennale or Kassel Dokumenta, korean artists haven't been invited to its main stages. Even considering the international market share, compared to 42% of United States and 28% of U.K., korean market share stays only at 0.3~0.4%. And its cultural infrastructure for art is evaluated as belonging to one of the worst categories. It means that we have not many reasons to think we are reaching some global level status. As being simply realistic, we could just do better. 

-YOO, Jin-Sang  Professor of Kaywon School of Art & Design, Art Critic

- 유진상(1965- ) 파리 8대학 영화학과 석사. 디자인 네트워크 아시아(DNA) 예술감독 역임.