798 아트촌과 정치, 예술, 건축의 수렴을 위한 조건들

학위논문 (석사)-- 서울대학교 대학원 : 건축학과 건축학전공, 2016. 8. 최춘웅.In the post-industrial era, the bond between architecture and art has become more fluid and organic. Emergence of the minimalist art in the 1960's marked a moment in art history when artists actively began to form new alliances with architects, by turning their art into industrialized objects that are precisely tuned within an architectural context. Recently, the object and the context have often switched their roles, as the primary architectural background for exhibition has changed from pristine white cubes to tough and raw industrial shells. Major institutions like the Tate Modern and the Dia Foundation initially pioneered the trend in adaptive reuse of industrial architecture for art exhibitions, and the recent opening of the Prada Foundation in Milan has signaled the moment of full maturity for the phenomenon. Unlike these precedents in the West, which are mostly initiated and funded by major institutions and corporations, the 798 Art District, located in a former German industrial complex in Beijing, was originally founded by independent artists who moved into the abandoned industrial buildings in search of cheap live-work studios, until the government gradually took control of its overall organization and operation. Now a curious hybrid of exhibition spaces, artists' studios, and commercial establishments, the 798 Art District is more deeply rooted within its cultural, economic, and architectural context than its Western counterparts. Moving beyond a static physical adaptation, it provides a new form of convergence between art and architecture, in which both are in a constant state of organic transformation. By highlighting the unique condition of organic confluence between art and architecture, as embodied in the 798 Art District, this paper will offer a new set of reasons for preserving the industrial architectural heritage in Asian cities.Chapter 1: Introduction 15 1.1 Preface 16 1.2 The Joint 718 Factory Project (798) 19 1.2.1 Industrial History 20 1.2.2 The Post-Mao / Post-industrial Era 24 Chapter 2: Communities of Art 27 2.1 Art is Changing 28 2.1.1 Political Art under Mao 29 2.1.2 Contemporary Art Emerges in Post-Mao China 30 2.1.3 The Resurrection of Yuanming Yuan 33 2.1.3 Underground Contemporary Art 36 2.2 798: From Censorship to Artistic Possibilities 40 2.1.1 The Emergence of the 798 Art Community 40 2.2.2 The First Expression of Confluence in the 798 46 Chapter 3: Factories of Art 51 3.1 The 798 Art District 52 3.1.1 Reconstruction 798 52 3.1.2 The Survival of the 798 55 3.2 Rise of the798 Brand 67 3.2.1 Creative Industries as a Global Commodity 67 3.2.2 Transition of the Artist Network 70 Chapter 4: Conditions for Confluence 75 4.1 Community before Institution 77 4.1.1 Organic Emergence 77 4.1.2 Distribution Networks 81 4.2 Interpret Adaptive Reuse from an Alternative Approach 84 4.2.1 The Concept of Preservation (in China) 84 4.2.2 Context Driven Cultural Clustering 86 4.3 Commercial & Cultural Hybrid 88 4.3.1 Representations of Power 88 4.4 Conclusion 92 References 101 Abstract (Korean) 111Maste