Pub Date : 2023-01-02DOI: 10.1080/17561310.2023.2191769
Dieter Hoffmann-Axthelm
Abstract The essay was initially broadcast in approximately 1979 as a radio feature by a Berlin radio station and subsequently published in 1980 in ARCH+, a magazine for architecture and urbanism that was founded in 1967 by students and faculty of the University of Stuttgart. The essay argues for abolishing any official, municipal, and state-wide politics addressing the preservation and conservation of historical buildings. After briefly surveying the contemporary tendency to list ever more buildings threatened with demolition by urban developments, Hoffmann-Axthelm analyzes the history of preservation in Germany. The loss or disappearance of a clear notion of the historical identity of monuments in the early twentieth century prompted many preservation initiatives later in the century, even for buildings such as workers’ housing, factories and similar, which were not traditionally regarded as monuments. Yet what looks like a success story is, in reality, often the usurpation of preservation efforts by municipal and state-wide politics in conjunction with the construction industry and financial interests, a knot that cannot be untied but only cut by abolishing any official politics of preservation of historic buildings.
{"title":"The Case for Abolishing Historic Building Preservation","authors":"Dieter Hoffmann-Axthelm","doi":"10.1080/17561310.2023.2191769","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191769","url":null,"abstract":"Abstract The essay was initially broadcast in approximately 1979 as a radio feature by a Berlin radio station and subsequently published in 1980 in ARCH+, a magazine for architecture and urbanism that was founded in 1967 by students and faculty of the University of Stuttgart. The essay argues for abolishing any official, municipal, and state-wide politics addressing the preservation and conservation of historical buildings. After briefly surveying the contemporary tendency to list ever more buildings threatened with demolition by urban developments, Hoffmann-Axthelm analyzes the history of preservation in Germany. The loss or disappearance of a clear notion of the historical identity of monuments in the early twentieth century prompted many preservation initiatives later in the century, even for buildings such as workers’ housing, factories and similar, which were not traditionally regarded as monuments. Yet what looks like a success story is, in reality, often the usurpation of preservation efforts by municipal and state-wide politics in conjunction with the construction industry and financial interests, a knot that cannot be untied but only cut by abolishing any official politics of preservation of historic buildings.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"137 - 154"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45118313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17561310.2023.2191755
Theo Lechner
Abstract As an architect, Theo Lechner was committed to traditional Bavarian design languages and constructional techniques. In this article, a review of a building exhibition staged in Munich in 1926, he is very dismissive of the modernism promoted by the Bauhaus and of any hint of architectural internationalism, which he saw as a manifestation of Soviet communism.
{"title":"The Architecture Exhibition in Munich 1926","authors":"Theo Lechner","doi":"10.1080/17561310.2023.2191755","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191755","url":null,"abstract":"Abstract As an architect, Theo Lechner was committed to traditional Bavarian design languages and constructional techniques. In this article, a review of a building exhibition staged in Munich in 1926, he is very dismissive of the modernism promoted by the Bauhaus and of any hint of architectural internationalism, which he saw as a manifestation of Soviet communism.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"43 - 48"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47987886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17561310.2023.2191760
Otto Bartning
Abstract This appeal, signed by a cross-section of German architects, planners, and intellectuals, calls for a rebuilding of German cities not along old forms but “for new tasks and in a new form.” It calls for a new architectural beginning for a new era. Yet, many of the signatories were involved in Third Reich building projects, thus demonstrating problematic continuity rather than complete rupture.
{"title":"An Appeal: Fundamental Demands","authors":"Otto Bartning","doi":"10.1080/17561310.2023.2191760","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191760","url":null,"abstract":"Abstract This appeal, signed by a cross-section of German architects, planners, and intellectuals, calls for a rebuilding of German cities not along old forms but “for new tasks and in a new form.” It calls for a new architectural beginning for a new era. Yet, many of the signatories were involved in Third Reich building projects, thus demonstrating problematic continuity rather than complete rupture.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"96 - 116"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47016802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2170721
Jung-Ah Woo
{"title":"Who’s Afraid of Postmodernism? Postmodern Polemics in Contemporary Korean Art","authors":"Jung-Ah Woo","doi":"10.1080/17561310.2022.2170721","DOIUrl":"https://doi.org/10.1080/17561310.2022.2170721","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"371 - 380"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46287571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163084
Jeong Jeong-ho, Kang Naehui
Abstract This article was written as an introduction to an anthology of postmodernism that includes texts by the leading Western thinkers such as Leslie Fiedler, Jürgen Habermas, Jean François Lyotard, Fredric Jameson, Terry Eagleton, Ihab Hassan, and Andreas Huyssen. As English literature scholars, the authors acknowledge the necessity of postmodernism as a cultural theory that provides a framework for understanding the new cultural aspects of the consumer-oriented, multi-national capitalism of Korea. At the same time, they emphasize that Korea is in an exceptional political, national, historical situation as a divided country in a condition of truce.
{"title":"Introduction: Theory of Postmodernism","authors":"Jeong Jeong-ho, Kang Naehui","doi":"10.1080/17561310.2022.2163084","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163084","url":null,"abstract":"Abstract This article was written as an introduction to an anthology of postmodernism that includes texts by the leading Western thinkers such as Leslie Fiedler, Jürgen Habermas, Jean François Lyotard, Fredric Jameson, Terry Eagleton, Ihab Hassan, and Andreas Huyssen. As English literature scholars, the authors acknowledge the necessity of postmodernism as a cultural theory that provides a framework for understanding the new cultural aspects of the consumer-oriented, multi-national capitalism of Korea. At the same time, they emphasize that Korea is in an exceptional political, national, historical situation as a divided country in a condition of truce.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"381 - 391"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48634508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163088
Jin Seop Yun
Abstract In this article, the author argues that the Korean art movements of the 1990s sustained their subversive potential as avant-garde impulses because they were not commercialized, unlike those in the Western world. In particular, the author critically supports such young artists’ groups as Golden Apple and Museum, in which the now globally renowned artists, Choi Jeong-hwa and Lee Bul, participated as inaugural members. The prevalent sense of defeatism, lewdness, and irrationality that resided in the works of these younger generation artists, the author argues, innately resisted interpretation, and this became the crucial elements in appraising Korean postmodernism.
{"title":"The Absence of ‘Truth’ and Solving the Maze: One Perspective on Postmodernism in Korea","authors":"Jin Seop Yun","doi":"10.1080/17561310.2022.2163088","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163088","url":null,"abstract":"Abstract In this article, the author argues that the Korean art movements of the 1990s sustained their subversive potential as avant-garde impulses because they were not commercialized, unlike those in the Western world. In particular, the author critically supports such young artists’ groups as Golden Apple and Museum, in which the now globally renowned artists, Choi Jeong-hwa and Lee Bul, participated as inaugural members. The prevalent sense of defeatism, lewdness, and irrationality that resided in the works of these younger generation artists, the author argues, innately resisted interpretation, and this became the crucial elements in appraising Korean postmodernism.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"410 - 420"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48275053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163089
Sung Wan-kyung, Jeong Ji-chang, Shim Kwang-Hyun
Abstract This is a round-table discussion among Sung Wan-kyung, a leading critic of the leftist art movement, Jung Jichang, a scholar of German literature and theater, and art critic Shim Gwanghyun. It was part of a special event that the monthly art magazine Gana Art organized in order to examine “the art of the third world.” Especially for the artists and critics in the Minjung misul (people’s art) movement, the idea of Korea as a third world nation was crucial in the discourse of the socio-politically unique condition of Korea in the mid-twentieth century. The participants share a common concern about “postmodernism,” as a Western oriented theory and phenomenon, that could possibly eliminate such politically specific principles and historically unique cultures.
{"title":"Round Table Discussion: Third World Art’s Reception and Mission","authors":"Sung Wan-kyung, Jeong Ji-chang, Shim Kwang-Hyun","doi":"10.1080/17561310.2022.2163089","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163089","url":null,"abstract":"Abstract This is a round-table discussion among Sung Wan-kyung, a leading critic of the leftist art movement, Jung Jichang, a scholar of German literature and theater, and art critic Shim Gwanghyun. It was part of a special event that the monthly art magazine Gana Art organized in order to examine “the art of the third world.” Especially for the artists and critics in the Minjung misul (people’s art) movement, the idea of Korea as a third world nation was crucial in the discourse of the socio-politically unique condition of Korea in the mid-twentieth century. The participants share a common concern about “postmodernism,” as a Western oriented theory and phenomenon, that could possibly eliminate such politically specific principles and historically unique cultures.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"421 - 440"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41547678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163090
Mo Bahc
Abstract The author explicates various contexts of postmodern discourses in the West, as an effort to position Korean art and society within a ‘proper’ context of postmodernism. The author provides four categories of postmodernism 1) theory in American literature, 2) theory in art and architecture, 3) post-structuralist philosophy, 4) a symptom of post-industrial society. The author emphasizes Korea’s current status as “a third world nation” under a military dictatorship, and argues, therefore, that Korean art and culture cannot abandon humanist values and enlightenment ideals, because it is yet to resolve the problems of national division, class conflict, an authoritarian nation-state, and the cultural imperialism of the West.
{"title":"The Meaning of Postmodernism and Korean Art","authors":"Mo Bahc","doi":"10.1080/17561310.2022.2163090","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163090","url":null,"abstract":"Abstract The author explicates various contexts of postmodern discourses in the West, as an effort to position Korean art and society within a ‘proper’ context of postmodernism. The author provides four categories of postmodernism 1) theory in American literature, 2) theory in art and architecture, 3) post-structuralist philosophy, 4) a symptom of post-industrial society. The author emphasizes Korea’s current status as “a third world nation” under a military dictatorship, and argues, therefore, that Korean art and culture cannot abandon humanist values and enlightenment ideals, because it is yet to resolve the problems of national division, class conflict, an authoritarian nation-state, and the cultural imperialism of the West.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"441 - 466"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48035228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163085
Shim Kwang-Hyun
Abstract Written as a response to Seo Seongrok’s criticism of Minjung misul and its theory of social realism, this article warns of the danger of postmodernism from the West, especially its call for deconstruction of subject and its denial of social totality. The author believes that such attitudes can result in anarchism, extreme individualism, and even nihilism. The author defends social realism by arguing that questions of forms, styles, and art medium remain secondary to the grand principle of the independent development of national art for the Minjung misul (people’s art) movement.
{"title":"A Neutral Ideology of De-Modernists","authors":"Shim Kwang-Hyun","doi":"10.1080/17561310.2022.2163085","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163085","url":null,"abstract":"Abstract Written as a response to Seo Seongrok’s criticism of Minjung misul and its theory of social realism, this article warns of the danger of postmodernism from the West, especially its call for deconstruction of subject and its denial of social totality. The author believes that such attitudes can result in anarchism, extreme individualism, and even nihilism. The author defends social realism by arguing that questions of forms, styles, and art medium remain secondary to the grand principle of the independent development of national art for the Minjung misul (people’s art) movement.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"392 - 397"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44393075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/17561310.2022.2163086
Lee Jae-eon
Abstract In this article, the author first provides a chronology of Korean modern art, in which the modernization of every sector of Korean society is intricately entangled with struggles in regards to Westernization and the anxieties of colonialism. As a result, he points out that the ‘Korean’ aesthetics of Dansaekhwa were discursively constructed by Japanese scholars from the colonial era. Instead of readily utilizing the term ‘postmodernism’ in articulating the younger artists’ rebellion against Dansaekhwa, therefore, the author uses ‘anti-modernism (ban-modeon)’ and ‘de-modern (tal-modeon)’ as the prevailing attitude of the 1980’s art of Minjung misul and of the new figurative paintings.
{"title":"De-Modernization and the Search in the Transition Period","authors":"Lee Jae-eon","doi":"10.1080/17561310.2022.2163086","DOIUrl":"https://doi.org/10.1080/17561310.2022.2163086","url":null,"abstract":"Abstract In this article, the author first provides a chronology of Korean modern art, in which the modernization of every sector of Korean society is intricately entangled with struggles in regards to Westernization and the anxieties of colonialism. As a result, he points out that the ‘Korean’ aesthetics of Dansaekhwa were discursively constructed by Japanese scholars from the colonial era. Instead of readily utilizing the term ‘postmodernism’ in articulating the younger artists’ rebellion against Dansaekhwa, therefore, the author uses ‘anti-modernism (ban-modeon)’ and ‘de-modern (tal-modeon)’ as the prevailing attitude of the 1980’s art of Minjung misul and of the new figurative paintings.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"398 - 409"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45051516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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