"A Study on the Transformation of Places in the Field of Power and the Site-Construction on Art", Journal of the Korea Institute of Spatial Design. Vol.14 No.6
“미술의 권력장 및 공간의 위상구축에 있어서 장소변용에 관한 연구”, 한국공간디자인학회 저널 Vol.14 No.6 통권 60호
Art has been a part of humanity since the beginning of history. Tangible things related to life, such as goods, food, clothing, and shelter have value. Art, by comparison, is not always recognized as having material value.
At first glance, it may not seem as though art is an essential element of life. However, when looking closely at universal habits and traditional rituals of mankind, it is clear to see how closely related art is to life. Art contributes to making life more fulfilling through a connection to things that humans desire and want to preserve. Yet in spite of its great role in encouraging human life, from forms of appropriation to jouissance life, art still exists as a culture that some enjoy. This study identifies the inequality of art jouissance as a class problem, a problem that is not quite visible but still firmly maintained, and the problem with the institutions supporting this inequality. Thus, the transformation of places in the field of art, where the production and consumption of art takes place, can be seen as the result of class struggle. Therefore, the researcher urges a reflection upon the field of art where art can be enjoyed evenly through consideration of the space and practices where the production and consumption of art intersect. The researcher derived research mainly from the French social participant and art sociologist Pierre Bourdieu and his concept of field-habitus as a reinforcing theory of research for an organic understanding of art and society. Bourdieu’s theory of field-habitus guards against the idea of dichotomous separation, which is often missing in life. This provides a cross-linked theory of structure and action, or theory and practice, where both perspectives can be understood as fluid relationships. Bourdieu's theory also expands the understanding of economic society by acknowledging the existence of a “symbolic capital.” In addition, the theory laid the foundation for the scientific understanding of the microcosmic social spaces with rich cultural character, such as the art world. The field-habitus theory is a fundamental principle that recognizes the autonomy of each field of cultural production. However, homology exists in the ranks of the social space and in the accreditation levels of participants in each field of cultural production. It is pointed out that heteronomy also exists in the field because the field of power, the place of power in society, is a structure that can exert pressure on the field. Therefore, on the theoretical foundation called homology of the social space and the field of cultural production, the transformation process of places of fine art after modern times was analyzed in the perspective of heteronomy and autonomy. This study is an attempt to understand the field of art with society and history. At the same time, the understanding of the field of art as a synchronic-diachronic perspective led to the scientific discovery of the limitations of the field of art.Therefore, this study identified multiple threats to the autonomy of the field of art by scientifically revealing the field dynamics of the field of art and the field dynamics of the social space and the art space. These threats have been preserved as a mechanism to solidify class in the social space and the field of art despite the repeated symbolic struggle. It is the hope of the researcher that looking at all of the real autonomy and strategies has provided languages that bring about the liberation of the field of art and the liberation of the audience.