뉴욕현대미술관의 프로젝트 시리즈: 동시대 미술의 수용이라는 사건, 그리고 그 너머

초록

This paper analyzes the exhibition program called ‘Projects series’, which has been ongoing at the Museum of Modern Art in New York since 1971, from the perspective of the reception of contemporary art in a modernist art museum. In this context, referencing Alain Badiou's concepts of event and fidelity, this study examines MoMA's program as an example of an attempt to remain faithful to the contemporary artistic paradigm shift as an event. The program was the first of its kind in the United States to feature small-scale exhibitions of contemporary new artistic practices. This paper focuses on the project series as a response to the need and demand for programs addressing experimental contemporary art activities that arose both inside and outside of MoMA amid the emergence of alternative spaces in downtown areas in the late 1960s and early 1970s. Because this program is based on the paradox of a contemporary art museum that fits into the framework of a retrospective art museum while simultaneously challenging the limitations of that framework. Through this series, MoMA has played a role in informing the public about artistic trends and giving meaning to current processes that are not yet properly understood. Ultimately, the Projects Series remains faithful to the radical, eventful phase of the art world at the time, while simultaneously maintaining the discourse structure inherent in modernist art museums. This paper examines the social and historical context surrounding the launch of the project series and analyzes the museum's reception of contemporary art. Through this process, it examines how artists' experimental demands were transformed into curatorial intentions, and how the exhibitions shaped knowledges on contemporary art.

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