비엔날레, 해외교류전을 통해 한국 큐레이터의 국제적 활동이 점차 넓어지는 현시점에서 큐레이팅에서의 정체성 문제를 숙고해보는 것이 시의성을 갖는다고 본다. 서양화가 도입되기 시작한 20세기 초반부터 글로벌리즘이 팽배하는 현재까지 한국화단 불후의 화두로 제기되고 있는 정체성의 문제는 일면 진부하면서도 피할 수 없는 탈 식민주의적 과제로 대두된다. 정체성과 관련하여 한국 큐레이터들에게 부과되는 명제는 큐레토리얼 차이에 관한 것이다. 한국 큐레이터로서, 또는 한국태생의 아시아 큐레이터로서 서구적인 것과 변별되는 큐레토리얼 차이를 어떻게 만들 것인가. “큐레이터십에는 국적이 없지만, 개개 큐레이터는 조국을 갖고 있다”는 자명한 진리가 말해주듯이, 국제 무대에서 활약하는한국 큐레이터들은 세계성을 획득함과 동시에 차이의 담론을 통해 정체성을 확보받으려는 열망을 안고 있다. 그러나 큐레이터들의 생존력과 경쟁력을 담보할 차이의 담론은 곧 차별의 딜렘마로 연결된다. 특히 한국을 비롯한 아시아권의 큐레이터들은 서구인의 지성과 감성으로 상상된 오리엔탈리즘의 함정속에서 좌절의 딜레마를 맛보게 된다.

90년대 이후 비서구권역에서 성행하고 있는 비엔날레는 큐레이터들에게는 큐레토리얼 차이를 실험, 실천할 수 있는 ‘테스팅 그라운드’로 기능한다. 비엔날레는 국제 네트워킹을 통해 전지구적 차원의 문화적 공생의 길을 추구하는 한편, 자국 미술문화의 특성과 고유성을 전파함으로써 국가적 위상을 확립하려는 국가주의적, 민족주의적 취지를 표명하기도 한다. 문화적 헤게모니를 쟁취하기 위한 비엔날레의 경쟁구도 속에서 비서구권 국가들은 자의적, 타의적으로 정체성 또는 차이를 강조하게 되는데, 이러한 지점에서 아시아 큐레이터들은 자칫하면 서구적 오리엔탈리즘에 영합하거나 자기 스스로를 주변화시키는 역오리엔탈리즘에 경도되는 것이다.

한국성, 동양성에 기초하여 큐레토리얼 차이를 일궈내려는 한국의 큐레이터들에게 오리엔탈리즘은 빠져들기 쉬운 유혹적 함정이자 극복해야 할 과제이다. 한국성, 동양성에 근간하면서도 코리아니즘, 오리엔탈리즘으로 교리화되지 않고 세계성을 획득하는 전시 전략은 무엇인가. 한국 전통이나 정신이 소재주의로 흐르거나 한국적 모티프가 회고적으로 환원되는 오류를 어떻게 막을 수 있는가. 서구인들의 오리엔탈리즘 취향, 그들의 대중적 이국주의의 요구로부터 한국성을 어떻게 보호할 것인가. 한국성 재현과 독해의 기준과 관련된 정답없는 이러한 질문들로 고심하는 한국 큐레이터들에게 큐레토리얼 차이는 결국 열망과 좌절이라는 이중기표로 각인되는 일종의 신기루처럼 느껴진다.

차이의 해법이나 방법론에 정답이 없는 만큼 큐레이터들은 각자 자기만의 전략으로 차이를 시도할 수밖에 없다. 결과론적으로 나타나는 성공과 실패보다는 차이를 의식하는 태도, 큐레토리얼 차이에 베팅을 거는 용기가 중요하다고 본다. 그러한 태도와 용기는 글로벌리즘에 대한 올바른 이해에서 출발할 것이다. 과거에는 글로벌리즘이 서구의 정치 문화적 기준으로 저개발국가를 변화시키는 개념으로 이해되었지만, 이제는 비서구가 서구사회에 개방적으로 개입함으로써 자신의 문화적 맥락을 의미심장한 지적 글로벌리즘으로 확장시키는 ‘글로컬리즘’으로 인식되고 있다. 글로컬리즘을 글로벌과 로컬의 의미있는 만남이라고 이해할 때 결국 글로벌리즘은 뿌리에 대한 인식과 맞닿아 있다는 점을 알 수 있다. 그러나 뿌리에 대한 인식이 식민주의적 오리엔탈리즘으로 오도되지 않기 위하여는 동서양의 이분법적 틀을 벗어나고 역내의 차이를 인식하는 새로운 이론과 미학이 정초되어야 한다. 양가성, 복수성에 의거하는 이러한 비평적 기반위에서 우리는 문화적 글로컬리즘과 큐레토리얼 차이를 성취하고 이를 통해 중심을 이동시키는 변혁의 주체가 될 수 있다.

Curatorial differences: Aspirations and Dilemmas of Korean Curators

At the moment when Korean curators’international activities increase via Biennales and international exchange exhibitions, it seems timely and significant to think about identity issues imposedon curators, which becomes the problematics of the curatorial difference.

As a Korean curator, or as a Korean born Asian curator, how should one achieve the curatorial difference? Self-evidently like this phrase that 'there is no nationality in curatorship, but every curator has her/his own country,' Korean curators working in the international scene have aspirations to assume their own identities through the discourse of difference while acquiring global efficiency.

However, the discourse of difference that provides survival and the competitiveness for curators can be reduced to a kind of discrimination. In particular, Asian curators which include Koreans face the dilemma and frustration by the colonial Orientalism, or popular exoticism.

It is the Korean and Asian curators’task to escape the trap of this dilemma. Due to the fact that there is neither a single solution nor an answer to this problem, curators must attempt the difference as their own curatorial strategy. Rather than resulting in success or failure, the more important element is being conscious of and having the confidence and attitude for curatorial difference.

- Kim, Hong-hee

- 김홍희(1948- ) 홍익대 미술사학 박사. 쌈지스페이스 관장, 광주비엔날레 총감독 역임. 현 경기도미술관 관장.