중국 북경 송좡예술촌의 문화창의산업지구화에 대한 연구

Abstract

ABSTRACT

A Study on the Creative Cultural Industry Clusterization of the Songzhuang Arts Village in Beijing, China

Han Chang-Yun Advisor : Prof. Cho Song-Shik, Ph.D. Department of Fine Art, Graduate School of Chosun University

This dissertation focuses on how the Yuan Ming Yuan artists village that was formed under the influence of the '85 art movement,' an important starting point in contemporary Chinese art, was broken apart by China's government; the backdrop leading to the birth of the uniquely formed Songzhuang Arts Village of Beijing which had been created in the process, and its process of development and, in addition, development process and value as a designated creative cultural industry cluster. Considering how most world-class artist villages are located within the excitement of urban centers or in run-down industrial areas, that the Songzhuang Arts Village was naturally formed in a secluded rural townlet is unusual. Additionally, the phenomenon of an arts and culture industry growing in the countryside is an example rarely seen throughout the world. In terms of its size, the Songzhuang Arts Village is currently the greatest artist colony in the world and, furthermore, is developing with the benefit of government support. Also, one may say that the area's role and influence in its relationship with China's contemporary art is very significant. Especially, despite having been formed close in timing with the 798 Arts District which is now recognized as a famous tourist destination of Beijing, and having shared with it a similar developmental process, the Songzhuang Arts District grew in a highly different form to become a subject of comparison, and these aspects could serve as important reference material for when Korea's government or regional governing bodies are drafting new policy for the creation of their own arts villages. Songzhuang Arts Village today rests as a large-scale arts community rarely seen globally in which galleries, related arts organizations and large and small art museums such as the Songzhuang Art Museum, Sunshine International Museum of Art and the Museum of Contemporary Art have been established and some 4,000 artists, of domestic and international backgrounds, are actively working. However, in the process of becoming such an arts village, the organizers faced much friction and incidents with artists, locals and government authorities and it was because there have been collaboration and efforts to resolve these that today's Songzhuang Arts Village was made possible. Therefore it is highly important to study the characteristics of issues that surface during such a developmental process. The Songzhuang Arts Village was formed primarily because Yuan Ming Yuan was shut down by government suppression and artists began moving out in droves. Artists found there to be the advantage of being able to live steady lives while enjoying inexpensive costs of living in setting up studios, and living spaces, in a rural area that is relatively close to the city while offering cheap housing and real estate. The main areas responsible for allowing the formation of the Songzhuang Arts Village are: firstly, located on the eastern outskirts of Beijing, Songzhuang is in the center of China's culture and an international city in Beijing, offering artists close proximity and convenient access to galleries, critics, collectors and corporations, thus enabling various opportunities for them. Secondly, it was relatively close to the urban center despite being in the countryside and it had the positive side of how natural geographic conditions of the countryside can make life there relaxing and comfortable. Thirdly, there was the merit of affordable living costs and the availability of low-cost rent for work spaces ideally suited for studio practice. Fourth, the government, together with the village's residents, had continuously worked to bring the arts district about, through the methods of introducing policy for the improvement of the cultural economy of Songzhuang's provincial government and of supporting artists. The provincial government of Songzhuang allowed artists and cultural organizations to have priority in leasing empty factory buildings, established public culture facilities and allowed for the government of Beijing to designate the area as a "creative cultural industry cluster." The process of how an arts village was formed and was developed into a creative cultural industry cluster in Beijing is demonstrated by the Songzhuang Arts Village and the 798 Arts District. The initial stage is when various contents are formed through the relocation and settling of artists, the second stage is when an art market is formed through the influx of art museums or galleries. The third stage is when local branding takes place to promote the activities of the creative arts village that consists of artists and galleries, and there are instances in which, mainly, China's national or local city government begins to get involved and provides support. Lastly, the fourth stage is when the government aggressively seeks to host related industries and long-term planning and policies develop and industrial content-making progresses out of this. The developmental pattern of the Songzhuang Arts Village is one that is related to a kind of cultural economy and is of a method in which it is usually the government that provides assistance. The government's support by assistance, and not total control over the process, is helpful in an ideal way for the growth of culture. A few important issues that could potentially undermine the improvement of Songzhuang could be learned from a study on the development of the Songzhuang Arts Village. They are the cooperation of city planning, the steadiness of rental prices, the appropriateness of creative environments, the completeness of an arts industry, the maturity of the cultural economic policy, etc. These are all important areas and are directly or indirectly related to the government. Considering these facts, the Songzhuang Arts Village offers a significant suggestion to us. It is that when Korea's government or regional governing bodies are developing cultural policy, they would need to foremost predict their relationship with the culture industry and conduct research into methods of support that will further improve it. This is to say that they should approach with the acknowledgement that they could have at their hands the developmental value of a creative cultural industry cluster as in the case of the Songzhuang Arts Village or 798. The Songzhuang Arts Village has shown us, as a precedent, possibility that breaks pre-standing molds of thinking and, unlike in the formation of current, world-class arts villages, that a rural arts village, as opposed to an urban arts community, is also possible. In order for an arts and culture complex to be formed, the first requirement is the creation of a residing artist community. China's cultural districts are currently allowing real estate developers to develop and lease much of rural villages that are in close proximity to its cities. In the case of Korea, these methods are not being employed and there is a need for the government or local governing bodies to adopt methods of fostering our own areas, that are similar to Songzhuang, into studio complexes, develop them and lease them out at affordable rates.