퍼블릭 액세스Public Access
Public access, which is part of the media movement, means to guarantee the right of the public to participate in the planning and production of a program by opening the pages, time, or portion of the channels of mass media. In the course of mass media’s immense growth and the increasing power of a small number of capitalist and political authorities, public access emerged from an awareness of the problem of audiences gradually having fewer opportunities to express their opinions through mass media. In other words, in the media environment, public access endeavors to secure a public sphere that is subject to encroachment by capital.
Granted, audience participation programs existed before public access appeared, but the meaning of participation was different. According to International Broadcasting Center (IBC), general audience participation programs invite and control audiences such that the system takes advantage of them. However, with public access participation, you can make suggestions, take control, and take advantage of the system. To smoothly operate public access, it is important to hold media education, offer equipment and discussion space, and maintain a local media center, which will play a pivotal role in building up a network. In Korea, approximately thirty media centers, including MediACT, are currently active.
Public access is not without its limitations. This is because it has proceeded in a way that acknowledges the structure of existing mass media and, within an allowable range, secures the right to access. The necessity of an alternative media that the public possesses and operates for and by itself stands out in this regard. Public art is no exception. Public art interconnecting two dimensions such as publicness and contemporary art brings with it a conundrum of public access. Public art is a genre that, in order to maintain its vitality, is fated to endlessly produce new interfaces for public access. In this case, the point of direction can vary depending on whether one accepts the boundaries of the existing art system and public funding to focus on lowering barriers to entry, or whether one reestablishes the art realm itself by securing alternatives that can generate and expand new agendas.
정주영 JuYoung Jung ∙ Text
Majored in art theory and received MA on the popularization of art in Modern Korea. Jung is currently preparing her PhD thesis on art management. She started her career as an assistant curator at the Museum of Art Seoul National University (2007), and subsequently worked as an assistant adminstrator at the Korean Society of Art Theories (2007) and a researcher at the Korea Air-affiliated Ilwoo Foundation (2012). She is particularly interested in and writes on contemporary art in Asia.
이제 Leeje ∙ Illustration
Leeje works with the conviction that the world outside pictures can become a more livable place through the world inside pictures. She is interested in the points where desire, despair, and hope intersect. Apart from solo show *Here, Now* (OCI Museum of Art, 2010), Leeje participated in various group shows at Art Space Pool, PKM Gallery, and Gallery Hyundai to name a few. She is currently working on the 2Y2W2V project with artist Han Sue-Ja.
한수자 Han Sue-ja ∙ Illustration
Han’s practice encompasses many different genres from animation and illustration to participating in group exhibitions. She paricipated in collaborative projects that led to *Binge* (Insa Art Space, Seoul, 2005), *Neverending Story Ko Woo Young* (Arko Art Center, Seoul, 2009), and *Pungnyeon Super Camp* (Art and Garden, 2012).
어휘록 ∙ Glossary
4회 APAP는 공공예술을 둘러싼 다양한 층위의 주제어들을 선정하여, 각각에 대한 설명 또는 해석의 글을 생산한다. 어휘록의 주제어는 4회 APAP뿐만 아니라 지난 1, 2, 3회 APAP에서 다루었던 공공예술의 주요 개념, 작가와 이론가, 사업 등 다양한 층위를 포함한다. 한편 주제어 설명 글은 이제, 한수자 작가의 일러스트레이션과 함께, APAP의 새로운 웹사이트와 연동하여 매주 하나씩 업데이트한다.