본고는 동남아시아에서 생산된 예술선언문에서 ‘새로움’과 ‘현실’, ‘구체성’ 사이의 담론투쟁을 추적하고 검토한다. “보정된 용어(calibrated terminology)”의 개념은 큐레이터이자 문화이론가 마리안 파스토 로체스(Marian Pastor Roces)가 제안한 것으로, 서구에 의해 규정된 사회적·문화적 조건에서 탄생한 예술 용어를 넘어서, 국제적인 흐름과 단절되지 않으면서도 지역적인 맥락과 밀접하게 연관된 용어의 뉘앙스를 살려 이해하고자 한 접근법이다. 본고는 예술선언문에 등장하는 새로움과 현실에 대해 검토해보려 한다. 이 두 용어는 부유하는 기표로서 전시담론 내에서 특별한 요소로 상정되며 그 의미는 끊임없이 도전을 받는다. 담론은 담론 질서 안에서 각 요소들의 의미를 고정한다. 담론적 순간이란 한 용어의 지배적인 의미가 설정되는 순간을 말한다. 지배담론은 새로움과 현실이라는 부유하는 기표로 인해 약화되며, 이 두 요소는 보정된 용어로서 구체성 안에서 서로 만나 상호담론적인 전시 담론을 형성한다. 전후 동남아시아 예술에 대한 전시담론의 주도권을 두고 일어난 상호담론적 투쟁에서 ‘새로움’과 ‘현실’의 교차점들은 보정된 용어, 그리고 부유하는 기표로서 ‘구체성’ 안에서 하나로 합쳐진다. 냉전, 학생운동, 애국주의, 독재정권의 수립, 탈식민지화 과정이 서로 겹쳐지는 흐름 속에서 예술선언문은 이러한 투쟁을 이끌었다. 본고는 1970년대 동남아시아 전역에 걸쳐 적극적으로 예술선언문을 생산했던 예술가 집단들을 연구대상으로 삼았으며, 현대미술협회(싱가포르), 카이사한(연대, 필리핀), 신미술운동(Gerakan Seni Rupa Baru, GSRB, 인도네시아) 전시, 태국 예술가 연합 전선(TAFT, 태국)이 여기에 포함된다.

This paper traces and examines the discursive struggle between the ‘new’ the ‘real’ and the ‘concrete’ in art manifestos produced in Southeast Asia. The concept of a "calibrated terminology" was proposed by curator and cultural theorist Marian Pastor Roces as an approach togo beyond the use of art lexicons that emerge from social and cultural conditions circumscribed by the West, to a more nuanced understanding of terms bearing affinities with local contexts that constantly negotiate with the international. This paper examines two terms, the new and the real in art manifestos as floating signifiers defined as privileged elements inexhibitionary discourseswhose meanings are constantly negotiated and contested. Discourse is conceived as the fixing of the meaning of elements in an order of discourse – the exhibitionary discourse. A discursive moment is understood as the moment when hegemony is established over the meaning of a term. Hegemonic discourses are destabalised by the floating signifiers of the new and the realthat converge in the concrete as a calibrated terminology that forms an inter-discursive exhibitionary discourse.Intersections between the ‘new’ and the ‘real’ coalesce in the ‘concrete’as a calibrated terminology and a floating signifier in theinter-discursive struggle for hegemony in the exhibitionarydiscourse on art in post-war Southeast Asia driven by art manifestosin theoverlapping contexts of the Cold War, student radicalization, nationalisms, the establishment of authoritarian regimes and the process of decolonization. The artist collectives that were actively producing art manifestos across southeast Asia in the 1970sexamined in this paper include the Modern Art Society (Singapore), the Kaisahan(Solidarity, Philippines), GerakanSeniRupaBaru(New Art Movement, GSRB, Indonesia) exhibitions, and The Artists’ Front of Thailand (TAFT, Thailand).

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