??? ??? ???? ????? ???? (Creolization as the Postcolonial Strategy of Contemporary Art focused on ¡°Platform 3¡± in Documenta XI(2002))

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<??? 3>? ??? ? ? ???? ???? ?? ????? ??? ??? ????? ????? ?????? ?? ????, ? ??? ??? ?? ?? ??? ???? ?? ????. ?? ?? ???? ?? ¡°?? ?? ??? ???, ????, ???? ????, ????? ??? ?? ??? ??? ?? ??? ??¡± ? ¡°?3? ??¡±??.
??? ????? ???? ?????, ??? ??? ????/??? ???? ????. ? ¡°???? ???? ????? ??¡±??? ?? ¡°????¡±? ????, ???? ???? ?????? ???? ??? ???. ??? ??? ? ?????? ?? ????, ???? ??? ?? ?? ?? ??? ¡®??? ???¡¯? ??? ? ??. ?? ? ????? ?? ??/??? ?? ??/?? ?? ??? ?????? ?? ????.
?? ¡¶???? 11¡·? ??? ?? ?? ??????. ??? ???? ???? ??? ????? ????? ??? ???? ?? ??? ??? ??? ?? ????? ???? ????? ??? ? ??. ??? ??? ?? ??? ?? ??? ??/??? ?? ???? ? ??? ??? ?????, ???? ????? ?? ?? ??? ??? ??? ??? ??. ?? ??/??, ??/????? ??? ???? ??? ?? ??? ????? ???.
?? ???? ??? ???? <?? ?????>(1997)? ??? ?? <??? ???? ??? ?? ???? ???>(1997)? ??, ??, ??, ?? ?? ???? ?? ??? ???? ???? ?? ?? ????? ??? ??? ???? ?? ????. ? ??? ?? ??? ??? ??? ????? ????? ? ?? ??? ? ??? ?? ????.

This paper considers the ¡®Creolization¡¯ as a concept explaining the postcolonial resistance of culture or art that occurred on the regional and historical basis of non-Western countries, and examines how this can be discussed in art.
Documenta XI was conducted sequentially from 2001 to 2002 through ¡°Five Platforms¡± built in six cities, regardless of whether Western or non-Western. ¡°Creolization¡± was the theme of ¡°Platform 3: Cr¨¦olit¨¦ and Creolization¡±, which was held in St. Lucia.
Creolization, which is used as a concept to describe transculturation, is based on the claim that "Cr¨¦olit¨¦" asserts "polycentrism" based on nontotalitarian diversity.
Stuart Hall, who was the speaker of ¡°Platform 3¡±, notes that Creolization is derived from the history of colonization on the Caribbean and emphasizes that the process of that is the result of forced cultural fusion. What occurs through Creolization is ¡°social spaces¡± or ¡°third space¡± where disparate cultures meet, clash, and grapple with each other, often in asymmetrical relations of domination and subordination.
However, creolization is a process of indigenization, and such fusion occurs in both the colonizer and the colonized. In other words, clashes, conflicts, and asymmetrical relationships always lead to "interactions", in which colonized people change the colonizer. In short, "culture's purity" can not be established because culture is already in diverse and continuous process of transformation from its source. This means that the relationship between the colonial/the colonized or pure/hybridity is redefined through creolization.
The same is true for the platform construction of Documenta XI. Platforms that have been conducted on individual themes in each place can be understood as Benjamin historians' view that history is not a continuous one but a conflict and a confrontation. With the platform construction, the colonial hierarchy between Western/non-Western set by the West is blurred, and all six cities where the platform was held are placed in an equal position. This is the question of the nature of the discourse that forms the controversy around the center/periphery, the West/non-West.
In the same context, Amar Kanwar¡¯s ¡°Season Outside¡±(1997) and Fiona Tan¡¯s ¡°May You Live in Interesting Time¡±(1997) suggest that what is considered a fixed concept, like nation, ethnicity, family, masculinity or femininity, is also transitional process. All these works show that such distinction can no longer be applied today, at least in the context of globalization.