This thesis is a study of artistic measures and climate refugees, based on Hack’ s World Climate Refugee Camp project. According to Hack, climate refugees appeared with the process of globalization. Hack claimed that the people who put climate refugees in danger are the industrialized nations, and therefore, their rejection of refugees is nonsense. He also stated that the fundamental solution would be the active participation of such nations. Thus, he travels around the world, encouraging participants and globalizing his project. Interestingly, the practical participation method of his climate calamity project is divided into four methods, which are all related to realizing the danger and presenting various solutions. First, the aesthetic of survival: the reason Hack focused on the warming trend and claimed that we have to accept the climate refugees as refugees comes from the thought that we are all potential refugees, and the anxiety that climate refugees may cause war in the end. The solution Hack found for surviving in such a world is to create “refugee camps”to notify people about the seriousness of climate change, and to put the “aesthetic for survival”in action. Second, a relation-oriented relationship: communication between Hack and the participants was done in various ways. They are experiencing a bond and emotions of an interrelationship through their actions in the experimental field, experiencing a new form of art, which they were not able to experience in a museum. Third, a utopian measure: Hack’s utopian measure started from the fear of dystopia but Hack still believes that it is not only a dream, but that it can be realized. He claims that even though the start may be feeble, it is possible to rescue children from starvation and to treat climate refugees as proper human in the end, when communication and cooperation is done the right way and properly. Fourth, the aesthetic of global relation, the internet: the new solution Hack is trying on the internet is to make more people participate in his project. It is fate that “human are the wrongdoer and the victim at the same time”, but according to Hack’s opinion, social disaster can be avoided through effort and it is optimistic that we can give form to the culture revolution we are experiencing now. Hack’s project illustrated the importance of daily life, compared to art inside a museum, through active participation of the people and opened up a new method of art through realistic responses to disasters. This is distinctive from the past exhibitions, where artists gave shape and form to ideals and an imaginary world, in that it shows that the artist and audience aim for creating a community-like structure, just like Bourriaud’s art method. Hack’s project of climate calamity illustrates that installation and action art is not only an art genre which shows installation and activities, but that it can include social and political issues and that it can be completed with the help of participants, consequently becoming a genre of modern art. Hack raises a question about art’s identity through various descriptions. Artists as planners, who base their artworks on their subjectivity or the characteristics of a specific period, the people as participants, the duet of art work and play, human and human, and further, human and nature. The practical participation method, as a measure for “disaster”, reveals the new art of the 21st century within Hack’s artworks. Even though there are several problems with Hack’s usage of art as a measure for disaster, it will actively open up a new page for the 21st century’s art with the theme of disaster.

최근 지구온난화로 인한 기후변화의 영향으로 우리나라를 비롯해 전세계적으로 홍수와 가뭄, 지진 등의 자연재해 발생빈도와 피해규모가 늘어나고 있는 실정이다. 이와 더불어 우리나라는 작년 세월호 사건으로 인해 여느때보다 안전에 대한 관심과 우려가 커져 국가 차원의 국민안전처가 신설되었다. 하지만 재난재해로 인한 피해의 집중은 대부분 시민들에게 피해가 집중되어 정부 주도의 하향식 방재정책만으로 운영이 어렵다. 이를 위해 정부는 안전을 위한 정책 수립시 시민사회의 역할을 적극 반영하여 시민들이 방재훈련이나 행동 시나리오 참여를 이끌어내어 자연재해를 비롯한 인적재해의 피해를 줄여야 한다. 따라서 본 연구에서는 기후변화와 재난재해 대응을 하기 위해 시민사회를 중심으로 한 이해관계자가 참여하여 정부와 학계, 기업 등과의 협력하고 정부정책이 올바른 방향으로 나아가기 위한 제언을 하고자 한다.