얼마전에 베트남의 "저학력 사업가"와 관련된 기사를 포스팅 했는데,
이번엔 정반대의 기사다.
하노이 인민위윈회의 내무부가 최근 발표한 바에 따르면, 2020년까지 하노이 시당위원회의 모든 간부들은 100% 박사학위를 소지하여야하고, 인민위원회의 간부들은 100% 대졸자여야 하며 그중 50%는 박사학위 소지자로 채워지고, 각 지구의 주요간부들도 학사학위 소지자로 채우겠다/만들겠다고 한다.

관련기사: http://vietnamnet.vn/chinhtri/2009/09/868806/

아이디어 자체는 매우 황당하다.
박사학위 소지자 혹은 고학력 소지자가 업무에 더 많은 "열정"을 가질 수 있다는 사고에 기인하고 있으니 말이다.
당간부와 인민위원회 조직을 전통적인 관료제 조직으로 재편하여 새로운 "영도주체"를 만들려는 시도로 보이기도 하고,
새로운 "지식 주체"담론이 기존의 당과 인민위원회 조직에 본격적으로 덧붙여지는 것으로 보인다.
당간부는 일단 "학식있는 자"여야 할 필요가 있다고 선언한 것이랄까?

물론 대부분의 혁명 주체들이 "배운자"들이었다지만, 박사학위를 가진 사람들은 그리 많지 않았고,
사실 사회주의 혁명 이념속의 지도자 상은"아래로 부터 경험"으로 성장에 기초하고 있는 것이 아닌가 싶다.
한국도 언제가 부터 행정대학원이네, 최고경영자과정이네 하면서 이런저런 "학위 덤핑"과 "학위 업글"이 이루어진지 오래고,
세계 어느나라던, MBA, PIDP, 정부정책대학원 (ex. Kennedy School) 등의 프로그램을 통한 "전문경영자" 혹은 "전문공무원"들의 양산 체제를 구축하고자 하는 것은 분명한 것인데, 사회주의 베트남에서의 변화는 어떤 과정이 될 것인가?

지식사회 혹은 엘리트사회로 본격 이행하는 베트남을 지켜보는 것은 흥미로운 일이다.
혁명과 전쟁영웅들의 시대가 끝나가고 있다는 반증일지도 모르니까 말이다.

그래도 말이지, 박사가 공무원이나 간부가 되기 위한 길이 되어서야 쓰겠는가...
결국 학위가 정치경제적 지위 보장의 수단이되고, 저급 박사들의 양산을 낳을 것이며,
정치적인 야망을 지닌 지식인들의 공공연한 활동이 불보듯 뻔하고,
결국 당위원회가 아우르는 지적 위계구조를 만들어내려는 노력은 아카데미 사회를 해체하게 될터인데...

지금도 이미 당간부들이 중앙위원이 될 꿈을 꾸며,
학위 따기 경쟁을 하는 터에,
하노이의 상당수 베트남 대학원생들이 논문대필 아르바이트를 하고있는 현실속에서,
도대체 무슨 생각들이실까?

당이 살아야"만"하고 우월 해야"만" 한다고 믿고 싶은 것일까?

http://www.vnexpress.net/GL/Kinh-doanh/Kinh-nghiem/2009/08/3BA1214D/

사업을 하는데 학벌 같은게 전혀 문제없다는 미담이라기 보다는
안타깝게도 베트남의 대부분의 사업가들이 대체로 집안의 재력및 인맥에 의존하거나,
혹은 편법적인 방식으로 부를 축적하려는 "꿈"들에 타오르고 있다고 읽히는 것은 왜일까?

적어도 내 주변의 이른바 "젊은" 혹은 "가방끈 짧은" 베트남 사업가들의 성공기 이면에는
주변사람들의 "존경"이 들어찰 공간은 없는 듯.

A Legacy of War: Fake Art in Vietnam

By SETH MYDANS

HANOI, Vietnam — Even the director of the Vietnam Fine Arts Museum here doesn’t know how many of the artworks and artifacts under his care are genuine and how many are extremely skillful copies. But he says he is going to try to find out.

There are nearly 20,000 of these mystery objects, on the walls and in storage, including paintings, sculpture, lacquerware, pottery, ancient statues and traditional crafts.

“We are making efforts to have a comprehensive review of items on display and in our warehouse,” said the director, Truong Quoc Binh. “After we evaluate the whole exhibit, we will try to label them all to show if they are original or not.”

Mr. Binh has been addressing questions about authenticity a lot lately. Curators and artists have been aware of the issue for years, but it became a matter of public discussion only in April, when it was raised at a conference on copyright in Danang.

In large part, the confusion is a legacy of the war with the United States, which ended in 1975, and to a lesser extent of a brief border war fought with China in 1979.

In the late 1960s, fearing that the United States would bomb Hanoi, then the capital of North Vietnam, museum officials removed hundreds of important artworks for safekeeping in the countryside.

To replace them on the museum walls, it commissioned copies: some by the original artists, some by the artists’ apprentices, some by skilled copyists in the museum’s restoration department. They were brilliant reproductions — or variants, as the Vietnamese called those paintings copied by the original artists.

But now “it’s a disaster,” said Bui Thanh Phuong, the son of Bui Xuan Phai, a prominent painter. “Viewers can’t be sure if what they are looking at is genuine or fake.” Mr. Phuong said he does not know which of the museum’s seven paintings attributed to his father, who died in 1988, are real.

In some cases it was apparently not even clear whether the originals or their copies were sent into hiding, said Nguyen Do Bao, the former chairman of the Hanoi Fine Arts Association, who delivered the paper that gave rise to the controversy at the copyright conference in April.

“There was no oversight,” Mr. Bao said in an interview. “When the artists took them home, they could make more than one copy. They could keep the original. We had no way of knowing.”

At the conference he told the audience, “Owing to poor management, the museum lost many original artworks during this time,” and added that researchers had not been allowed to examine works “while the public doesn’t know that they are reproductions.”

Asked in the interview why he was bringing up the issue now, after so many years of public silence, he said, “Now we have more freedom and democracy and we want to raise our voices to make sure the museum is not displaying copies.”

Nguyen Qui Duc, who owns a small gallery and promotes young artists, said this new openness about the nation’s artistic treasures could be taken in the spirit of a policy called hoi nhap, which means integration or assimilation.

“This is the buzz word now,” he said, as Vietnam seeks to integrate itself further into the world economy and conform to international standards and practices.

“It’s basically an economic slogan, but I see it being applied everywhere,” Mr. Duc said. “If we are going to join the world, we’ve got to start doing these things right.”

The mysteries of the museum are part of a broader problem of authenticity that has threatened the value of Vietnamese art on the international market. Copies have proliferated since the early 1990s, when the closed communist economy opened, and Vietnamese art became popular abroad.

Capitalism was new, and artists discovered that they could make twice or even three or four times the money by reproducing and reselling their own paintings. Collectors soon caught on, and all Vietnamese art came under suspicion, Mr. Bao said.

“The first question foreign buyers ask us is, ‘Is this genuine or not?’ ” he said. “Many galleries, especially in Hanoi, complain to me because of the bad publicity.”

Some artists have grown wealthy by turning their studios into copying enterprises, said Nora Taylor, an expert on Vietnamese art at the School of the Art Institute of Chicago.

Concerning one prominent artist, Hong Viet Dung, she said: “He had like a factory churning them out. Like the ‘Woman With a Bird,’ everyone had to have a ‘Woman With a Bird.’ You don’t know if they’re by the artist or a student, but they were selling all over the place. Now he’s rich and he has a villa and a Mercedes.”

In addition, Ms. Taylor said, Vietnam has never had a strong culture of documentation and proof of provenance. Classic works have been reproduced without concerns for authenticity in order to display them more widely.

Separate “originals” of one well-known painting, “Playing O an Quan,” by Nguyen Phan Chanh, are now in galleries in both Singapore and Japan, Ms. Taylor said.

There are at least three copies of “New Year’s Eve on Ho Guom Lakeshore,” by Nguyen Tu Nghiem, according to Vietnamese art specialists. But each is slightly different in small details, like the numbers of people and trees. Perhaps they are all forgeries, or perhaps they can all be considered originals.

When the Museum of Fine Arts first opened in 1966, said Nguyen Xuan Tiep, a former deputy director of the museum, it did not have access to many of the antiquities it wanted to display, like classic Buddhist statues kept in pagodas. So it simply made copies.

“Since the opening of the museum, we have had both originals and copies together,” said Mr. Tiep, who has worked at the museum for 28 years. By now, even the staff is not sure which are genuine.

Authenticating even the most prominent of the museum’s works will be a huge task, said Mr. Binh, the director.

“We will create an Art Work Evaluation Center,” he said. “Its function will be to examine and evaluate all the items, and then we will be able to label them: original or copy.”

He said the museum was trying to buy modern scientific equipment to test the age of the materials. “It is complicated work that requires time and expertise,” Mr. Binh added.

Then, breaking into English, he announced: “In the future, or the near future, we will try to do it.”