‘나’와 ‘너’를 통한 ‘우리’ 보기 : 대화로서의 미술적 재현

• 영문명: To Watch ‘WE’ through ‘I’ and ‘YOU’ : Pictorial Representation as a Conversation
• 발행기관: 한국예술종합학교 미술원 조형연구소
• 저자명: 이대범(Daebum Lee)
• 간행물 정보: 『Visual』vol.3, 120~137쪽, 전체 18쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2006.02.28

영문 초록

Signs have representative function to make absent objects be in presence. However, there is an irremovable gap between representation and presence. If these two were to coincide, representation would be presence, not representation any longer. Therefore, representation works towards ‘presence in some degree’, not towards presence itself. However, we are forgetting ‘in some degree’ from ‘presence in some degree.’ Contemporary society is lying as if ‘presence in some degree’ were the real presence. Then, in this complex society, do the signs exist which are free from the offensive of ideology? If they do, what they should be like? Is the real communication possible for us who speak in languages(signs) polluted by ideology? Is the flood of images of these days real or fictitious? A work of art being a sign, it is natural that the artistic representation cannot be free from the charge of sign. Ahn, Gyu Cheol makes experiments on this with his works. He is interested in ‘semiosis.’ In this respect, 〈Room with 112 Doors〉 is noticeable. This work visualize the semiotic process. 49 rooms which the 112 doors make offer the spectators spaces to communicate with others. Like ghosts walking back and forth in the gap between representation and presence, they make abrupt appearances and delay our arrival to an end. Beings we might just pass by without recognizing pop up in 〈Room with 112 Doors〉 and make impression to the others. The moment when we recognize others as ‘YOU’ becomes the starting point of conversation. Ahn, Gyu Cheol studying the ‘semiosis’, puts out the results of his experiment one by one. Sometimes, he does the elaborate handiwork, shows the back side of an object, or presents a tension between truth and fiction. His works show his artistic goal pursuing the endless ‘conversations’ between artists and spectators about artworks in the 〈Artist→Artwork←Spectator〉 structure. Ahn says “I believe that there is a reason for arts to survive whose role is not to create something never shown before but to have questions or make others have questions about the things which are already shown, being shown, flowed away, and being consumed (stressed by the present writer).” Ahn, Gyu Cheol tries to pursue the artistic representation through conversation and its result is presented by ‘drawing a map of recognition’ through the conversation between artist and spectators. To have a conversation helps us reflect on ourselves- ‘I’ through ‘YOU’, ‘YOU’ through ‘I’, moreover it helps us reflect on the whole world of ‘WE.’ Besides, it makes us recognize the presence outside of the frame called ‘WE’, ‘HE.’ This helps us look beyond our own world framed by ‘I-YOU’, and ‘WE’, the outside world where ‘HE’ exists And finally it makes the general prospect about the world possible. Ahn, Gyu Cheol’s aesthetic emotion is fulfilled not by the recognition through selecting a part from the bisected world, but by representing the reality where contradictory things coexist through ‘art.’ Ahn, Gyu Cheol tries to show our life, our daily life which keeps a potential to overcome the ideology to which the contemporary society is extremely exposed. “If we refuse to think in the prison of language, we should stop thinking. Because we cannot go any further in the line which asks us if the visible limitation is the real limitation (Nietzsche).” Ahn, Gyu Cheol was, is, and will be waiting for the story of spectators whom he would run into in the maze-like 〈Room with 112 Doors〉

목차

0. 기호로서의 미술작품

1. 재현과 현존의 틈을 떠도는 유령들

2. 기호적 재현, 그 허구의 세계

3. 대화를 통한 ‘인지적 지도 그리기(cognitive mapping)’

4. 대화의 조건 : 재현의 사라짐

5. 대화하기 : 재현에 가하는 배반

6. 대화를 통한 현실보기 : 재현의 이중성 드러내기

7. 대화로서의 미술적 재현의 가치

Abstract