비토 아콘치Vito Acconci의 작품에서 자율성과 소통의 미학 ―아콘치의 퍼포먼스를 중심으로

조광석 현대미술학회 2009 현대미술학 논문집 Vol.1 No.13

Vito Acconci’s work begins from literature. Until 1968, he mostly worked in a context of writing or in poetry. Acconci was interested in the space of the book page, a structure within which the reader and the writer could act together. In his first visual artworks, he tries to communicate with the readers by combining photographs with texts to document task-oriented activities. Acconci’s work mentioned lots of dialogues between camera and body, especially in the series of super-8 films and videos. And this would become an essential aspect of his subsequent art work. Between 1969 and 1974, he started to perform himself the over 200 conceptually structured and radical body-related pieces he have written and developed in the past. His work was extremely simple in formal terms, but psychologically highly intricate. These performances are presented to the spectators as a recorded video, which made Acconci’s work considered as visual art. In the fact that it involves the artist’s direct participation on the scene, these works are certainly categorized as performance art, but it is also considered as early works of video art for its use of media. In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of resistance to the traditional forms of artand at the same time,an act of revolt against the art market for its need of new forms and which were facing the threshold of modernism. However, so as to be accepted as art works, performances had to comprehend the acknowledged motivations of modernism. In other words, these works refer a lot to the characteristics of visual art, but within the base of autonomy. As performance rejects materialistic mediums, this brings us to the problem of durability. In the case of conceptual art, the use of signs allows its durable communication but performance needs a way of recording as an action naturally disappears in the moment it is acted. So in this paper, we are going to deal with the problems of autonomy in Acconci’s art work and analyze the act of revolt it intends to express. Reaction and acts of revolt, as the base of performance art, are expressed in the form of destructive actions, but this is accepted as an extension of the art field. And this exhibition of revolt within the performance art pulls apart the acts and the thoughts, which minimizes the form of language and communication. Vito Acconci’s work begins from literature. Until 1968, he mostly worked in a context of writing or in poetry. Acconci was interested in the space of the book page, a structure within which the reader and the writer could act together. In his first visual artworks, he tries to communicate with the readers by combining photographs with texts to document task-oriented activities. Acconci’s work mentioned lots of dialogues between camera and body, especially in the series of super-8 films and videos. And this would become an essential aspect of his subsequent art work. Between 1969 and 1974, he started to perform himself the over 200 conceptually structured and radical body-related pieces he have written and developed in the past. His work was extremely simple in formal terms, but psychologically highly intricate. These performances are presented to the spectators as a recorded video, which made Acconci’s work considered as visual art. In the fact that it involves the artist’s direct participation on the scene, these works are certainly categorized as performance art, but it is also considered as early works of video art for its use of media. In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of resistance to the traditional forms of artand at the same time,an act of revolt against the art market for its need of new forms and which were facing the threshold of modernism. However, so as to be accepted as art works, performances had to comprehend the acknowledged motivations of modernism. In other words, these works refer a lot to the characteristics of visual art, but within the base of autonomy. As performance rejects materialistic mediums, this brings us to the problem of durability. In the case of conceptual art, the use of signs allows its durable communication but performance needs a way of recording as an action naturally disappears in the moment it is acted. So in this paper, we are going to deal with the problems of autonomy in Acconci’s art work and analyze the act of revolt it intends to express. Reaction and acts of revolt, as the base of performance art, are expressed in the form of destructive actions, but this is accepted as an extension of the art field. And this exhibition of revolt within the performance art pulls apart the acts and the thoughts, which minimizes the form of language and communication.

영화, 비디오, 디지털

조광석 현대미술학회 2000 현대미술학 논문집 Vol.4 No.-

비엔날레와 글로벌리즘의 환상

조광석 현대미술학회 2001 현대미술학 논문집 Vol.5 No.-

60년 대 Jean-Luc Godard의 영화에 나타난 초현실주의의 영향 부제: 영화 <안달루시아의 개>의 영향

조광석 한국기초조형학회 2004 기초조형학연구 Vol.5 No.4

Today's cinema is not only well expanded quantitatively but it has also progressed rapidly in terms of production method, forms and contents. Cinema has become a tool of human's wide and intricate inner world's expression through development of various expression techniques that goes beyond unsophisticated and linear narration of a story. This research aims to analyse two films; Un Chien Andalou of Bunuel and the Pierrot le Fou of Jean-Luc Godard, which try to show the multi-layered human's inner and real world, by the employ of cutting off effects.The Chien Andalou, which is produced with Salvador Dali's help, unties human's unconsciousness, dreams and lunacy by the unrestricted employ of illogical association of ideas, or various jump of story. And that matches well with the fundamental idea of surrealism. Effectively, surrealism insists on the existence of a more truthful world than the reality that surrounds us, through unfolding of unusual stories just as in a dream. In Pierrot le Fou, incoherence of the context and unusual links throughout the story have accentuated its avant-garde aspect. This can be thought as a new proposal of method that gets over the manner of thinking in the existing cinema. The reconstruction of the intermittent story in such films has to be developed inside of the viewer's thoughts. This is settled by imagining the inherent nature of the events (facts), further what we see. This implies the opposition against our consumer society due to the expanse of capitalism. Not only process of alienation in the style of Bertolt Brecht or problems in the background of the film but also political ideology come often on the stage. Such cutting off of stories is used as a tool for the creation of an ideal and surrealistic world, which looks beyond the reality. 오늘날 영화의 상업적인 성과와 함께 영화는 제작 방법과 내용에서 급진적인 발전을 이루고 있다. 그러나 영화에 대한 논리적 분석과 연구는 그리 많지 않다. 본 연구는 '이야기의 단절 효과'를 사용하여 본질적 세계를 보여주고자 한 브뉘엘과 달리의 <안달루시아의 개>와 장-뤽 고다르의 <미치광이 삐에로>를 분석하였다. <안달루시아의 개>는 꿈에서나 볼 수 있는 이야기의 비약과 비합리적인 연상을 자유자재로 이용함으로써 인간의 무의식, 꿈, 광기를 논리적 모순으로 이야기를 풀어냈다. 이는 초현실주의의 기본이념과 일치하고 있다. 초현실주의에서는 꿈에서와 같이 비정상적인 이야기의 전개와 비약을 통해 통상적인 세계보다 더 참된 세계가 존재한다는 것을 주장하였기 때문이다. <미치광이 삐에로>에서는 사건의 전개에서 앞뒤의 연관성을 극단적으로 단절시킴으로써 전위적 측면이 강화된다. 그것은 기존 영화에서 사용하는 이야기 전개를 벗어나 새로운 인식 방법의 제시라고 볼 수 있다. 이러한 영화에서 단절 된 이야기를 재구성하는 방식은 감상자의 사유 안에서 이루어지게 된다. 현실적으로 보이는 것을 넘어서 사건 안에 내재하는 본질을 상상함으로써 가능하게 한다. 또한 이 영화는 자본주의의 확대에 따른 소비주의에 대한 반발을 담아내고 있다. 브레히트식의 관객소외 방식과 영화의 내적 문제 뿐 만 아니라 정치적 이념도 자주 등장하는 것이 그러하다. 이와 같은 이야기의 단절, 정치적 이념은 현실을 넘어서려는 초현실주의적 이상을 실현하는 도구로 사용하고 있다.

대중소비사회와 예술

조광석 현대미술학회 2003 현대미술학 논문집 Vol.7 No.-

Malevich와 동시대성

조광석 현대미술학회 1999 현대미술학 논문집 Vol.3 No.-

영상이미지의 확산 : 사진과 영화

조광석 경기대학교부설산업디자인연구소 2002 조형논총 Vol.- No.1

부산광역시 도심지역의 연말연시 소음도 및 시민의 반응

옥치상,조광석 高神大學校 保健科學硏究所 1995 보건과학연구소보 Vol.5 No.-

The sound levels and citizen's responses at urban core of Pusan city in Korea on end and beginning of the year were investigated by the questionnaires and the field measurements. Based on the results, the urban core area was that the sound levels were 70.9dB(??) by mean, 72.8dB(??) by mena. And the frequency range in urban core area were 49.5~66.5dB(??) in day, 50.7~66.5dB(??) in evening. The frequencies with 60dB over were 250~4,000Hz. The citizen's responses for noise were very complaint. The sources of noise were speaklouder sounds of retailers, pedestrian and motorcar etc. The effect of noises were conversation disturbance, mental effect, disturbance of auditory organ, noneffect in order. The citizen's attitudes for life on end and beginning of the year were normal life.

미술관 웹사이트 운영과 미학적 가치

조광석 한국기초조형학회 2003 기초조형학연구 Vol.4 No.2

Due to the expansion of Internet, the moderns are living in a world of information. Nevertheless, people can get information faster and easier without connecting on internet, they can't avoid the desire to go online. Even an art gallery and museum, which exists in the reality, makes a web site to display exhibitions and to show some works exhibited in the art gallery. Without a removal of the physical location, we can get directly by internet information of art works (exhibited in the gallery), resources, and lots of other information concerning the exhibition.However, this kind of exchange of information has its limits. It's only the minimum to find information. Like most of the other sectors in the modern society, the contents of modern art is rapidly changing, and comparing with its multifarious and in-depth contents, the technical skill of computer programs are also progressing without stopping but there is some insufficiency to express it all.Even though it has some limits, it is possible that internet do the new function of the museum, beyond a fonction to simply offer information by its site.To active these potentialities, I'd like to accent that, in this thesis, the system showing the effective works in the internet and the study of its interpretation have to be premised. Visualizing of materials' analysis and development of digital technology that can show the fruit of the research has to be done together. 인터넷 정보망의 확산으로 정보의 홍수를 경험하게 되고 또 오프라인상의 많은 정보를 더욱 쉽게 온라인으로 획득하려는 욕구가 점점 커져가고 있다. 마찬가지로 오프라인으로 존재하는 미술관의 경우도 웹 사이트를 이용하여 미술관에 소장하는 자료를 비롯하여 다양한 전시활동의 정보를 제공하고 있다. 우리는 장소의 이전이 없이 쉽게 인터넷을 통하여 미술관에 소장되어 있으며 관람할 수 있는 자료, 전시와 그 밖의 활동에 관한 정보를 얻을 수 있다. 그러나 이러한 정보의 교환이나 안내는 주어진 환경에서 대상에 관한 불확실성을 제거하기 위한 최소의 방법에 머물러있다. 현대미술과 같이 급진적인 예술체계에서 전달할 내용은 항상 변화되고 그 내용이 복잡한데 비하여 컴퓨터와 프로그램의 기능이 쫓아가지 못하고 있기 때문이다. 이와 같은 부정적 측면에도 불구하고 인터넷상의 사이트가 단순한 미술관 정보를 제공하는 것을 넘어서 미술관에서 새로운 기능을 수행할 수 있을 것이다. 미술관에서 제시되는 작품이 가상을 추상적 단계로 제시하고 있고, 사이버 상에서 제시되는 작품에 대한 2차적 가상의 이미지는 우리에게 시간적, 물리적 제약을 벗어나서 새로운 소통의 가능성을 담아내고 있다. 본 논문에서는 실제작품을 보여주는 방식, 제시 작품의 다양성, 그리고 작품의 해석 등의 연구가 전제되어야함을 강조하고자 한다. 그리고 그러한 연구를 보여줄 수 있는 분석 자료의 시각화와 디지털 기술의 개발이 함께 되어져야 한다. 그리고 관객과의 소통을 원활하게 하기 위해서 미술관에 관한 정보제공과 그것을 일상적으로 활용하기 위한 노력이 필요하다.

작품 발표와 전시제도

조광석 현대미술학회 1999 현대미술학 논문집 Vol.1 No.-