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- 저자 : 이문정(Moonjung Lee) (검색결과 3 건)
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캐롤리 슈니먼<SUP>Carolee Schneemann</SUP>의 1960년대 퍼포먼스와 사바트<SUP>sabbat</SUP>의 재현
이문정(Moonjung Lee) 현대미술사학회 2015 현대미술사연구 Vol.0 No.37
Carolee Scheemann has used her body as her primary medium of philosophical and socio-political criticism since the 1960s when the discussion on feminism did not begin in earnest in art. Schneemann’s performance in the 1960s had a trait of the sabbat, which was the coven and the carnival of women, in the content and format. Firstly, Schneemann performed an erotic rite representing in a public sphere the sexuality and body that made women witches. Her performance violated social taboo and integrated sanctity and secularity. Secondly, Schneemann displayed an act of animism through her performance. She also presented herself as a offering to a goddess, a priestess, and a goddess. Thirdly, Schneemann has carried her performance like a divine ritual through the chaotic theater of cruelty and carnival for purification that coexists eros and thanatos, creation and extinction, and joy and despair. Schneemann’s performance is the restoration of the pre-symbolic and eruption of the semiotic. Her performance, which gives a free rein to repressed unconsciousness and stirs up imaginary defiance, brings out the regeneration and rehabilitation that breaks down a hardening of society and creates a fluidly moving world.
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여성 미술에 나타난 애브젝트abject의 ‘육체적 징후’somatic symptom와 예술적 승화
이문정(Moonjung Lee) 현대미술사학회 2012 현대미술사연구 Vol.0 No.32
A male body was set on the basis of gender differences in the most of the patriarchal society and other characteristics of the female body were categorized. The men"s domination and discrimination over women were justified by this basis. Female artists have been trying to criticize and overcome the dichotomous logic of patriarchy which has made the body of women to be objectified and oppressed. In this process, some of women artists put women"s body and the workings of them that have been dismissed ugly and despised to the forefront. Also, they combine disgusting and cruel images here. These attempts are closely related to Julia Kristeva"s theory of abject. Diverse aspects of abject that mean something dirty, low and disgusting neither the subject nor the target which threat to clear identity, system and order standing in the border of the subject and the object are done the most active in the body-flesh, the mother-women area. The typical way of control and sublimation to the threat and ambiguity of abjec in the society is an art. The works of art from Kiki Smith, Hannah Wilke and Ana Mendieta discussed in this paper have significance of feminism because their works have an implementation of a new female identity with the liberation and the subject from the targeted images of women those were reproduced in art. The combination of abject and women of flesh leads to the society of diversity coexisted to recover the value of women that has been considered to be humble and to criticize the problems of a patriarchal society. Also, if the ‘omatic symptom’of abject is sublimated artistically, new aesthetic categories are created by showing images and behaviors those do not conform to the symbolic order, stereotypes and social norms. As a result, ‘omatic symptom’of abject appeared in the art of women leads dichotomous world to think as an open structure not closed. Also, that dismantles the imbalanced power of uniformity dividing gender, race, mind and body, human and nature, civilization and raw, high and low grade, normal and abnormal, beauty and ugliness oppositively and guides us the new world that pluralism coexisted.
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최우람의 키네틱 조각에 나타난 인간 존재의 양가성과 종교성
이문정 ( Lee¸ Moon Jung ) 한국기초조형학회 2021 기초조형학연구 Vol.22 No.5
최우람은 움직이는 기계생명체를 보여주는 키네틱 조각(kinetic sculpture)을 통해 기계 문명과 인간 사회를 고찰한다. 상상력과 기계의 결합으로 탄생한, 유기체 같은 정교한 움직임의 기계생명체들은 과학기술의 전개와 발전을 보여주는 동시에 기계생명체가 인간과 자연스럽게 공존할지도 모르는 미래에 대한 작가적 상상을 담아낸다. 이와 같은 최우람의 키네틱 조각이 전하는 가장 핵심적인 주제는 인간의 본질에 관한 고찰이라 할 수 있다. 이에 본 논문은 최우람의 키네틱 조각에서 중요한 부분을 차지하는 인간 존재에 관한 탐구와 관련해 양가성과 종교성에 초점을 맞춰 연구를 진행했다. 연구를 위한 이론적 바탕으로 삶과 죽음을 다룬 철학적 논의들, 바니타스(Vanitas)의 개념, 종교에 관한 에리히 프롬(Erich Fromm)의 이론과 유발 하라리(Yuval Noah Harari)의 기술종교(techno-religion) 등을 다루었다. 우선 양가성과 관련해서는 지배자와 공유자, 삶과 죽음에 초점을 맞췄다. 최우람의 기계생명체는 마치 신처럼 생명을 창조하고 지배하려는 인간의 도전을 은유하며, 인본주의와 문명의 발전을 근거로 위계질서를 정당화했던 역사에 대한 자기반성이다. 또한 모든 생명에 본질적으로 존재하는 절대적 부재인 죽음을 통해 인간의 존재 원리를 숙고하는 것이기도 하다. 종교성의 경우 최우람이 창안한 시간 신과 네트워크의 신을 중심으로 분석을 진행했다. 최우람은 인간의 지향체계이자 헌신의 대상인 종교를 다룸으로써 인간의 욕망뿐 아니라 과학기술 시대를 반영하는 종교와 신앙의 변화를 숙고할 수 있는 기회를 제공한다. 최우람의 작품에 나타난 인간 존재의 양가성과 종교성을 살펴보는 본 연구를 통해 역사적으로 미술의 주된 주제였던 인간에 관한 탐구가 동시대 미술에서는 어떠한 방식으로 이뤄지는지 확인할 수 있었다. Uram Choe examines the mechanical civilization and human society through kinetic sculptures that show moving machine life(Anima Machine). Created by a combination of imagination and machine with sophisticated movements like an organism, machine life forms show the development of science and technology, and at the same time, capture the artist’s exploration of the future where the machine life forms may naturally coexist with humans. The most important message conveyed by Choe’s kinetic sculptures is the examination of the human nature. This study thus focuses on the topic of ambivalence and religiosity in relations to the exploration of human existence, which is an important part of Choe’s kinetic sculpture. As a theoretical background for the study, philosophical issues dealing with life and death, the concept of Vanitas, Erich Fromm’s theory about religion, Yuval Noah Harari’s techno-religion, and the like were covered. First, in terms of ambivalence, the focus was on two aspects, one is about the ruler and the sharer, the other is about life and death. Choe’s Anima Machine is a metaphor for the challenge of humans to create and rule over all life forms as if they were gods and is a self-reflection regarding history that has justified hierarchy based on humanism and the development of civilization. It also contemplates on the principles of human existence through death, an absolute absence of what exists in all life. As for the religiosity, his analysis is centered around the God of Time and the God of Network for which he created. Through religion, the center of human orientation and the object of devotion, Choe provides an opportunity to contemplate not only on the human desire but also techno-religion in reflection of the age of science and technology. By examining the ambivalence and religiosity of human existence in Uram Choe’s works, this study examined how the exploration of human beings, which has historically been the main subject of art, is represented in contemporary art.
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