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정헌이(Jung Hunyee),진휘연(토론자) 한국미술사교육학회 2001 美術史學 Vol.15 No.-
The modernist art history is often regarded as iconoclastic in its impulse to exclude any recognizable figures from the art work. Modernist art went against any narrative based on the image and reduced its task into a sort of autistic self criticism, for the purity of self definition. Yet this article tries to find out the symbolic icon that is alway there behind the iconoclastic gesture of the modernist art. The grid, as the representative icon of the modernist art, is omnipresent in the history of modem art. As the concept of “icon” is problematic between ‘good image’ and ‘bad image’, between miracle and fetish. so the grid manifests its being both spirit and matter at the same time. Pop art that is often understood as “the return of the content” and as the beginning of post-modem art, in fact internalized the structure of grid. The “icon” in the pop art is very different in character compared with the icon in the pre-modem art. Pop imagery is a kind of ready-made, appropriated images from the mass media and commodity. Art after modernist art nulled out the concepts of originality and authenticity, and took “repetition” as one of its strategies to obtain that goal. And “repetition” is the very structure of the modernist grid. An art work is endowed with its artistic identity and value from the institutional mechanism which is in a sense getting more and more psychological and epistemological within the art-world. The identity of an art work is not what the art work has but that which is projected to it by us. Art, ironically, becomes what we believe it is. Art is not autonomous. Art which no longer has any use value had to appeal to the soul, compelled to certificate itself as art by obsessively acting itself. If art work always exceeds its very image, this surplus value is bestowed on it by the audience who not only look at but also hear from the history of modern art. There is this observation that our century is the century of image, and the power of image will be getting more vigorous. The digital reproduction and cyber technology will develope visually more powerful simulacra, and we will share the artificial reality in the cyber space as if it is actual reality. In this dotted space of technological grid, the fear of image is internally connected with the charm of the image. Magic or fetish, this is the paradox of the icon. Yet, if we cannot imagine imaginative model for the reality, the cyber space will never represent any utopia.
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신방흔(Bang-Heun Cynn),정헌이(토론자) 현대미술사학회 2003 현대미술사연구 Vol.15 No.-
This thesis forcus on the homosexual character of the textual production and modern culture in general. Especially I try to ascribe significant textual character or inscription to auto-eroticism, which means sexual gratification obtained solely through stimulation by oneself and one's own body. In this thesis the auto-eroticism also ascribed to the same meaning as philautia, auto-affection, mimetic double science, identificatory mimetism.etc. Especially I borrowed the concept of para-, orignianlly derived from the atomic theory of para-pathetic complementarity. Also the concept of para-is centended to the Wihelm Stekel's idioms of paraphilia, parapathia, paralogia. He uses the paralogical concept in order to call paraphilia, parapsthia, paralogia instead of perversion, phychosis, neurosis. Especially he mentioned the paraphilia whole through the concept of the feticism. Both para-and feticism preconceived the notion of substructural process of split and double. Those processes are also related to the fetishistic part-object. All those processes are intrinsic to the subversive repetition of the 'being-there-for other' and 'inside/outside' relations. This process is a kind of finding the 'self-difference' or 'self-same-difference' as the relation of 'the other to itself in itself. It is a self-differentiate or 'self-differing' in self-same-other, in which recourse the auto-affection of philautia. Thus I insist on this thesis both textual discourse (language) and the visual text (painting) reveal the retrospective auto-erotic feticism. Derrida's Glas is a good example of it. gl produces body(ε"λη), sex(Υ?ros), voice(λuρα), writing(λ?Yειυ), but at the same time gl stops the process of them in thoses words. Thus John Sallis defined those process of λ??οι(logos) а?δε?τερο?πλο??(recourse) and aμα(at the same time). This process is not a triangle of oedipal complex, but de-oediphalized dualistic mode of psychology. De-oediphalized structure is related to the self-castration according to Freud and Stekel, in which we also find the para-site of feticism. Self-castration and fetishtic remorsal are kinds of self-destructive process which in theory introduces father-killing and bell-ringing of father, other names of Glas. And the Glas is symbolized as a phallic-flower both contained male and female sex, in which we also find the auto-erotic recourse and self-differing self.
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