고든 마타-클락의 설치작업에 나타난 국제 상황주의(Situationist International) 정신 = The Situationist International Embedded in the Psycho-geographical Deconstruction of Gordon Matta-Clark

다국어 초록 (Multilingual Abstract)

After studying architecture at Cornell University and receiving his degree, Gordon Matta-Clark (1943–1978) worked for about a decade (ca. 1969–1978) on architectural buildings or objects that were destined for demolition or dismantlement. While assisting land artists on the occasion of Earth Show, which was organized by Willoughby Sharp, a New York-based independent curator, the young architect met Robert Smithson and Dennis Oppenheim. After the initial advice of Sharp, Matta-Clark moved to the SoHo area in New York and formed the "Anarchitecture" group with young and emerging artists, including Laurie Anderson. The artist established an open kitchen space called "Food," in which the artist proposed his own menu, and ran the space in collaboration with other artists as a "nonprofit." From then until his death in 1978, Matta-Clark created a limited number of "temporary and transient" works and recorded them in moving images and photo-collages.
In this paper we make a close examination of Gordon Matta-Clark’s deconstructionist architectural and non-architectural works in line with theoretical terms suggested by the Situationist International (SI) group of the late 1960s. In the first chapter, I look at Gordon Matta-Clark’s theoretical terms such as "anarchitecture," which is expressed in important documents and texts as well as "art cards" found in the Matta-Clark archives housed at the Canadian Centre for Architecture in Montreal. Examining and reading these materials thoroughly, I analyze the way in which "anarchitecture" embodies the "anarchy" of Capitalism in his architectural thoughts on the one hand and the spirit of "entropy" on the other. These ideas were vividly attested to in his interview with Avalanche, published by Sharp and Liza Bear in the early 1970s in New York.
The second chapter explores SI’s ideas on everyday life along with "informe" and "entropy," which were discussed in Formless: A User’s Guide written by Rosalind Kreauss and Yve-Alain Bois to explain the significance of artists Robert Smithson and Matta-Clark as postwar artists of entropy. Matta-Clark’s Garbage Wall and Threshold are perfect examples of "de-architecturalization" of dismantled entropy. The word Threshold also implies a pun, as in "trash-hole" in which the voyeuristic gaze is operating in the empty holes of the Bronx building. The meaningless trash or abandoned spaces are endowed with new psychological identities while Matta-Clark practices and "tactics" of everyday life.
The third chapter considers the SI’s détournement and his anarchitectural works à la Situationist Internationale. The détournement is the aesthetic reuse of preexisting elements in the city in which Guy Debord, Asger Jorn, and Constant Nieuwenhuys construct "situations" in conflict with capitalist spectacles. The Guide psychogéographique de Paris: discours sur les passions de l’amour of 1956, created by Debord and Jorn, and the Naked City, as well as the New Babylon are discussed in detail since I identity Matta-Clark’s architectural works within the context of situationist architecture in the tangible absence of situationist artworks. In this sense, Matta-Clark’s works including Conical Intersect, Office Baroque, and Splitting are all ephemeral and inaccessible, resulting from the inability to take possession of them, and thus be unable to keep them in galleries or museums. The "devalorization" of his works was constructed as "moments" or "situations" whose psycho-geography can be recorded in his photography and moving images.

국문 초록 (Abstract)

코넬대학교에서 건축을 전공한 고든 마타 클락은 해체되거나 철거될 상황에 있는 건물을 선정해 1969년부터 1978년까지 약 10년 동안 반(反)-건축적인 작업을 진행했다. 그는 1969년 2월 코넬대학교에서 있었던 '대지미술전'을 도우면서 뉴욕거주 독립 큐레이터였던 윌로비 샤프(Willoughby Sharp)와 대지미술가 데니스 오펜하임(Dennis Oppenheim), 로버트 스밋슨(Robert Smithson) 등을 알게 되었다. 그는 이후『Avalanche(사태)』를 출판한 샤프의 권유대로 뉴욕으로 와서 수잔 해리스(Suzanne Harris)와 로리 앤더슨(Laurie Anderson) 등과 함께 '아나키텍쳐(anachitecture)' 그룹을 조성하였다. 이 그룹은 소호에서 '푸드(food)'라는 오픈 키친 형태의 대안공간을 중심으로 진행되었으며 '푸드'는 '비영리' 개념으로 다른 작가들과의 협업 작업을 중요시했다. 이 시기부터 1978년 췌장암으로 죽을 때까지 마타-클락은 '일시적이고 순간적인' 작업을 버려진 건물을 중심으로 프로젝트성 작품을 제작하였고 이를 다시 영상과 사진으로 기록하기 시작했다.
본 논문은 1970년대에 관심을 가졌던 비정형이나 엔트로피 형태의 새로운 예술과 더불어 '아나키텍쳐'라는 작품 개념을 통해 마타-클락이 어떤 식으로 버려진 공공건물이나 개인 공간에 대한 재해석을 풀어내는지를 밝힌다. 연구자는 이러한 논의를 1960년대 프랑스를 중심으로 전개된 국제 상황주의(Situationist International)와 연관시켜 살펴보며 특히 캐나다 몬트리올에 소재한 캐나다 건축센터에 있는 마타-클락의 '예술카드'에 있는 텍스트를 중심으로 논의한다. 마타-클락이 주장한 '아나키텍쳐' 논의를 중심으로 자본주의에 대한 비판이 형식상 '엔트로피(entropy)'한 형식적 관점과 어떻게 맞닿아있는지를 살펴봄으로써 일시적인 성격을 지녔던 그의 작품세계를 집중적으로 조명한다. 이러한 개념들은 1970년대 초반 리사 베어(Liza Bear)와 샤프가 함께 출판한 『사태』에서도 깊이있게 다뤄졌다.
다음 장은 본격적으로 국제 상황주의자들이 내세운 일상성의 개념뿐 아니라 기 드보르(Guy Debord)에게 영향을 준 앙리 르페브르(Henri Lefebvre)의『일상생활 비판(Critique de la Vie quotidienne)』 등을 로잘린드 크라우스(Rosalind Krauss)와 이브-알랭 브아(Yve-Alain Bois)가 『비정형: 사용자 설명서(Formless: A User's Guide)』에서 언급한 '엔트로피'와 연관시켜 다룬다. 논의에서는 마타-클락의 <쓰레기 벽(Garbage Wall)>이나 뉴욕 브루클린 다리 밑에서 주운 쓰레기를 보여주는 영상작업 <Fire Boy>, <문지방(Threshold)> 등에 대한 분석이 포함된다. 'Threshold'가 'trash'와 'hole'이라는 언어적 유희였다는 점에서 알수 있듯이 마타-클락은 한 작품에서 다의적 의미를 유도했으며 구멍을 통해서 관찰자의 관음증적인 시각, 심리지리학적인 경험을 증폭시켰다. 마지막 장은 프랑스 출신의 기 드보르(Guy Debord)와 덴마크 출신의 아스거 욘(Asger Jorn), 콩스탕(Constant) 등의 상황주의자들이 내세우던 '전용(轉用, détournement),' '심리지리학(psychogeography)' 등이 마타-클락의 작품에서 어떻게 개념화되었는지를 다룬다. 드보르와 욘이 파리 지도(Plan de Paris à vol d'oiseau, 1956)를 콜라주 식으로 변형시켜 만든 <파리의 심리지리학 가이드: 사랑의 열정을 위한 담화(Guide psycho-géographique de Paris: discours sur les passions de l'amour)>(1956), <발가벗은 도시(Naked City)>, <뉴 바빌론(New Babylon)> 등을 살펴본다. 그러나 이들 상황주의자에게 상황주의 정신은 있었지만 상황주의 미술이나 ...

참고문헌 (Reference)

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2 장다은, "고든 마타-클락의 '건축-자르기'에 관한 연구: 물리적 구멍의 심리사회적 의미로의 확장" 홍익대학교 2008

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