특집1 : 오노 요코의 <그레입프루츠(Grapefruit)>: 공포와 좌절, 아브젝시옹(abjection)의 퍼포먼스 = Yoko Ono`s Grapefruit: The Performance of Horror, Frustration, and Abjection

다국어 초록 (Multilingual Abstract)

Yoko Ono`s Grapefruit: The Performance of Horror, Frustration, and Abjection Jung-Ah Woo This paper deals with Yoko Ono`s Of A Grapefruit in the World of Park in its multiple forms of poetry, musical score, and performance. The artist`s seemingly private desire for acceptance and her fear of rejection are accounted for in terms of the fundamental loss of nation. This locus of loss is further related to Ono`s exploration of the structural impossibility of representation. In place of conventional representation, Ono`s works mobilize fragmented texts, hidden images, and disorderly theatrical ambience as a means to reenact the psychophysical effects of the horror, as well as generate the anxiety, of the ultimate failure of communication. Indeed, Ono`s profound anxiety in relation to the devastating impact of recurring war and the pressing question of art`s political responsibility were implicitly and explicitly inscribed in her body of works. The tension between the ascetic, sophisticated, and highly aesthetic realm of the Zen paradigm and the violent, corporeal, and extremely resistant sphere of authentic Japanese culture fueled the dynamics of Ono`s practices within the context of Japanese avant-garde art of the 1960s. The issues of cultural origin are theorized in terms of the abject and poetic language as conceived by Julia Kristeva. Ono`s Cut Piece, undoubtedly her signature work, is a startling embodiment of the longing for a collective unity on the one hand, and a horrific display of violence against differences for the sake of the unified community on the other. Significantly, this frustrated desire for communal unity was later channeled into political protest during the turbulent era when memories of Hiroshima overlapped with the disaster of the Vietnam War.