민중미술에 나타난 남성성: '자아부재'의 극복을 위한 나르시시즘과 페티시즘의 이중적인 성정치 (A Study on the Masculinity Represented in Minjung Art : the dual form of sexual politics of Narcissism and Fetishism)

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 17권 / 1호 / 7 ~ 51페이지
· 저자명 : 박현화

초록

본 연구는 그 동안 ‘민족주의 담론’이라는 숭고적 미학의 패러다임 속에서 논의되어 왔던 민중미술을 ‘남성성’과 관련된 젠더연구의 패러다임으로 새롭게 재해석해보고자 하였다. 민중미술은 사회의 현실을 직시하며 발언하였던 리얼리즘의 이면에, 개인적이고 성적인 존재로서의 심리적 현실 또한 표출하고 있다.
민중미술이 전개되었던 80년대의 급변했던 사회현실은 남성작가들에게 심리적으로 거세의 위협으로 다가왔다. 민중미술은 이러한 ‘자아 부재’의 위기극복을 위한 다양한 심리적 방어기제들을젠더적 도상이나 수사 형식을 통해 재현하고 있다. 본 연구는이들 중에서 타자로서의 여성에게 자신을 투사(projection)하면서 거세의 위기를 극복하고 사회적 주체로서 자신의 위상을 되찾고자 욕망하는 남성성의 한 측면으로서의 나르시시즘과 페티시즘 구조를 민중미술의 이미지를 통해 살펴보았다. 민중미술에나타난 남성주체의 나르시시즘과 페티시즘의 이중적인 태도로보았을 때, 결국 이러한 심리적 방어기제들이 결국 ‘자아부재’의위기를 극복하기 위한 성정치라는 사실을 깨닫게 한다.

영어초록

The work of interpreting and evaluating the art of our times must be undertaken very carefully in terms of securing objectivity from the latter's temporal distance. This is particularly true for works which contain certain ideologies of certain periods of socio-political change. The Minjung Art, or political folk art, of Korea is a living example of such.
Minjung Art has thus far been mostly discussed in the paradigm of the sublime aesthetic of democratic discourses.
However, is it true that Minjung Art has always been limited to a utopian dream in which the masses are liberated under the slogans of post-colonialism and anti-dictatorship? Various elements of mass culture are being appropriated in quite a few political Minjung Artists' works. Of the images associated with these, how should the phobic and abusive attitudes toward female sexuality in particular be interpreted? Also, how should the peculiar forms and matter such as open wounds, feces, pools of blood, ghosts and corpses, etc., which are being ceaselessly explored in Minjung Art, be interpreted? Answers to the questions above can no longer be sufficiently drawn out through the political ideology of democracy alone. In that regard, this study was planned as part of an attempt to freshly reinterpret Minjung Art through a paradigm of gender studies related to masculinity, transcending pre-existing perceptions and under the premise that Minjung Art, on the other side of its realism of having directly faced and spoken about social realities, are expressions of psychological realities as well by the artists as personal and sexual entities.
The sense of crisis due to the long-standing repressions of the Fascist regime or the traumas due to the Gwangju Massacre in step with the new military regime coming to power approached the Minjung Art artists as a psychological reality in the form of castration anxiety, and the artists are revealing a tendency to project themselves in the femininity which exists in their inner selves in order to overcome this and make a comeback to being social subjects again. This has been expressed in the dual form of sexual-politics of either pursuing or excluding femininity, i.e. in the forms of narcissism and fetishism. First, the narcissism of Minjung Art, as Kristeva had argued, was revealed as reforming one’s existence while exploring the matter (abject) and maternal space (chora) of a pre-Oedipal stage. On the other hand, fetishism is being revealed as an allegorical figure of speech which sheds itself of sexual objectives, expresses a nationalistic discourse by loathing the female sexuality revealed in images of the mass media or allowing them to become objects of abuse.

참고자료

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