철학적 담론과 그림이미지― 루이 알튀세와 추상의 화가 크레모니니

서지정보

· 발행기관 : 대동철학회
· 수록지 정보 : 대동철학 / 41호 / 207 ~ 226페이지
· 저자명 : 이성훈

초록

The paper, one of a series of works to chase the relations between philosophical discourse and pictorial image, aims to critically review the specific relation between Althusser's philosophical discourse and the pictures by the Italian Artist Leonardo Cremonini. The assumption on which this study is based is the following. If there is a certain intimate relation between a philosophical discourse and a pictorial image, it should not be attributed to the personal and accidental love of art expressed by the philosopher in question. The relation is caused or required by the structural and theoretical presuppositions in which his system of philosophy is embedded.
And then the paper is looking for the wider context in which Althusser's art theory could be placed, which I think is the problem of legitimacy of contemporary art raising very frequently the "Is it art?" question. This question can be transformed into the question "How to read the contemporary art?" or "How to get a scientific knowledge of art?" At this point, Althusser is expected to offer the possibility to establish one's own discipline's( in my case, philosophy of art's or scientific art theory's) theoretical basis. I'm sure that Althusser's thought opened up and still contains a lot of promising theoretical paths to intervene in so many areas including philosophy of art and art theory as well.
After reviewing the general relations between art and ideology and their consequences for probing into the specificity of art, the paper attempts to analyze the ideological readings of art and show that Althusser offers the materialist-symptomatic reading as an alternative. In fact, it could be said that the whole works done by Althusser could be summed up in the phrase "the labour of reading".
Finally, the study looks into the paintings by Leonardo Cremonini, the only ones mentioned by Althusser himself. Althusser maintains that Cremonini does not paint objects or even human subjects and that the fundamental object of his work is the structure of relations by which what appear to us in humanist ideology as subjects and objects are really linked. That's why Althusser calls Cremonini a painter of the abstract, not an abstract painter. In historical materialism, the relations between people and objects are abstract. That is, they are not immediately given to human perception, but must be found by scientific analysis. For Althusser, it is precisely these relations by which our lives are determined that constitute the object of Cremonini's paintings. In conclusion, Cremonini's paintings, Althusser argues, show us visually what Marx's analysis of Capitalist society tells us scientifically.

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