로버트 스밋슨의 울트라모던 시·공간 개념과 동시대적 의의 (The Concept and the Contemporary Significance of Ultramodern Time and Space in Robert Smithson's Work and Theory)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 38호 / 7 ~ 32페이지
· 저자명 : 김정현

초록

본 논문은 엔트로피 개념을 적극 활용한 로버트 스밋슨의 작업세계에서 그동안 간과된 울트라모던 시·공간 개념과 그것의 동시대적 의의를 제시하고자 했다. 스밋슨은 유기적이고 진보적인 모더니즘의 시·공간 개념을 비판하며, 1930년대의 울트라 빌딩들에서 우주적 시간, 즉 무시각적인 울트라 순간을 파악했고, 이와 관련하여 울트라 시·공간 개념을 도출해 냈다. 우주적 순환적 질서를 상기시키는 이 개념은 그의 전작을 관통하며 동시편재성의 동시대적 전위성을 시사했다.

영어초록

This study has an object in view finding the contemporary significance about the Ultramoderne time and space which Robert Smithson had showed through his works and Entropy concept. The term, “entropy”, was reinterpreted in a broader way with multiple meanings as it is associated with such matter of value as the exhaustion of usable energy and production of wasteful garbage as a result in addition to its use in physics as digitalized disorder. At 1960s in the progress of switching from modernism to post-modernism, he became ahead of his times and criticised the modern time and space focusing on the positive advance. Robert Smithson was the avant-garde artist who projected this energy consumption of human being and mechanism of entropy in their works in a specific way. To achieve this, he presented a cosmic time, or ultra instant, which cannot return to a single vanishing point and is not fallen by simulacre space and gradual time, in skyscrapers filled with mirrors. Furthermore, the simultaneous ubiquity of existence and non-existence that he suggested through the dialectical convergence of <Site and Non-Site> is understood as a symptom that predicts contemporary art at the speed of light. His work reflects the attributes of post-modernism that ultimately change the existing recognition regarding entropy and embrace social problems by art.

참고자료

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