1990년대 이후 미디어 설치예술에서 나타나는 스크린의 표면배치와 관객성의 관계: 더그 에이트킨, 타시타 딘을 중심으로 (The Relation between Surface-Assemblage of Screen and Spectatorship: Doug Aitken and Tacita Dean)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 37호 / 69 ~ 94페이지
· 저자명 : 안구

초록

이 논문은 1990년대 미디어 설치에서 많이 등장하는 다중 스크린의 배치-표면에 대한 연구이다. 나아가 더그 에이트킨의 <전기지>(1999)과 타시타 딘의 <필>(2011)에 나타나는 작품의 작동원리와 관객과의 관계 곧 관객성을 연구한다. 들뢰즈의 형상개념을 바탕으로 다중 스크린이 전시장 공간 속에 놓였을 때 반환영적 영역으로서 비관계의 관계를 표면으로 들어 올리는 요소들 곧 운동과 시간 그리고 형상과 사건을 중심으로 살펴본다.

영어초록

This paper examines operation of work and relation with spectator which demonstrate in Electric Earth (1999) of Doug Aitken and Film (2011) of Tacita Dean. Doug Aitken seeks to develop the self as constituting a whole with the other. Besides, the artist is asking the question to the meaning. In other words, his work is coming down to a surface. It is the one that operates as a surface. Tacita Dean expresses the world of analog. She regards analog with the shelter of life. It is analog and the shelter of life that designate the sphere of surface. In my reading of the two works, I have attempted to explore the elements of surface as movement, time, “figure(in Gilles Deleuze’s theory)” and event. Figure is a fundamental factor which operates surface as generating time. Figure enters into relation of nonrelation as going around surface and encountering other figure and meaning. The relation of nonrelation unfolds connection, conjunction and disjunction. Also, Operation of connection, conjunction and disjunction are concluded in figure again. The works of Doug Aitken and Tacita Dean eventually are Figure. Each works as figure encounters spectator again. In the last chapter, my paper argues the way figure and spectator enter into relation of nonrelation. Figure attracts spectator. Spectator encounters figure. Spectator stops consciousness and operators its body. Spectator desires outside beyond the self. It is here that thought begins. The birth of spectatorship is appearance of thoughtful spectator.

참고자료

· 없음