캐롤리 슈니먼의 1960년대 퍼포먼스와 사바트의 재현 (Carolee Schneemann’s Performance of the 1960s and Reproduction of Sabbat)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 37호 / 121 ~ 152페이지
· 저자명 : 이문정

초록

캐롤리 슈니먼의 1960년대 퍼포먼스들은 그 내용과 형식에서 마녀들의 집회이자 여성들의 카니발인 사바트적 특성을 갖는다. 슈니먼의 퍼포먼스는 몸과 정신의 분리를 없애고 모순과 양가성의 통일을 가져오는 한편 남성 창조주 이전의 여신 문화에 대한 영감을 제공한다. 이는 전 상징계적 세계를 복원시켜 사회의 고착을 허물고 정화와 갱생을 이끌어낸다.

영어초록

Carolee Scheemann has used her body as her primary medium of philosophical and socio-political criticism since the 1960s when the discussion on feminism did not begin in earnest in art. Schneemann’s performance in the 1960s had a trait of the sabbat, which was the coven and the carnival of women, in the content and format. Firstly,Schneemann performed an erotic rite representing in a public sphere the sexuality and body that made women witches. Her performance violated social taboo and integrated sanctity and secularity. Secondly, Schneemann displayed an act of animism through her performance. She also presented herself as a offering to a goddess, a priestess, and a goddess. Thirdly, Schneemann has carried her performance like a divine ritual through the chaotic theater of cruelty and carnival for purification that coexists eros and thanatos, creation and extinction, and joy and despair. Schneemanns erformance is the restoration of the pre-symbolic and eruption of the semiotic. Her performance, which gives a free rein to repressed unconsciousness and stirs up imaginary defiance, brings out the regeneration and rehabilitation that breaks down a hardening of society and creates a fluidly moving world.

참고자료

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