비토 아콘치Vito Acconci의 작품에서 자율성과 소통의 미학 ―아콘치의 퍼포먼스를 중심으로 (Vito Acconci’s Work, Its Esthetic of Communication and Autonomy)

서지정보

· 발행기관 : 현대미술학회
· 수록지 정보 : 현대미술학 논문집 / 13권 / 163 ~ 186페이지
· 저자명 : 조광석

초록

Vito Acconci’s work begins from literature. Until 1968, he mostly
worked in a context of writing or in poetry. Acconci was interested in the
space of the book page, a structure within which the reader and the writer
could act together.
In his first visual artworks, he tries to communicate with the readers by
combining photographs with texts to document task-oriented activities.
Acconci’s work mentioned lots of dialogues between camera and body,
especially in the series of super-8 films and videos. And this would
become an essential aspect of his subsequent art work.
Between 1969 and 1974, he started to perform himself the over 200
conceptually structured and radical body-related pieces he have written
and developed in the past. His work was extremely simple in formal
terms, but psychologically highly intricate. These performances are
presented to the spectators as a recorded video, which made Acconci’s
work considered as visual art. In the fact that it involves the artist’s direct
participation on the scene, these works are certainly categorized as
performance art, but it is also considered as early works of video art for its
use of media.
In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of
resistance to the traditional forms of artand at the same time,an act of
revolt against the art market for its need of new forms and which were
facing the threshold of modernism. However, so as to be accepted as art
works, performances had to comprehend the acknowledged motivations of
modernism. In other words, these works refer a lot to the characteristics of
visual art, but within the base of autonomy. As performance rejects
materialistic mediums, this brings us to the problem of durability. In the
case of conceptual art, the use of signs allows its durable communication
but performance needs a way of recording as an action naturally
disappears in the moment it is acted.
So in this paper, we are going to deal with the problems of autonomy
in Acconci’s art work and analyze the act of revolt it intends to express.
Reaction and acts of revolt, as the base of performance art, are
expressed in the form of destructive actions, but this is accepted as an
extension of the art field. And this exhibition of revolt within the
performance art pulls apart the acts and the thoughts, which minimizes the
form of language and communication.

영어초록

Vito Acconci’s work begins from literature. Until 1968, he mostly
worked in a context of writing or in poetry. Acconci was interested in the
space of the book page, a structure within which the reader and the writer
could act together.
In his first visual artworks, he tries to communicate with the readers by
combining photographs with texts to document task-oriented activities.
Acconci’s work mentioned lots of dialogues between camera and body,
especially in the series of super-8 films and videos. And this would
become an essential aspect of his subsequent art work.
Between 1969 and 1974, he started to perform himself the over 200
conceptually structured and radical body-related pieces he have written
and developed in the past. His work was extremely simple in formal
terms, but psychologically highly intricate. These performances are
presented to the spectators as a recorded video, which made Acconci’s
work considered as visual art. In the fact that it involves the artist’s direct
participation on the scene, these works are certainly categorized as
performance art, but it is also considered as early works of video art for its
use of media.
In the beginning of the 1970s, along with conceptual art, performances and installations aroused a lot of controversy. These represented an act of
resistance to the traditional forms of artand at the same time,an act of
revolt against the art market for its need of new forms and which were
facing the threshold of modernism. However, so as to be accepted as art
works, performances had to comprehend the acknowledged motivations of
modernism. In other words, these works refer a lot to the characteristics of
visual art, but within the base of autonomy. As performance rejects
materialistic mediums, this brings us to the problem of durability. In the
case of conceptual art, the use of signs allows its durable communication
but performance needs a way of recording as an action naturally
disappears in the moment it is acted.
So in this paper, we are going to deal with the problems of autonomy
in Acconci’s art work and analyze the act of revolt it intends to express.
Reaction and acts of revolt, as the base of performance art, are
expressed in the form of destructive actions, but this is accepted as an
extension of the art field. And this exhibition of revolt within the
performance art pulls apart the acts and the thoughts, which minimizes the
form of language and communication.

참고자료

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