현전-부재의 흔적: 그림자의 현대적 변용에 관하여 (The Trace of Presence-Absence: About the Contemporary Usage of the Shadow)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 37호 / 223 ~ 245페이지
· 저자명 : 한의정

초록

대상의 현전과 부재의 증거가 되는 그림자는 서양문화사에서 다양한 의미로 해석되어왔다. 플라톤, 플리니우스, 융, 데리다가 설명하는 그림자는 환영, 영원, 어둠, 타자성 등의 특성을 갖는다. 이 연구는 현대미술에서 활용된 그림자들의 예를 통해 이와 같은 그림자 사유와 만나는 접점을 찾아본다.

영어초록

Shadow demonstrates the presence of an object, but it is also a proof of the absence because it doesn’t contain any part of the substances. Because of the duality, shadow is considered as the bearer of multiple significations. Platon offers the negative character, ‘illusion’, to the shadow. Shadow is only an image of an image, a deformation of adeformation of a reality and far off the essence of a thing. ‘Skiagraphy’ by Butades’s daughter, quoted in Natural History by Pliny, is to record the trace of her lover, namely, a substitute for the absence with the presence. We look for the platonic illusion through Christian Boltanski, and the inversion of the allegory of the cave through Bruno Perramant. A characteristic of the modern thought on shadow is the separation of the self, and an encounter with the other. The shadow by Jung is related to the dark side of the self. Gregory Crewdson extends it to the unconscious aspect of a society. In the deconstructionism of Derrida, the origin of the ‘I/self’ tracks back to ‘encounter with the Other before I am.’ The painting as the shadow is a place of the play of presenceabsence, and here I always encounter the other. In this respect, in Three Portraits (1984) by Francis Bacon, the other(’s photography) causes ‘I’(my shadow) and these shadows transcend the border between ergon and parergon.

참고자료

· 없음