제라르 프로망제, 질 들뢰즈, 미셸 푸코 :접속과 탈주 (Gérard Fromanger, Gilles Deleuze and Michel Foucault: Connection and Flight)

서지정보

· 발행기관 : 현대미술사학회
· 수록지 정보 : 현대미술사연구 / 44호 / 69 ~ 92페이지
· 저자명 : 한의정

초록

본 연구는 신구상 회화 작가인 제라르 프로망제의 작품세계를 질 들뢰즈와 미셸 푸코의 글을 중심으로 살펴본다. 들뢰즈는 「차가움과 따뜻함」(1973)에서 프로망제의 색의 기능을 다루며, 푸코는 「포토제닉 페인팅」(1980)에서 프로망제의 사진 활용 방법에 집중한다. 두 글을 통해 프로망제의 회화에서 만나는 푸코와 들뢰즈의 접점과 분기점을 확인할 수 있을 것이다

영어초록

Gérard Fromanger is an artist who is mentioned in the flow of Nouvelle Figuration or Figuration Narrative in art history. The works and activities presented by Fromanger during the 68 Revolution were a clear manifestation of his political character. However, Gilles Deleuze and Michel Foucault focused on his aesthetics rather than his critical mind in their reviews.
In “Cold and Heat”(1973), Deleuze deals with the function of the color in Fromanger’s works. Fromanger shows connection, disjunction, and conjunction of cold and warm colors on canvas, and crosses the cycle of life and death. Fromanger’s work is hyperrealism because it does not reflect reality as it is, but it extracts coolness and warmth from reality and creates heightened reality. In “Photogenic Painting”(1975), Foucault follows the play between photography and painting in the 1880s and 1900s, concentrating on the image itself from the crossing of both arts. It is pop art, hyperrealism, and Fromanger’s works, which restarted the “connection to infinite circulation of images” that had disappeared with the emergence of aesthetics emphasizing the media in the 20th century. Fromanger projects a photo in the dark and paints the events that occur here. In the series of “photo-slide-projection-painting” by Fromanger, the image is not fixed, passes through the series, and generates a new series. The flight and connection of the image described by Foucault resembles Deleuze’s thought. In other words, connected to Fromanger’s paintings, the ideas of the two philosophers add coldness and warmth to each other and create another series.

참고자료

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