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22대 대한민국 국회 국회정보길라잡이 국회의원검색
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ABSTRACT 7

제1장 서론 10

제1절 연구의 배경 및 목적 10

제2절 연구의 방법 및 내용 13

제2장 '아카이브'와 아카이브 미술 16

제1절 근대 아카이브와 이미지 아카이빙의 시작 16

1. 증거로서의 아카이브 16

2. 사건의 재현으로서 이미지 아카이브 18

제2절 아카이브에 대한 재해석과 아카이브 미술 21

1. 아카이브 담론의 확장: 근대 아카이브 비판과 재해석 21

2. 대항 담론으로서의 동시대 아카이브 미술 27

제3장 랑시에르의 '허구' 개념을 통한 아카이브 미술 분석 36

제1절 랑시에르의 예술론과 '허구' 36

1. '감성의 분할'과 불일치로서의 정치 36

2. 예술식별체제와 '허구' 45

3. 허구의 구체화 된 형식으로서 '몽타주' 54

제2절 동시대 아카이브 미술의 실천적 의미 58

1. 절대적 공간에서 불확실한 공간으로의 이행 58

2. 사례 분석: 토마스 허쉬혼, 호 추 니엔, 왈리드 라드 60

제4장 결론 68

참고문헌 71

그림목차

[그림 1] Alexander Rodchenko, The February Revolution, 1917 18

[그림 2] Alexander Rodchenko, The Death of Lenin, 1924 18

[그림 3] August Sander, Three Generations of the Family, 1912 19

[그림 4] August Sander, Berlin Coalheaver, 1929 19

[그림 5] Gerhard Richter, Atlas, 1962-2013 29

[그림 6] Tacita Dean, Teignmouth Electron, 2000 31

[그림 7] Hans Haacke, The Chocolate Master, 1981 33

[그림 8] Walid Raad, Missing Lebanese Wars(Notebook Voulume 72), 1981 34

[그림 9] Thomas Hirschhorn, Piet Mondrian Altar, 1997 61

[그림 10] Thomas Hirschhorn, Otto Freundlich Altar, 1998 61

[그림 11] Ho Tzu Nyen, CDSEA, 2012~ 63

[그림 12] Walid Raad, Hostage: the Bachar Tapes(#17, #31), 2000 65

초록보기

The purpose of this study is to find the artistic value of contemporary archival art as political art based on the concepts of 'politics' and 'fiction' by Jacques Rancière. Archive art is one of the main trends in contemporary art and aims to convey historical information and form memories by collecting and reconstructing various records. This paper focuses on the objectivity and absolute aspects of modern archives. Archives are originally evidence of history and have systematic and rational characteristics. However, post-structuralists criticized the power of these modern archives and reinterpreted modern archives. In this background, archive art emerged as a counter-discourse against modern archives.

In this study, the principle of composition of artists' works in contemporary archive art is assumed as a 'fictional' strategy presented by Jacques Rancière. And this study finds out what archival art is worth as political art. For Jacques Rancière, political art is an art that does not have a specific effect or purpose and is an art for acquiring autonomy in human experiences. In other words, it can be seen as an art that breaks off the existing distribution of the sensible and brings new sensible experiences. And the strategy to realize political art is what Jacques Rancière presents as 'fiction'. But, the fiction which Jacques Rancière presents is not 'false' and is not 'the constructing of an imaginary world'. This is the re-framing of the 'real', and the real thing is newly reconstructed to make it an art.

The reason why archive art can be a political art is that it presents an environment in which the audience can experience a new historical experience, away from the existing dominant discourses. Archival artists collect various records and reconstruct them. These artists' strategies can be seen as 'fiction' presented by Jacques Rancière. Jacques Rancière refers to 'montage' as an example of a specific aspect of fiction. The reason why he paid attention to the montage is the indeterminacy of the heterogeneity the montage brings. The indeterminacy brought about by fictional strategies can dismantle the absolute view of history and present an environment in which history can be viewed anew.

In this paper, based on Jacques Rancière's concepts of 'politics' and 'fiction', the researcher analyzes the works of Thomas Hirschhorn, Ho Tzu Nyen, and Walid Raad. As a result, contemporary archive art can create a new community, not an ethical community that promotes a specific feeling of emotional bonds. And it makes it possible to write a new history away from the existing dominant discourses looking at history. Last, archive art makes us reflect on conditions that constitute historical knowledge. Contemporary archive art finds contradictory points of existing history and presents a new perspective. In archive art, the audience becomes a subjective audience who can actively look at history. Therefore, archival art can be political art. This paper is significant in that it studies Jacques Rancière's art theory and, based on this, it finds another artistic value of archival art, one of the trends of contemporary art.

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