연극적 설치미술– 라이브 아트 전시회 <14개의 방>을 중심으로
Theatrical Installation - focused on the Live Art Exhibition <14 Rooms>
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초록
최근 50년 동안 예술계에서 있어왔던 다양한 변화들은 학문분과별로분리된 폐쇄적인 연구 틀로는 이해할 수 없게 되었다. 예술의 영역에서는 디지털 미디어의 등장과 수행적 전환, 혼종화 등을 통해 각 장르 사이의 경계가 허물어졌다. 그래서 다양한 예술 장르가 연결되고, 또 나아가서 융합되기도 한다 . 예술을 생산하는 측면에서 이러한 탈경계 현상이일반화되었다면, 수용자 측면에서는 상이한 예술들이 관객의 다양한 감각을 동시에 자극하면서 새로운 차원의 미적 경험이 가능하게 된다. 본논문에서는 연극적 설치미술을 예로 들어 탈경계 예술이 미학적으로 어떤 점에서 새로운지 분석했다. 그리고 설치미술에서 기원하는 연극적 모델이 연극계에 어떤 함의를 지닐 수 있는지 살펴보았다.
Abstract
The term “installation” in connection with art first appears in the 1960s. At first it is used to describe the way in which artworks are arranged at a place of installation. Then in the 1970s this gives rise to the concept of “installation art”. Installation art is a spatial art form incorporating all the other traditional art forms paintings, drawings, photos, objects, readymades and films. As a result, it is establishing itself as "an extremely voracious art form" (Boris Groys). Since the 1990s installation art and theater have been converging. Installation art enacts in the museum a time-based series of events. The space itself vacillates between static tableau vivant and moving body art. As a result, the boundary between art in space and art in time is blurred. In this study I have analysed this deboundarisation of the arts using the live art exhibition "14 Rooms" (Basel 2014) as an example. I have described 14 different installation works with reference to the “Relational Aesthetics” formulated by Nicolas Bourriaud. In keeping with its convergence with the theater, installation art sets up an encounter between people in the museum. Theart works act as catalysts that work on museum visitors for a certain time. In this way art generates a community effect and brings about a feeling of fellowship that is scarcely possible in our world out side art.
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