미술을 공격하는 미술 – 동시대 기후 예술에 대한 행동주의의 교훈
Art Attacking Art: Antropocene Art learns from Activism
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본 논문은 최근 유럽의 주요 미술관에서 발생한 기후 행동주의자들의 미술품 공격을 70년대 행동주의 미술의 유사한 선례들과 비교해 보고, 이 비교 속에서 공히 관찰되는 급진적 실천과 경합의 태도를 동시대 기후 예술에 대한 반성적 성찰의 계기로 삼고자 한다. 2022년을 기점으로 ‘저스트 스톱 오일’을 비롯한 기후 환경 단체의 운동가들이 기후 위기의 심각성을 알리고 환경 정책의 획기적인 변화를 촉구하는 전략으로 미술관의 걸작들을 공격하기 시작했다. 정치적 목적을 위해 폭력과 파괴를 일삼는 것을 정당화할 수는 없지만, 기후 행동주의자들의 절박한 시위가 시사하는 몇 가지 논점들은 기후 위기 시대의 미술과 제도에 중요한 참조가 된다. 즉 70년대 행동주의자들처럼, 기후 행동주의자들 역시 미술과 자본의 연관성을 문제시했으며, 미술(관) 공격이라는 행위를 통해 미디어와 대중의 관심을 촉발했고, 이를 통해 대중들을 기후 위기에 대한 치열한 공론의 장으로 이끌었던 것이다. 본 논문은 기후 행동주의자들의 미술품 공격의 동기와 양상을 분석하고, 이를 1970년대 행동주의 미술의 선례와 비교 분석함으로써 양자에 공통되는 행동주의적 유사성을 논한다. 나아가 본 논문은 기후 행동주의에 의해 되새겨지는 행동주의 미술의 실천적·경합적(샹탈 무페) 본질이 오늘날 미술관의 대형 기후 미술 프로젝트들에 수반되는 그린워싱, 재난의 스펙터클화, 자본관의 공모 등과 같은 이율배반적 문제들을 반성하는 기준이 될 수 있음을 주장할 것이다. 이를 통해 본 논문은 기후 위기에 관한 다양한 담론과 실천들이 민주적으로 ‘경합’할 수 있는 새로운 기후 미술의 패러다임을 제안한다.
Abstract
This paper aims to compare recent attacks on artworks by climate activists in major European art museums with similar precedents in activist art from the 1970s, using this comparison as a reflective framework for contemporary climate art. Starting in 2022, activists from environmental organizations, such as ‘Just Stop Oil,’ began targeting masterpieces in art museums as a strategy to call for public attention to the impending crisis and radical policy changes. While acts of violence and destruction for political purposes cannot be justified, several points raised by climate activism are noteworthy for a better understanding of art and institutions in the era of climate crisis. This paper first analyzes the motives and patterns of recent climate activism and then conducts a comparative analysis with 1970s activist art, discussing the similarities shared by both. In doing so, this paper argues that the practical and ‘agonistic’ nature (Chantal Mouffe) of activist art, as reignited by climate activism, can serve as a criterion for reflecting on the paradoxes of today’s large-scale climate art projects, often associated with greenwashing, the spectacle of disaster, and complicity with capitalist structures. In the end, this paper proposes the newer paradigm of climate art in which various discourses and practices on the climate crisis can be democratically competing one another.
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