'유사–매체성'과 재편된 이미지의 위상 -자크 랑시에르의 사상과 국내 동시대 미술의 경향을 중심으로-

Abstract

This paper discusses the political and aesthetic regime of contemporary art that has shaped itself in line with the times, along with the status of the changed image in the wake of the development of technology and the transition to the digital era. In the era of excessive image, discussions have been made on reorganization toward not only the status of the image itself but also the overall recognition system expressed in conjunction with such a sensory system. Among them, Jacques Rancière's theory, which sought to break away from the existing style of history and understands the contemporary era from community of sense, is meaningful in that it presents a necessary alternative as a valid support for identifying the changed value of contemporary art. By reconsidering the relationship between politics and art in the connection of politics, he attempts to pioneer an expanded area toward an aesthetic system different from the existing system based on the concepts of ethics and reproduction. Therefore, this paper examines a new scale of contemporary art, focusing on Rancière's political and aesthetic regime and discussion on reorganizing the status of images. In order to discover the possibility of equality from the juxtaposition of the heterogeneous, this research examines Rancière's political aesthetic system and its image theory as a contemporary manifestation, and read from it the tendency of contemporary art as a critical art, reorganized image, and aesthetic regime that can be characterized by 'Pseudo-Mediality'.