차용의 관점에서 본 ‘포스트프로덕션’

Abstract

Nicholas Bourriaud published "postproduction"(2002),following "relational aesthetics" (1998),reviewing the art scene, such as ‘relational aesthetics’.the concepts and the exhibition examples are addressed, centered on ‘postproduction'. Above all, comparing them with the appropriation methods of postmodern art. Hal Foster's critique that it is captivated by Fetishism in intention and outcome is significant. Accordingly, the author suggests that the starting point of new arts that can transcend the appropriation method of ‘relational esthetics-postproduction’ should start with the reasoning of how to define the world. This is the question on the obsessive newness as the ‘contentless form’ or ‘empty signifiant’ in contemporary art. The art project of Steyerl dealing with part of the world is 'post-representation'.The contemporary art-documental,imitative, and unstable, could be defined as the ‘post reproduction’ by ‘postproduction’. The inquiry of the political implications the poor image has hereby is an attempt to approach in the dimension of form and content. Finally, we will reach an agreement in the Steyerl’s work that questions of ‘what image will the world appear to us?” and “what are the influencing relationships with various events in the world?”.The images addressed by Steyerl, in the process of recognizing and topicalizing the world and history to which he belonged, are the fragments of the world and the objects equal to all the others. This work method is a signifiant that circulates through a poor internet image and the content affirmative of the image itself. In this paper, we consider that this image acts as dialectic of whole and part, as fragments of the world, and will take it as a method to approach contemporary arts.