탈(脫)코드화와 재(再)코드화의 모험: 네오다다의 ‘포스트-폴록’ 회화에 나타난 신체와 행위의 의미
Adventures of Un-coding and Re-coding: The Body and Action in Neo-Dada’s ‘Post-Pollock’ Paintings
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본 논문은 화가의 행위가 ‘존재의 현전’으로 연결되는 이른바 액션 페인팅의 ‘신화’가 1950년대 중후반에 걸쳐 탈신화화(demythologize)되는 과정과 양상을 다룬다. 주요 연구대상과 분석내용은 크게 다음의 두 영역으로 나뉜다. 첫째, 잭슨 폴록(Jackson Pollock)의 추상회화가 액션 페인팅이라는 개념으로 구체화되는 계기가 되었던 한스 내머스(Hans Namuth)의 기록사진으로, 사진에 기록된 폴록의 신체와 행위가 그의 회화작품에 내재한 작가의 현전을 증명하면서 하나의 신화적 지위를 획득하는 과정을 분석한다. 둘째, ‘자연에서 문화로’ 이행하는 전환이 두드러지는 ‘네오다다(Neo-Dada)’의 작업으로, 특히 싸이 톰블리(Cy Twombly)와 재스퍼 존스(Jasper Johns)의 ‘포스트-폴록’ 회화를 주요대상으로 하여 액션 페인팅의 신화가 해체되는 양상을 분석한다. 액션 페인팅의 탈신화화를 고찰함에 있어 특히 본 연구가 집중하는 것은 네오다다의 ‘포스트-폴록’ 회화에서 확인되는 신체와 행위의 변화된 위상이다. 주지하듯이 1950년대 중반 이후 네오다다로 불리는 일군의 작가들은 추상표현주의의 신화에 균열을 가하고 그것을 문화적인 구축물 내지 구성된 기호작용으로 드러내는 탈신화적인 작업을 진행하였다. 액션 페인팅에서 존재의 현전을 보증했던 신체와 행위는 네오다다의 경우 오히려 정체성의 보류나 은폐가 이루어지는 영역으로 작동한다. 이들의 폴록/추상의 탈신화화는 롤랑 바르트(Roland Barthes)가 언급한 바 있는 ‘신화에 저항하는 언어’ 즉 의미의 제로(zero) 상태와 같은 퇴행적인 시적 언어를 시도하거나 신화의 기호체계 내부로부터 그 기호작용을 해체하고 재구성하는 방식을 취한다. 이러한 기호학적 독해를 바탕으로 하여 본 논문은 액션 페인팅의 신화적 구성을 해체하고 의미의 ‘영도(zero degree)’를 시도하는 싸이 톰블리(Cy Twombly)의 ‘그래피즘(graphism)’과 존재의 현전이라는 상징과 은유를 저지하는 재스퍼 존스(Jasper Johns)의 ‘리터럴리즘(literalism)’을 심도 있게 분석한다. 특히 본고는 이들의 작업에서 발견되는 모호한 성정체성과 암호화된 게이 섹슈얼리티를 폴록이라는 남성영웅의 신화에 저항하는 기호이자 후기 바르트가 제시한 ‘중립(the neutral)’의 양상으로 보고, 그들의 작품 속에 흔적이나 파편으로 나타나는 신체와 행위의 의미를 추적한다. 이를 통해 내머스의 폴록 이미지가 지니는 신화적 구성이 톰블리에 의해 탈(脫)코드화되고 존스에 의해 재(再)코드화되는 양상을 분석함으로써, 네오다다의 신화저항적인 언어가 의미화하는 방식을 고찰한다.
Abstract
This paper aims to elucidate the ways in which the myth of action painting, more specifically, that of Jackson Pollock, was demystified or deconstructed by Neo-Dada artists in what is called “Post-Pollock” paintings of the late 1950s. Overall, the discussion consists of two distinct yet interrelated parts. First, I demythologize the status of the body and action in Pollock’s painting by analyzing the discursive structure around it. I then proceed to read how Neo-Dada artists, notably, Cy Twombly and Jasper Johns, deconstructed the mythical structure of the body and action of the artist in what would be termed “Graphism” and “Literalism”respectively. In action painting, the action of the painter was identified with the ‘presence of the artist’: the brushwork of the painter, as an indexical sign,functioned to signify the very body of the artist, thereby the action being elevated to the very proof of the artist’s existential being. To illuminate the mythical status of the body and action of Jackson Pollock, this paper analyzes the intricate process in which Hans Namuth’s 1950 photographs of Pollock not only provided a concrete imaginary to Harold Rosenberg’s ‘Action Painting’ but also further solidified and expanded the discourse of existentialist action painter. Reacting to this mythical conception of the heroic artist’s body and action, Twombly created what Roland Barthes would refer to as “Graphism” in which the energy-filled, densely constructed structure was “deflated” or neutralized to decentralized graphic gestures such as scratching, smudging, or smearing. Johns furthered this process of demystifying the action hero by fragmenting the body into seemingly literal, yet deeply psycho-sexual “part-objects.” He reinscribed into his characteristic literalism the intricately coded homosexual desire that would deny and deconstruct the notion of hetero-sexual, existentialist,creative master underlying the conception of heroic action painter. Employing interpretive methods of late Roland Barthes (as distinct from early Barthes’ semiotics), this paper situates Twombly and Johns as demystifying practices which respectively un-code and re-code the action hero of abstract expressionism. Concluding the discussion, the author suggests what Barthes referred to as “the neutral” in his last lecture at the Collège de France in 1977-78 as perhaps the most subversive critique of the self and the most effective way of negotiating with the Other.
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