이미지의욕과 추상적 생명: 리히터의 나노세계 그리고 바이오 아트
Bildwollen and the Abstract Life: Interface between Gerhard Richter’s Nanoworld and Bio Art
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The art, according to Gilles Deleuze, doesn’t originate in the imitation of object but in variation or abstraction from it. For him the abstract is not a matter of abstraction – in terms of Platon, that is, the reduction of sensation into intellectual form, but variation of the given form and its flight. It bears deeply on the intensity of reality, or rather the life of image which manifests its own nature and logic in the sensuous phenomenon. Gerhard Richter’s atomic images and Peter Gerwin Hoffmann’s Microbes by Kandinsky (1998) are incorporated into this context. In the quantum world, where the way of observation affects the way of appearance of the Object, we cannot guarantee any certainty or objectivity about the image which is reconstructed technically. As suggested by the Ignorabimus-controvercy in nineteenth century, it seems to be impossible that we take an approach to the scientific truth and the vision of the world by means of our incomplete sight and intellect. With the aid of his atomic images Gerhard Richter calls attention to this reality and draws the atomic world into our reality and the history of art, while he makes a difference from the technical image. He blurs the perceived image and with this production of difference gives it a life. In the way that Deleuze names abstraction, the image now connects with our world and approaches a possible reality. It doesn’t remain within its medium but relates to the outside and reflects it. The image crosses between the inside of atom, newspaper, Richter’s monumental mural, and Herzog & De Meuron’s architecture and with this it confirms the relationship between macrocosm and microcosm. In this movement of image we don’t encounter unitary principle of composition of the world but the abstract life of atoms which become image and transform into artwork and architecture in the unsuspected way. As already observed one century ago by Alois Riegl, natural things or images are subordinate to stylistic change, according to differences that we produce in them but on the other hand they impose on our reality while claiming their own vitality. Peter Gerwin Hoffmann thematizes this transgression of image in his artwork. In his work, where the multiplication of cell relates to the manifestation of form, we encounter an accidental event that happens in the microscopic dimension. The image is generated by the movement of bacteria in the molecular dimension and it’s incorporation of the possibilities and limitations of materiality coordinates a reunion between abstract art and materiality that Kandinsky considered as separate. Microbes or the vitality of material are exchanged with those of image in the microscopic dimension and the liveliness and the movement should be connected to the actualization of singularity which is latent in our nature – which is comprised of images. As such, in terms of the activity of energies effecting eventualities this world can be seen in the abstract. Bildwollen should be continuously connected to the liveliness of material and should produce heterogeneities and singularities in the reality. Our understanding of abstracus – as an abstraction of form – is now undergoing change. The abstract bears on potentiality that which makes a difference or anorganic vitality and now we can claim with certainty that all images are basically abstract. Images, in their liveliness, constitute our culture and nature, and they signify our reality as a world of abstraction.
Abstract
The art, according to Gilles Deleuze, doesn’t originate in the imitation of object but in variation or abstraction from it. For him the abstract is not a matter of abstraction – in terms of Platon, that is, the reduction of sensation into intellectual form, but variation of the given form and its flight. It bears deeply on the intensity of reality, or rather the life of image which manifests its own nature and logic in the sensuous phenomenon. Gerhard Richter’s atomic images and Peter Gerwin Hoffmann’s Microbes by Kandinsky (1998) are incorporated into this context. In the quantum world, where the way of observation affects the way of appearance of the Object, we cannot guarantee any certainty or objectivity about the image which is reconstructed technically. As suggested by the Ignorabimus-controvercy in nineteenth century, it seems to be impossible that we take an approach to the scientific truth and the vision of the world by means of our incomplete sight and intellect. With the aid of his atomic images Gerhard Richter calls attention to this reality and draws the atomic world into our reality and the history of art, while he makes a difference from the technical image. He blurs the perceived image and with this production of difference gives it a life. In the way that Deleuze names abstraction, the image now connects with our world and approaches a possible reality. It doesn’t remain within its medium but relates to the outside and reflects it. The image crosses between the inside of atom, newspaper, Richter’s monumental mural, and Herzog & De Meuron’s architecture and with this it confirms the relationship between macrocosm and microcosm. In this movement of image we don’t encounter unitary principle of composition of the world but the abstract life of atoms which become image and transform into artwork and architecture in the unsuspected way. As already observed one century ago by Alois Riegl, natural things or images are subordinate to stylistic change, according to differences that we produce in them but on the other hand they impose on our reality while claiming their own vitality. Peter Gerwin Hoffmann thematizes this transgression of image in his artwork. In his work, where the multiplication of cell relates to the manifestation of form, we encounter an accidental event that happens in the microscopic dimension. The image is generated by the movement of bacteria in the molecular dimension and it’s incorporation of the possibilities and limitations of materiality coordinates a reunion between abstract art and materiality that Kandinsky considered as separate. Microbes or the vitality of material are exchanged with those of image in the microscopic dimension and the liveliness and the movement should be connected to the actualization of singularity which is latent in our nature – which is comprised of images. As such, in terms of the activity of energies effecting eventualities this world can be seen in the abstract. Bildwollen should be continuously connected to the liveliness of material and should produce heterogeneities and singularities in the reality. Our understanding of abstracus – as an abstraction of form – is now undergoing change. The abstract bears on potentiality that which makes a difference or anorganic vitality and now we can claim with certainty that all images are basically abstract. Images, in their liveliness, constitute our culture and nature, and they signify our reality as a world of abstraction.
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