동시대의 외설적인 미술작품을 어떻게 읽을 것인가 - “부도덕한 외설사용”과 “탈(脱)도덕적인 외설차용”을 중심으로
How to Read the Contemporary Pornographic Artworks - Focusing on “the Use of Immoral Pornography” and “the Appropriation of Amoral Pornography”
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이 연구는 외설이 동시대미술에서 어떤 방식으로 사용되는가를 둘러싸고, “부도덕한 외성사용”과 “탈도덕적인 외설차용”이란 분석틀을 제공하는 것에 목적을 둔다. 왜서 “두 가지 분석틀”인가. “외설”은도덕과 금기와 관련된 가치평가의 문제를 반영한 부정적 용어이다. 아울러 형식적으로 외설적이지만예술표현의 극대화를 위하여，또 기존의 이데올로기와 도덕을 비판하기 위한 작품을 탈도덕적 인 것으로 파악한 대신, 예술이 외설에 전유된 경우는 부도덕한 작품으로 읽을 수 있기 때문이다. 연구의순조로운 진행을 위하여 Ⅱ장에서 외설의 정의와 제요소, 아방가르드와 외설의 관계, 금기위반의 수사학과 외설차용의 양가적 특점 등 세가지 방면으로 나누어서 살펴보았다. 이는 외설과 관계를 맺는 작품의 두 가지 방식에 대한 논의를 도드라지게 하기 위함이다. Ⅱ장의 연구방법은 주로 참고문헌에 대한 분석에 치중하였다면, Ⅲ장에서는 4명의 예술가를 선정하여 구체적인 사례분석을 진행하였는바, 이는 논의의 지평을 확장하고자 함이다. 외설은 데카당스와 불가분의 관계를 맺기도 하기에, Ⅳ장에서외설을 전유한 데카당스 예술과 외설로 포장된 데카당스 예술을 분석하면서 논의의 외연을 확장하고자 하였다. 외설(용어)이 주목하는 것은 묘사하는 방식(목적 자체가 성적인 것)과 보여주는 문제(성적 흥분을 야기하는 것을 목적으로 한)이므로 외설이냐 아니냐의 문제의 초점은 묘사방식과 그것이겨냥하는 것이 무엇인가의 문제이다. 이는 동시에 예술표현자유의 “수위”문제이며 더 나아가 도덕과이데올로기를 어떻게 바라보고 인식하느냐의 문제이다. 즉 절대화시킬 수 없는 윤리도덕(탈도덕적인작품의 경우)과 상대화시킬 수 없는 도덕(부도덕한 작품의 경우)의 문제이다. 연구결과는 위에서 언급한 두 가지 분석틀을 근간으로, 구체적인 작품을 분석함에 있어서 복합적이고 중층적이고 양가적인시점을 확보할 것을 제언한다. 금후 관련논의를 더 정치하게 다듬는 동시에 보다 많은 관련예술가들의작품을 계열화하여 심도 깊게 분석할 것이다.
Abstract
This research aims at providing the theoretical frameworks for illustrating “the use of immoral pornography” and “the appropriation of amoral pornography” by analyzing the use of pornography in the contemporary art. The reason of using two theoretical frameworks is as follows: “Pornography” is a negative concept, because it is related with taboo and the moral judgement. Different from the immoral pornography, in which art has been replaced with pornography, amoral pornography should be considered as the artistic works, because although they contain pornographic elements in the form, the main purposes are for artistic expression or for criticizing the conventional ideology and morality. Chapter II introduces the condition and definition of pornography, and its elements. And it also discusses the relationship between pornography and avant-garde, and the ambivalence of the rhetoric of taboo violation and of the appropriation of pornography. It aims at expanding the discussion into two methods, immoral pornography and amoral pornography. This chapter focuses on analyzing previous researches. Chapter III selects the works of four artists for illustrating how the pornographic works are appropriated in the contemporary art to expand its research scope. The concept “pornography” is related with the methods of description (whether or not for the purpose of pornography) and of representation (whether or not for the sexual pleasure). Therefore, whether it is a pornography should be determined by what method of description it applies for and what purpose it aims at. Pornography not only attaches to the artistic freedom, but furthermore, it also has to with a question of how to view and recognize the morality and ideology. In other words, it lies between what absolute morality cannot judge (such as the works of amoral works) and what relative morality cannot judge (such as the works of immoral works). Chapter IV discusses two different classifications of decadence, one is transformed from the pornographic works, while the other is wrapped in the pornographic appearance, because pornographic works are also closely related with the art of decadence. In conclusion, based on discussion on the two theoretical frameworks and illustrations of the specific artistic works, this research suggests providing a complex, multiple layered, and ambiguous points of view for further analysis of pornographic works. In the future researches, I will deepen the theoretical insights and analyze more contemporary artworks in a rather systematic way.
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