제프 월(Jeff Wall)의 연출 사진에서 몰입과 연극성 개념의 변용
A Study on the Change of the Concepts “Absorption” and “Theatricality” in the Staged Photographic Works by Jeff Wall
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캐나다 벤쿠버 출신 작가 제프 월(Jeff Wall)은 1980년대 이후 포스트모더니즘 사진의 주요한 전략과 기법으로서 미술사에 등장했던 회화적 모티프를 차용하여 회화, 사진, 연극을 결합하는 독창적인 스타일과 양식을 만들어낸 실험정신을 보여 준 작가로 평가되어 왔다. 그 과정에서 월은 타블로 비방(tableaux vivants)과 Attitüde라는 미술사적 전통을 이용해 몰입과 연극성 개념에 대한 조형적인 본성을 탐구하였고 그로부터 발전된 다양한 화면을 창출할 수 있었다. 본 연구는 월의 연출 사진에 나타난 이 같은 속성을 장 프랑수와 쉬브리에(Jean-François Chevrier)가 타블로에 관한 논의를 통해 새롭게 포스트모더니즘 사진의 특수성을 검토한 토대로부터 접근하고, ‘몰입’, ‘연극성’, ‘비연극성’등의 개념들을 현대예술의 담론으로 수용하게 되는 성공을 일구어냈던 마이클 프리드(Michael Fried)의 견해와의 상호 연관성, 변용의 문맥에서 고찰하고자 한다.
Abstract
Despite Michael Fried's emphasis on its significance to his french painters and paintings from the 18th Century, the concepts of Absorption and Theatricality have been only partially discussed and analysed. This study examines visual and aesthetic developments and devices in the art of staged photographic works by Jeff Wall, who explored several unexplored areas. First, this essay discusses the obscurity in the terms of Absorption and Theatricality, especially in relation to the convention of tableaux vivants and Attitude. Secondly, I will bring to light how Fried applied his concepts of Absorption and Theatricality to some french painters and their paintings from the 18th Century. And thirdly, it explores the change and relevance of the two concepts in contemporary pictorial, theatrical and cinematic photography of Wall. First, a close examination of the pictorial, theatrical and cinematic strategies in the work of Wall would reveal that his critical reception like those two concepts was an art historical heritage of contradictions. The second section focuses mainly on the recent researches of Chevrier and Fried, discussing the tableau form photography and the tradition of tableaux vivants and Attitüde as a new staged photographic device and principle. Next, I will explore the contradiction of the concepts of Absorption and Theatricality in a contemporary photographic experiment and analyses Wall's <Adrian Walker> and <Morning Cleaning, Mies van der Rohe Foundation, Barcelona>, which are typical of their rhetorical application of the contradiction of two concepts. The study concludes with an emphasis on the heritage of those pictorial, theatrical and cinematic practices, which helps to understand the dominant tendencies of return to narrative approach in contemporary art.
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