바타이유의 비정형성 이론에 의한 크라우스의 포스트모더니즘 조각 비평

Abstract

That G. Bataille defended materialism in order to be separated from the idealistic aesthetics after joining A. Breton's Surrealism movement is the starting point of his theory. The origin of a discord between the two was derived from heterology, and he searched for its answer from F. Nietzsche. The concept was to use for establishing the identity of the people who belong to the border area in society. He also introduced E. Durkheim's element by comparing the supernatural, spiritual life with the worldly one. And he paid attention to the accused share, the other without hope, within the dominant social order, discussing de Sade's use value. And then Bataille advocated base materialism, reacting against dialectical materialism. It has a dualistic character, which is defined as a waste like spittle. Bataille's theory is in full bloom in the concept of the informe. From the standpoint of this theory, he rearranged the art history ranging from the prehistoric art to the modern art. In particular, dilating on upon the concept of the informe in Documents that he founded, he suggested a new direction on the definition of the Postmodernism art. R. Krauss, applied Bataille's theory of the informe to the contemporary art and developed a systematic theory, overcame the limitation of C. Greenberg's Modernism and Formalism. She, escaping from the standpoint of interpreting the surrealistic artworks with S. Freud's theory, used the psychoanalytical understanding of impulse and unconsciousness more and more through Structuralism theory, Bataille's theory, etc. In effect, she became to suggest the concepts of horizontality, base materialism, pulse, and entropy. In conclusion, in logical development of a big theme, Krauss's critique of Postmodernism sculpture, Bataille's theory of the informe is central. But it is not enough to explain the varieties of Postmodernism sculpture only with his theory, for the expression subject or content in art, especially in sculpture, are also persistently varied more than the past, just as most of the phenomena in the postmodern society are intermingled with each other. If so, to approach with a single measure like the past in case of the critique of Postmodernism sculpture is seen as bumped against a limitation. And so Krauss's attempt to develop her own theory with adding the above three concepts to Bataille's concept is very noteworthy.