사진가 조문호의 도시 빈민 다큐멘터리 작업의 의미 : 니체 예술론 위버멘쉬 개념을 중심으로

Abstract

The work of photographers whose documentation-oriented practice contradicts photography's identity as an artwork for display should be evaluated by artistic theories outside of modern aesthetics. One such artistic theory is Nietzsche's, which is based on ancient Greek aesthetics. Nietzsche's aesthetics considers the process, especially the attitude of life, as the life of artistry, not the result. Nietzsche's aesthetic clearly underlies Cho Moonho's documentary work on the lives of the residents of Dongjadong and the homeless at Seoul Station. This is because he affirms the fate of suffering human beings, has a strong sense of human existence that should not be exploited, enters into their lives as a member of the community, confronts and encounters their lives without trying to avoid them, and reproduces their lives as closely as possible to the facts without being biased toward artifice in the resulting photographs. Therefore, if we want to give meaning to his work and evaluate its artistry, we cannot simply focus on the output of modern aesthetics and formalist creativity. The relationship between the image and the living world must be understood dialectically, in the total relationship of subject-photographer-reader. Cho Moonho's work exists as a Dionysian art in which each image in the narrative is not an independent work of art, but the whole is unified as one, oriented toward the meaning of human existence.