새로운 재현 방식으로서 메타이미지의 도래 - 예술의 정치성과 윤리성에 대하여

Abstract

This article which starts against the question of can we represent the suffering of alienated others analyses the work of Andress Serrnao, Alfredo Jaar, Martha Rosler and Josephine Mecseper who are in agony between ethical attitudes and artistic commitment confronting ignorance, neglect and prejudice. The artists who reject the impure representation that resulted subaltern to absolute others declare aesthetic severance in the point of view ‘non-representation,’ and ‘impossibility of representation,’ and map out the methodology connecting visually the impossible descriptions of ‘the existence which there is no’. They are trying to return the meta-image beyond the modern way of representation as a way to give testimony the minorities who silenced and de-contextualized. It also examines the aesthetics of Jacques Rancière who expresses that arts are not separable from politics focusing on that they are digging into intimate connection of social and political phenomena with arts when they try to expose the other side of the world. Meta-image as a new sensitive aggregate replaces the political absence through unconscious structuralization and ‘symbolic settlement.’ The role of arts is to penetrate un-defined events, to transform that into arts, to intrude for the share which does not be distributed to arts, and to create events which torn out invisible ignorance, neglect and prejudice. Arts can be political because they are in the intimate relations in that both are on the common sense of sensibility, which discern the principle of the world. The detections according to the movement of the thinking which is dangerous but affluent are demanded to artists of today. The goal of this analysis is to grope the points and way that transforms the historical, social and political recognition into artistic creativity and to lead connection of arts-politics-ethicsimage. In that sense, the topics of meta-image which destroy rhythm break down balance and transform potentiality into actual existence suggests the reconsideration of image discourse that modernism has abolished due to the end and crisis of arts.