발터 벤야민의 변증법적 이미지 전략과 예술적 각성에 대하여 - 카지미르 말레비치와 존 고토의 예술작품을 중심으로 -

Abstract

As a nineteenth-century urban walker, Walter Benjamin thought that people had not reflected their collective consciousness in a rapid urbanization, and they had concealed themselves in the arcade culture of consumption. He hoped to renew their collective consciousness. But he diagnosed that the advancement of accelerated technology would be the basis of human alienation, at the same time would be a driving force in the new era. Thus, he hoped to build a new symbolized world by destroying the violence of the existing symbolic and mythical history with radical technology. He defined the flashing glow that the past and the present are creating by intersecting at this moment as a new "dialectical image". He thought that we could awaken past moments that existed in the past, but were forgotten through the dialectical images. The artists who practiced the reason of Benjamin artistically include Malevich and John Goto. In order to resist accelerated industrialization and the cruelty of political ideology, Malevich returned from the Suprematism to the old-fashioned figurative paintings and practiced his artistic resistance by dating the past in a new work. Photographer John Goto introduced to Malevich to recall the hidden historical events and reconstructed his actual and virtual reality with synthetic photographs. The task of recalling the viewpoint that has not been incorporated into the history of the mainstream makes it possible to create a new memory of history and another practical action of art. This is the capacity and the strategy of awakening of the dialectical images proposed by Benjamin.