형상에 깃든‘비정형’의 유비: 장 뒤뷔페 ‘오트 파트’작업의 조르주 바타유적 재독해

Abstract

This paper aims to suggest that Jean Dubuffet’s post-war art, Hautes Pâtes as a historical art phenomenon, shows the mechanism of Informe, the philosophical idea by Georges Bataille from 1929. Hautes Pâtes paintings have been discussed comprehensively along with other topics within the Informel art movement of post-war Europe, including the artist’s own philosophy of counterculture. However, there has been a lack of research that sheds light on the specificity of Hautes Pâtes, the paste-like and heterological materiality and the individual figurative painting practice that went against the flow toward abstraction, the most prominent movement in the art world of the time. When analyzing this materiality and figuration aspect together with the exhibition Mirobolus, Macadam: Hautes Pâtes in 1946, and the process through which it was presented and accepted, we can read the philosophical characteristics inherent in Hautes Pâtes, that is Bataille’s Informe, which disrupts values and boundaries and avoids conceptualization. Yves-Alain Bois viewed Hautes Pâtes as opposed to Informe in his 1996 study, which is based on an insufficient consideration of the exhibition. Rachel Perry, on the other hand, strengthened the analysis of the exhibition and attempted Bataillean fecal reading in 2000 to provide a basis for reading its performativity, but did not consider Hautes Pâtes as a dynamic model for Informe. Andrea Maier proposed Hautes Pâtes as a materialist model in a 2009 study while the philosophical value that this model can derive, that is, its connection with Bataillean performativity, was not discussed. While analyzing these studies, it is noted that Hautes Pâtes and its historical exhibition show postmodern performativity that differentiates them from other Informel paintings. Furthermore, given that this phenomenon disrupts the boundaries of beauty and ugliness, sacred and secular, figure and background, etc., but remains in heterogeneous vibrations rather than proceeding to dialectical integration, this paper argues that Hautes Pâtes should be evaluated as a historical art practice that is analogous to the way Bataille’s Informe works.