김원영의 글쓰기 전략과 예술 실천의 정치성

Abstract

Focusing on Kim Won-young's “Arguments for the Disqualified” and “Completely Equal and Extremely Discriminatory”, this article examined that his writing strategy is progressing with thinking experimental questions and answers from a “performance” perspective. This was a way to strengthen the basic foundation for readers to read each other's differences and intervene as co-authors in each other's lives by triggering readers’ thoughts through thought experimental questions and guiding the path of thinking by performative answers. “Arguments” questions whether the concept of human rights as a selfwritten editorial right can be sufficiently carried out in Korean society by presenting thought experimental events such as the 'wrong life' lawsuit and draws readers’ logical thinking. This is because I believe that “institutional solutions can be sought to somewhat improve the legal system that ignores individual uniqueness”. Kim Won-young’s perspective on ‘performativity’ is revealed in the problem of identity of the disabled and acceptance of disabilities. The identity of the disabled is not a biological and objective product, but is performatively created by accepting each situation, and acceptance of disability means choice as a practice of free will, not fateful conformity. It is a concept that focuses on the effect of creating the direction of a certain action and is closely related to the meaning of ‘practice’. Art practice is not an art used to practice a specific ideology, but a practice toward the orientation of self-narrator means that art becomes art. The results on display or the postscripted manuscript are not art, but the orientation of self-narrator realized in the process of creating it, and the meaning created through it will be art practice. Kim Won-young’s art can be said to be an art experiment in that he is not buried in a single genre and attempts any form to unfold his or her self-orientation. The recently published “Totally” discusses the politics of art practice through the body, which is the movement of the body, and dance. The subversion that Kim Won-young dreams of is the establishment of a new relationship. The transition to a relationship where you can share your heart from others who you don't know each other deserves to be called subversion. The reason why many thinkers see the possibility of subversion in “Love” may also be because the act of love often violates the existing order, and relationships may itself be the beginning of new possibilities. This would be the politics of art practice that Kim Won-young calls.