'걷기’의 의미 양상과 예술적 실천 - 미셸 드 세르토의 ‘공간 실천’과 도시 개념을 중심으로 -

초록

As the paradigm of art shifts from the object production to everyday practice, the notion of art as autonomous object of contemplation has been dynamically evolved into tactile situation and environmental experience. The spatial-temporal extension of art becomes possible when the relevancy between visuality and corporeality is established through not only the process of production and but the reception of art as well. Here, the ‘walking’ as expressive medium and formative strategy creates the reciprocal field of participation: it creates an emancipatory space of in-between where the established hierarchy between creator/receiver, work/viewer, production/product are displaced and redeployed.In the context of postmodernism, various modes of walking has been postulated as a form of reflection or resistance against the oppressive urbanization. The genealogy of walking as art discourse is rooted in Walter Benjamin’s notion of ‘flâneur’, Situationist International’s ‘dérive’ and Michel de Certeau’s ‘pedestrian.’ Through the ‘spatial practice’ which notion inherits the precedents, de Certeau posits ‘walking’ as tactics against ‘strategic place’. In order to detour the totalizing logic of capitalization, de Certeau asserts us to revive the ‘trajectory’ in ‘the map’ where the various spatial stories of individual tour had been omitted and reduced into topographical system.By practicing the asyndeton and the synecdoch which selects, skips, and links spaces, the pedestrians get to tell their own spatial stories. This individual process of forming narratives debunks the existing hegemony of the place. The converging process of speech-action-visualization has been appropriated by the contemporary art practice. Here,the ‘walking’ brings about the flattening of topography of art: the medium-specific, object-driven art making operation is deconstructed and morphed into the ever-shifting corporal environment and the flux of time.

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