정지와 운동 사이의 하이브리드 무빙 이미지: 다비드 클레르부(David Claerbout)의 비디오 설치작품

초록

A remarkable tendency of the art since the 1990s is one characterized by a variet of artworks that create the subtle coexistence of stillness and motion to traverse between photography and cinema and blend their aesthetic qualities. The works of Jeff Wall, Gregory Crewdson, Bill Viola, Sam Taylor-Wood, Sharon Lockhart, to just name a few, are seen as pertaining to the photography’s (and cinema’s) expanded field, to rely on George Baker’s term, which is formulated as photography (or cinema) embraces movement (or stillness) that the traditiona idea of its medium specificity has presupposed as its outside, that is, non-photographic (or non-cinematic). This paper examines the works of Belgian artist David Claerbout to take a closer look the formal and aesthetic aspects of the particular moving images produced in the ‘expanded field’ marked by the dynamic cohabitation of film and photography. In doing so, it argues that Claerbout’s work lead to what I call ‘hybrid moving images,’ an array of moving images that redraw the boundaries of film and photography by making the properties of each medium coexist and negotiate. By focusing upon the movement/stillness and temporality of Claerbout’s pieces, particularly the dynamic exchange between motion and stasis, and between photographic past and cinematic presence, I claim that digital technologies are able to investigate the properties of film and photography while making them into a new relation in ways that go beyond the traditiona distinctions of them.

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