히토 슈타이얼과 볼프강 틸만스의 객체적 미학 비교 분석 - 그레이엄 하먼의 객체지향 존재론을 중심으로-

초록

This study provides a comparative analysis of object-oriented aesthetics in the works of Hito Steyerl and Wolfgang Tillmans through the lens of Graham Harman's Object-Oriented Ontology (OOO). While both artists prominently engage with images and objects, their approaches and attitudes distinctly differ. Steyerl critically reveals the relationship between digital images and techno-capitalism, utilizing images actively within political and social contexts. In contrast, Tillmans emphasizes the autonomous and independent reality of the photographic medium, highlighting the pure presence of images and objects. From an OOO perspective, Steyerl’s work exemplifies the political tensions arising from objects within social relations, whereas Tillmans' art reveals the ontological depth and aesthetic autonomy of objects themselves. Both artists share an interest in the withdrawn essence of objects—an intrinsic aspect of objects never fully accessible or exhausted. However, Steyerl underscores the critical role of objects within relational frameworks, while Tillmans accentuates their sensory immediacy and autonomous existence. This comparative study explores both the potentials and limitations of OOO within contemporary aesthetics, ultimately reconsidering the meaning of objecthood and politics in contemporary art.

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