현대미술의 정체성 담론을 ‘다시 묻다’: 유동성과 혼종성의 규범들을 중심으로

초록

This study critically examines the role of the concepts of fluidity and hybridity repeatedly called in contemporary art in identity discourse. Liquidity and hybridity have often been accepted as language of liberation that symbolizes the dissolution of boundaries, flexibility of identity, and intercultural interaction. However, this paper points out that these concepts operate as a device to standardize identity within the system, such as exhibition planning and critical discourse of contemporary art. This is also an attempt to critically review the practices in which these concepts have been mainly consumed as positive symbols in existing discourses. To this end, focusing on various cases and the existing concepts of identity, the formative aspects of their identity and the institutional acceptance structure of them were analyzed, focusing on the cases of Yang Hye-gyu, Inca Shonibare, and Doris Salcedo. Each artist performs identity in different cultural and political contexts, but their work is interpreted under the names of 'hybrid' and 'fluidity', and is organized and consumed as a single easy-to-read narrative within the system. This phenomenon reveals the problem of removing the complexity and tension of identity and reducing the sensory practice of art to an interpretable code. Therefore, this paper attempts to emphasize that identity is not an object of single interpretation, but a living practice composed of senses and emotions. Furthermore, it is suggested that the artist's practice resists the institutional fixation of identity and can function in a way that asks questions in an aesthetic niche. Through this point of view, this study provides a theoretical basis for the discourse of identity in formative art, and is expected to contribute to a sensuous understanding of the multi-layered and contradictory of identity in the planning and criticism discourse of contemporary art in the future.

키워드