해체주의 관점에서 아르망의 오브제 작업 관한 연구

초록

Arman’s objet work can be divided into the constrution and destruction series. He was willing to use industrial waste and engaged in work that threw questions to the existing definitions of art by means of a series of work with destructive techniques. His work contains thick characteristics of deconstructionist philosophy, which explains the spiritual world of the postmodernism. In this regard, this study tries to analyze his work in the language of deconstructionism and reinterpret it with the current formative keywords. The core terms of deconstructionism reduce to differance, trace, dissemination, supplement, and decentralization, based on which this study draws 8 criterial terms, borrowing, juxtaposition, disjunction, damage, incision, repetition, displacement, and trace as analytical languages accounting the visible aspects of expression in modern art. An analytical framework has been created by those terms, 10 work pieces of Arman’s have been selected as cases for analysis to be subject to analysis, and the analyzed frequencies of expression are 10 for difference, 6 for juxtaposition, 3 for disjunction, 5 for damage, 3 for incision and repetition, 4 for displacement, and 10 for trace. As a result, we can reach the following conclusions. First, active interactive constructions with other fields are made by using borrowed images in the whole analytical cases. Second, internal meanings of the work are made richer by the formation of vague multiple meanings in terms of juxtaposition. Third, aesthetical extension is achieved by the expression of decentralized beauty in terms of damage. Fourth, one can visibly feel the meanings of temporal difference from the expressions of traces, and such a system of differences visualizes the non-fixedness of time and space. Fifth, the disjunctive composition suggests the possibility of deconstruction of stereotypes and novel formatives. Sixth, the formation of the concept of play and gap margins in terms of intentional incision, repetition, and displacement enriches the meaning contents of the work. In this way, Arman has raised questions about stereotyped concepts and deconstructed and turned over aesthetic stereotypes. This has been transferred to the extension of physical materials and achieved renovation of the epistemological framework of art.

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