The Journal of the Convergence on Culture Technology (문화기술의 융합)

The International Promotion Agency of Culture Technology (국제문화기술진흥원)
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The Social Meanings of Typicality(Prison, [Solitary] Confinement, and Conduit[Passage]) in Peter Halley's Works

피터 핼리 작품에 나타난 전형성 (감옥, [독]방, 도관[통로])의 사회적 의미

  • Received : 2021.09.30
  • Accepted : 2021.10.18
  • Published : 2021.11.30
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Abstract

This study first examined the social meanings of typicality found in the prison, (solitary) confinement, and conduit(passage) in Peter Halley's works, in which both the prison and (solitary) confinement represent a suppressed structural framework. The former has freedom and escape excluded from it, and the latter allows for mutual regulation and connection as a space of positive mediation. Conduits are interpreted to be flexible and have the potential of creating something new through connection and communication with the outside world. The study then compared and analyzed the meanings of typicality in Halley's works and the concept of segments proposed by Gilles Deleuze and Félix Guattari as social justice in that both of them were in the same context. The findings lead to a conclusion that Halley's prison, (solitary) confinement, and conduit(passage) can be connected to a solid, flexible, and escape segment, respectively, by Deleuze and Guattari.

우선 핼리 작품에 나타난 감옥, (독)방, 도관(통로) 등의 전형성에 대한 사회적 의미를 살펴보았다. 핼리 작품에 드러난 감옥과 (독)방은 억압된 구조적 틀이지만 전자는 자유와 탈주가 배태되어 있다는 것, 후자는 긍정적인 매개성을 지닌 공간으로 상호 조절과 접속을 가능케 할 수 있다는 것, 도관은 유동적이면서 외부와의 접속과 소통을 통해 새로운 것을 생성할 수 있다는 잠재성을 가지고 있다는 것으로 해석되었다. 다음으로 핼리 작품에 드러난 전형성의 의미와 질 들뢰즈와 페릭스 가타리가 사회 정의로 제시한 선분 개념이 상호 맥을 같이 한다는 측면에서 비교·분석해보았다. 이를 통해 핼리의 감옥은 들뢰즈와 가타리의 견고한 선, (독)방은 유연한 선, 도관(통로)은 탈주선과 연결될 수 있다는 결론을 얻게 되었다.

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References

  1. Yun Nanjie, "Landscape of contemporary art" Hangilart, p. 331, 2012
  2. I think that what we do in the visual arts is really only important insofar as it engages issues that are real in society as a whole("Binational: American Art of the Late 80s, German Art of the Late 80s" exhibition catalogue, the Museum of Fine Arts, Boston, the Institute of Contemporary Art, Boston, pp. 95-101, 1987)
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  4. Danoff, Mchael, Peter Halley: Painings 1989~1992, p. 16; Des Moines: Des Moins Art Center, 1992.
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