올라푸 엘리아슨(Olafur Eliasson)의 작품을 통해 보는 미술의 집단적 체험과 공동체적 소통의 가능성 = The Possibilities of Collective Experience and Communal Sharing of Art through the Works of Olafur Eliasson

다국어 초록 (Multilingual Abstract)

In October 2003, Danish artist Olafur Eliasson’s <Weather Project> triggered meaningful debates on collective experience and communal sharing of art. The works installed in Turbine Hall, Tate Modern, one of the most prestigious venues in London, drew almost two million visitors to the museum. Consisting of two hundred sodium lamps within a semi-circle frame arranged to project a globe of light onto the surrounding walls of mirror, this artificial sun lit the entire hall and transformed it into a vast field of light where the visitors could come to rest and bask. The response was huge. Some shaped themselves into ‘peace symbol’ with their bodies and mirrored it to the ceiling, others danced, read, and rested lying on the museum floor.
This type of spectator participation is not limited to <Weather Project> alone. Eliasson’s other work entitled <Beauty> is basically a sprinkler system fixed on the ceiling that creates an illuminating screen of vaporized water. The iridescent pattern of undulating vapor created by the light shot at an angle offers an eerie, but strangely comforting backdrop to different gestures and conversations among viewers in the room. Far from being an object of quiet appreciation, Eliasson’s work in general facilitates a nexus of shared talks and experiences.
This paper delves into this communal spectatorship in Eliasson’s works within the framework of Nicolas Bourriaud’s “Relational aesthetics.” Bourriaud argues that relational aesthetics is defined by the way in which art works represent, produce, and promote interpersonal relations between viewers. Released from the solitary confines of artistic experience, relational aesthetics awakens us into a festive mode of being in communicating and sharing. Likewise, the museum is no longer subject to the notion of “white cube” as it lends itself to a site of collective experience and sharing.
In a similar vein, the paper also deals with works by other artists such as Anthony Gomley and Rirkrit Tiravanija, and explores how these works reveal aspects of relational aesthetics and propose a new role of museum as the site of relational art.

참고문헌 (Reference)

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