징후의 오브제 : 미니멀리즘에 대한 정신분석적 재해석 = Object as Symptom: Psychoanalytic Reinterpretation on Minimalism

다국어 초록 (Multilingual Abstract)

This paper examines the psychoanalytic reinterpretation on Minimalism performed by Georges Didi-Huberman in Ce que nous voyons, ce qui nous regarde (1992). In the history of art, as a ‘specific’ object, Minimalism has been evaluated as an essence of Modernism or a break of Modernism which initiated post-modern art. Simultaneously, as Michael Fried pointed out, in the mode of exhibition, this specific object turned out to be a non-specific object whose meaning disperses infinitely according to the relationship among the work, the spectator, and the real space-time in which the work and the spectator co-exists. Didi-Huberman escapes from this binary choice between the specificity or the non-specificity and reinterprets Minimalism object as an object of symptom. Didi-Huberman not only indicates the ambiguous status of Minimalism in the history of art but also describes the source of that ambiguity based on the very form and materiality of Minimalism object. Minimalism object is nor reduced as a visible explicitness nor dispersed to the infinite significance. As a dialectic image, Minimalism object works as the Freudien symptom of inquietude reminding us the inevitable invisibility imposed on our seeing. In the dialectic of the visual, Didi-Huberman discovers the alternative psychoanalytic image theory which does not reduce the image to a linguistic signifier or privilege the phenomenological shock effect of the Lacanian real.

참고문헌 (Reference)

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