British artist Jeremy Deller (1966-) reflects the changes in the British art industry that deals with social and political themes since yBa (young British artists) and conducts collaboration projects which are mainly supported by public funds. He depe... British artist Jeremy Deller (1966-) reflects the changes in the British art industry that deals with social and political themes since yBa (young British artists) and conducts collaboration projects which are mainly supported by public funds. He depends on spontaneous participation of his audience or hires them to work with him. Existing studies on Deller tend to discuss politics at the level of the protection of the working class and counter comments against power structure. Therefore, he has been highly recognized in attempting a ‘politics of difference’ that makes a crack in the dominant culture by working with communities excluded from the mainstream of society. The research, however, pointed out limitations of the position that is based on a single substance of community or collectivity and critically reviewed the phenomenon in which an artist’s capacity is concentrated on ethical tasks for reproducing the community of difference correctly. Furthermore, this study considered that politics shown in his work is not party politics reflecting a specific ideology but should be approached from the point of view of metapolitics by Jacques Rancière, called ‘The Distribution of the Sensible’. Accordingly, the research focused on Deller’s strategy called ‘delegated performance’ wherein an artist plays a role of director that maintains control of the work. ‘Delegated performance’ is hiring non-professionals to conduct a performance according to the artist’s directions. Based on existing public art discourse, artists need to give up authorship and create a co-production for equal collaboration with an audience. Moreover, a passive audience should become active by participating in the work physically. However, the action of mutual-delegation between the artist and participants denies the black and white of good and bad collaboration by creating a non-steady identity between structure and agency, and a semi-script scenario and impromptu actions. This can be expanded to the reason for Rancière’s intellectual emancipation. Rancière criticized that the logic that an artist’s intention should be accepted by the audience produces inequality, and the assertion that doing is superior to seeing is only following set hierarchy. Therefore, the key is not encouraging the audience to participate in common activities through performance but lies in trust for equal intellectual capacity for each to create their own active translation. Chapter Ⅰ deals with ethical problems of public art. It was with the advent of New genre public art in the 1990s when ethics were introduced to public art. New genre public art claimed to work in marginal communities and areas of others, pursuing ‘political correctness.’ That is, potential exploitation that cannot represent the subjects of collaboration in public art enough got to be criticized; accordingly, roles expected for artists have also changed. The research focused on presenting problems that artists’ good intentions and consensual collaboration become the absolute yardstick for evaluating the value of art. Chapter Ⅱ is developed based on opposing arguments against Deller’s work from the context of community-based public art: first, research by Alice Correia who analyzed Deller through the theory of ‘Artist as Ethnographer’ by Hal Foster; second, research by Claire Bishop that suggested Deller’s work as alternative public art that is not within ethical standards. The researcher aimed to deal with the fact that Deller pursued a new relationship model between an artist and the community through delegated performance by putting more attention to the issue of authorship by Bishop. This is beyond the dichotomy of participants as the objects following directions passively and the artist as an exploiter giving directions actively. Chapter Ⅲ reviewed one of the representative works of Deller,〈The Battle of Orgreave〉, by applying Rancière’s aesthetics. Despite the theme of a workers' strike, 〈The Battle of Orgreave〉 takes an equivocal position not intending class consciousness. Moreover, it blocks away the conventional perspective of nostalgia for social integration and the heroic laborer by switching the role of police and miner. This shows subjectivation that the unique identity given to society by the existing sensational order escapes from its allowed place. In addition, it is the strategy of ‘The Emancipated Spectator’ that breaks the fixed hierarchy of the role of artist and audience. This is denying activating the audience by being included in the work as the artist intended. The subject finding the way to emancipation is the public. The research focused on the point that Deller’s collaboration suggests the possibility of emancipation discussing new spectatorship. Moreover, it dealt with the stage of art, performance, as the third language mediating an artist and the audience. This is interpreting Deller’s works as spaces of ‘dissensus’ where existing ‘the police’ is ceased. The study was an attempt to re-examine the value of participation by destroying the dichotomy: art for art and art for life. ，韩语论文题目，韩语论文 |
