This thesis recognizes the metaphoric, indirect, and restructured language of expression unique to William Kentridge's works as his distinct syntax and examines it as a ‘political camouflage.’ William Kentridge was born in Johannesburg in South Af... This thesis recognizes the metaphoric, indirect, and restructured language of expression unique to William Kentridge's works as his distinct syntax and examines it as a ‘political camouflage.’ William Kentridge was born in Johannesburg in South Africa and is currently based there. He has continued to deal with the history and political issues of South Africa in his work by means of various media such as charcoal drawing, engraving, film installation, theatre, opera among others, as well as experimental forms. Brought up from a family of a human rights lawyer who advocated anti-apartheid, Kentridge has been aware of the situations in South Africa and realized that his heritage lied in history’s establishements. Such background affected Kentridge’s works as a major element of narrative. Accordingly, his works are characterized as dealing with the tension and conflict among various aspects such as individual and society, history and future, memory and oblivion, art and politics. As Kentridge’s identity led to artistic practice, his works amounted to a camouflage within the political and ethical context. Kentridge does not shy away from the political relations of interest while hiding the social, cultural, and political concepts adjacent to South Africa behind multi-dimensional layers. Political camouflage, as a key theme that runs through his entire body of works, is what this thesis is focusing on. And his enterprises and works would not be explained in its fullest without understanding the historical and political context of South Africa. Therefore, this thesis scrutinizes the political camouflage according to the works’ chronological order in terms of the political situations in South Africa. Firstly, the phase of Kentridge’s artistic establishment and its characteristics are examined. In the 1970-80s, Kentridge had been devoted to visual language and controversies of resistant art while continuing on with his work within such cultural background. “Palimpsest,” which indicates a record that has been rewritten above the erased original, and “Fortuna” which creates unexpected output depending on the process itself are observed in terms of his own resistant approach and extended exploration of media. In the 1980-90s, video works that reflect the political changes and radical anxiety in Johannesburg consist a large part of his work. Kentridge carried out works that invest great significance to the land that bore the history’s scars and memories while advancing with works that were open to potential of the media and the process. The 1990s was a phase when apartheid was disengaged and democracy was realized. From this period, two series of works are analyzed: “Drawings for Projection” which demonstrates the shift to democracy as a history of process and the series of “Ubu Tells the Truth” which deals with the history of the transitional period after the termination of the apartheid. After the 2000s, Kentridge shows continuous interest in enlightenment and colonialism, and expand the scope into other African countries as well as all over the world. Especially, works that have developed into public art is dealt with in terms of publicness. As such, Kentridge has incorporated the cruel history of South Africa with the experiences of others and his own through “ethics,” and direct such move towards artistic practice. Although a white and a Jew in South Africa, Kentridge took anti-racism as a longstanding issue of his life and works. This approach reflects the resistance and discomfort on the prejudiced condition of his work or the perception of others. Such reflection is linked to the basic presuppositions of Emmanuel Levinas' ethics. In this context, this thesis studies Kentridge's attitude and works as an artist in relation to the ‘ethics of other’ of Levinas. Furthermore, it pays attention to the political implications and its possibilities. Kentridge’s political identity resonates with Levinas' thoughts regarding my being as a being of Jouissance, the being of other and ethical relation, and the significance of Eros beyond ethical relation. This thesis deviates from the conventional research that has been focused on the media or form and gains significance by considering Kentridge's work as a political camouflage and demonstrating the possibility of ethical politics. Furthermore, an ethical consideration could hopefully be carried on beyond the meaning and interpretation of the artworks to continuous discussions on the following question: “Can art be ethical?” ，免费韩语论文，韩语论文 |
