ePapyrus PDF Document

Transcription

1 Spring Curated by Claire Tancons 봄 클레어탄콘스, 큐레이터 334

2 1. Can a Masquerade Salvage Humanity s Declining Star in the Era of Spectacular Power? Feathers for Smoke In 1985, a group of Trinidadian artists calling themselves Project MAS (referring to both Masquerade and Mutually Assured Survival ) contributed a Carnival procession to the peace march organized in Washington, D.C., commemorating the 40th Anniversary of the atomic bombing of Hiroshima. Designed by Peter Minshall, The Adoration of Hiroshima fig. 1 sought to admonish humankind for its deadly worship of nuclear weapons through the artistic idiom of Mas, a carnival tradition native to the Caribbean island of Trinidad and Tobago. The procession s masterpiece was Madame Hiroshima, a grotesque embodiment of the nuclear threat, a baroque Madonna whose aureola was a cloud of feathers reminiscent of the atomic mushroom that signaled the destruction of Hiroshima on June 6, The Adoration of Hiroshima had first been performed earlier that year during the annual Trinidad Carnival. As a proponent of Mas, the artistic component of the island s national festival, Peter Minshall was the leading masman of the 1980s and 1990s. His mas were characterized by an unabashed critique of society rooted in the tradition of Old-Time carnival characters and Ole Mas, Inset 1 brought up to contemporary relevance through the choice of topical subject matter and the use of innovative techniques. Minshall s Adoration of Hiroshima at the Washington Anti-Nuclear Peace March signaled the possibility of successfully combining Carnival and political demonstration, of marrying the Caribbean vernacular of resistance with the Western language of political propaganda against spectacular power, of which the atomic bombing of Hiroshima was one of the first examples. If, with Madame Hiroshima, Minshall had created an icon that partook of the spectacular, the procession as a whole was far from a cheap spectacle sold out to the diktat of entertainment. Indeed, it should come as no surprise that a carnival designer whose first carnival band was Paradise Lost (1976) would question the strategies of the spectacle. His approach was much like the San Francisco-based activist group Retort, whose book rallying against spectacular politics, Afflicted Powers, also borrowed its title from the verses of the seventeenth-century English poet 1. 과연가면무도회 Masquerade 가 스펙터클 ( 또는거대 ) 권력의시대에져가는인류의별을구할수있을것인가? 위장용깃털 1985 년, 자칭 프로젝트 MAS ( 가면무도회 Masquerade 와 쌍방간에합의된생존 Mutually Assured Survival 을뜻함 ) 라는일단의트리니다드출신예술가들이히로시마원자폭탄투하 40주년을맞아미국워싱턴 D.C. 에서열린평화시위행진의카니발행사에참여했다. 피터민셜 Peter Minshall이디자인한 히로시마에대한추모 The Adoration of Hiroshima fig. 1 는카리브해에자리한트리니다드토바고의전통카니발양식인 마스 Mas 라는예술적구절을통해원자폭탄이라는끔찍한살상무기를양산해낸인류를비판하고있다. 행진의백미는 마담히로시마 Madame Hiroshima 라는작품으로, 원자폭탄의괴기스러운체현으로서 1945년 6월히로시마를지옥의도가니로몰아넣었던원자폭탄의버섯구름모양을연상시키는깃털소재운무의후광을머리에인바로크양식성모를표현하고있다. 히로시마에대한추모 는그해초트리니다드카니발에서이미대중에게소개된바있다. 마스 의지지자이자트리나다드섬의전통축제를디자인한예술가의일원으로서, 피터민셜 Peter Minshall은 년대 마스 의선봉장이었다. 그의 마스 는전통적인카니발캐릭터에기반한사회에대한가차없는비판을가하며열대지방을소재로하여혁신적인기법을도입함으로써동시대적인감각을확보한 올레마스 Ole Mas 삽입 1 가그특징이라할수있다. 워싱턴의반원폭평화행진에서공개된민셜의 히로시마에대한추모 는카니발과정치적시위의성공적인결합, 그리고카리브해일대의저항의역사와히로시마폭탄투하로대변되는거대권력에대항하는서구식의정치이념의화합을표상한다. 마담히로시마 를통해민셜이비록대중의눈을끄는일종의아이콘을만들어내는데성공했다고하지만, 행진전체는대중의기호에영합하는상업적인스펙터클과는거리가멀다고할수있다. 첫작품인카니발밴드의이름을 실락원 Paradise Lost (1976) 이라붙였던카니발디자이너인만큼, 민셜이소위 스펙터클 한장관의창출에주력하는전략을외면하는것도무리는아닐것이다. 그의접근방식은마찬가지로 17세기의영국시인존 335

3 John Milton. 1 Discussing the 2001 terrorist attacks on the World Trade Center in New York, an updated iteration of spectacular power perpetrated against rather than by the West, Retort advanced the statement, We do not believe that one can destroy the society of the spectacle by producing the spectacle of its destruction. But wasn t what Minshall had accomplished with Madame Hiroshima, by transforming the costume into carnivalesque, in itself grotesque? In Minshall s words, the 18-foot tall, 120-pound costume was a purposeful vulgarity of glitter and ostrich feathers, a Folies-Bergère nonsense. Bacchanal and Parangolé Far from being meaningless, Minshall s Can Can figure is agitprop theatre and nonsense is fruitful foolishness, bearing the blooms of an alternative carnivalesque ideology that opposes senses to sense and reverses the age of the Encyclopedia to that of the Bacchanalia. Bacchanal! exclaims the Trinidadian when unexpected events erupt, which outcome cannot be predicted. Parangolé, proposed Hélio Oiticica at the height of the military dictatorship in Brazil. Almost synonymously, the Greek vocable turned Caribbean vernacular in typical Walcottian fashion 2 and the Brazilian near-neologism of the Tropicália era signals a New-World strategy by which carnivalesque excess disarms spectacular conflict and the grotesque gauges power. If the carnivalesque strategy of anti-spectacular spectacle thrived as the native colonial language of the Americas, it was only but disrupted in Europe, where unmediated popular undercurrents of resistance were kept alive after the festival vanished. It now plays center-stage in Asia, where the democratic movements of the 1980s are finding a new breadth on the global stage. Indeed they are becoming a lingua franca not the least because of the opposing yet concomitant currents of accrued individual freedom on the one hand, and increased state media control on the other. To Washington s posthumous nuclear guilt, Minshall offered a buoyant parade of sins. To Bush s purported anti-nuclear crusade against Iraq, Washington anti-war protesters retaliated with placards and banners bearing threatening messages of peace. To the masquerade of the Iraq war, suburban recruits, turned American soldiers, responded with the theatre of horror of Abu Ghraib. Taking their uniforms for mere costumes of G.I. Joe 밀턴 (John Milton) 1 이쓴시구절에서따온 고민하는권력 Afflicted Powers 이라는이름의반-스펙터클정치도서모임을주관해온샌프란시스코의액티비스트그룹 반박 Retort 과그맥을같이한다. 서구에대항하는 ( 서구에의해서가아닌 ) 거대권력의존재를실증해보인 2001년의뉴욕트레이드타워테러사건 (9.11) 을논하면서, 반박 은다음과같이역설했다. 우리는스펙터클즉보여주기에치중하는사회자체의파괴와멸망을그려내는것을그사회에대한진정한저항이라생각지않는다. 그러나, 민셜이 마담히로시마 를통해이룩한것, 즉전통아이콘의카니발적인비틀기야말로그로테스크하다고할수있지않을까? 민셜자신의표현에따르면, 18피트높이에 120파운드의무게로제작된성모의상은 폴리베르게르 Folies-Bergère (19세기말 20세기초성황을이루었던파리의상업적뮤직홀 역자주 ) 식넌센스이자 반짝이와타조깃털의천함을일부러강조한것 이라는것이다. 336 디오니소스적유흥과파랑골레 Parangolé 민셜의캉캉무희패러디는무의미한비틀기에만머물지않고, 감각대감각을대치시키며떠들썩한술잔치의시대와백과사전적시대를역전시키는카니발적이념의성과물이라할생산적어리석음을대변하는선동적표현방식이라할수있다. 예측불허의사건이터질때마다, 이트리니다드인은 디오니소스여! 라외친다. 브라질의군사독재정권이최고로득세했을당시, 헬리오오이티시카 Hélio Oiticica는 Parangolé 라제안했다. 그와유사한의미에서, 디오니소스 라는그리스어원의표어는카리브해특유의민속성을전형적인월콧스타일 2 로변형시켰으며, 가히신조어라할만한브라질어 트로피칼리아 Tropicália 의시대는카니발적비틀기의극대화를통해스펙터클한갈등을해소하고그로테스크함을바탕으로권력을평가하는신세계의전략을대변하는것이다. 반-스펙터클을주창하는카니발적비틀기가미대륙 ( 주로중 남미지칭 ) 특유의식민지적언어로빛을보았다고한다면, 축제가사라진후에도대중의저항이밑바닥에서흐르던유럽에서는이러한전략이주효하지못했다. 1980년대의민주화운동이글로벌한차원에서새로이조명을받고있는아시아야말로카니발정신의맥을이어갈곳으로주목받고있다. 누적된개인적자유, 그와반대로나날이엄격해지는정부의언론통제때문만

4 fig. 1 Madame Hiroshima Peter Minshall, Sketch for The Adoration of Hiroshima, ink on paper, 1985, Courtesy The Callaloo Company, Chaguaramas, Trinidad Inset 1 Ole Mas, Port of Spain, Trinidad Carnival 2004, Photographs Claire Tancons Inset 1. Hart for Heart Occasionally, when Ole Mas is witnessed in the streets of Port of Spain, it offers a virulent satire of the corruption of the local administration and political establishment. During the 2005 Carnival, a dozen male and female, adult and children masqueraders paraded in front of the Hall of Justice dressed in ripped old clothes and holding the characteristic Ole Mas placards. The band summarized the current state of affairs through shoddy cardboard costumes and acerbic political commentary that spanned the broad spectrum of topics of popular discontent, from poor public transportation to rampant car wreckage, to pollution caused by intensive oil drilling and the dubious origin of beef meat. The slogans I Panday have no hart and Manning have plastic hart that spelled out the names of former (Panday) and current (Manning) prime ministers and made a pun from the name a popular designer of bikini mas (Hart) could be read as a double attack on the prevailing low standards in politics and Carnival. 삼입 1. 마음 (Heart) 대신수사슴 (Hart) 포트-오브-스페인 (Port-of-Spain) 의거리에서간간히목격할수있는올레마스 (Ole Mas) 는지방정부와정권의부패에대한통렬한비판을가한다. 2005년카니발당시에는 12명의남녀노소가낡고너덜너덜한옷을입고올레마스플래카드를든채재판소앞을행진하기도했다. 밴드는조악한판지의상을입고시민대중의일반적인불만에서부터대중교통체계의문제와빈발하는교통사고, 지나친석유채굴로인한공해와쇠고기의의심스러운원산지표기에이르기까지각분야에걸쳐쓰디쓴정치평을던지며시사평론을서슴지않았다. 나, 팬데이 (Panday) 에겐수사슴 (hart, 하트 : 마음 (Heart) 을 hart( 수사슴 ) 으로대체한말놀이 ) 이없다 와 매닝에겐플라스틱수사슴 (hart, 하트 ) 이있다 라는슬로건들은전, 현직수상 (Panday, Manning) 들과 비키니마스 의인기디자이너 (Hart) 의이름을사용한말놀이를통해부적절한정치와카니발실태를비판한것이었다. 337

5 Spring fig. 2a Peter Minshall, Mancrab from River, Trinidad Carnival 1983, Photograph Noel Norton, Courtesy The Callaloo Company, Chaguaramas, Trinidad 338 fig. 2b Peter Minshall, River, Trinidad Carnival 1983, Photograph Derek Gay, Courtesy The Callaloo Company, Chaguaramas, Trinidad

6 dolls, and disguising their POWs as hooded penitents in one of the darkest farces of the beginning of the 21st century, America s soldiers staged a carnival of war grotesques where torture became entertainment The Disasters of War brought on by The Sleep of Reason. 2. If Debordian Spectacle Is To Be Rejected, Shall Bakhtinian Carnival Be Allowed Back In? Sleep and Dream The monsters in Francisco Goya s famous etching El Sueño de la Razón Produce Monstruos ( ) could have been borne out of the sleep of reason as much as out of the dream of reason the Spanish word sueño can translate into either sleep or dream. For these monsters a cat, owls, and bats with iridescent eyes can be seen as both the last specimens of the not-yet-vanished folkloric substrate of Europe upon which its carnivals were bred, and the metaphorical monsters that the mechanical and nuclear ages would bear out of Man s blind reliance on logic and science the cremation chambers, the atomic bomb. There is only a short step between the sleep of reason and war, which disasters Goya rendered with rhetorical excess and eloquent violence. The unrelenting darkness of The Disasters of War ( ) is further deepened in the portrayal of the killings of the 3rd of May 1808 (1814), which would inspire Picasso s Massacre in Korea (1951). The genealogy of erring reason from the first Modern artist (Goya) to the icon of Modernism (Picasso) reads like an alternative chronology to mainstream art-historical trends, with Goya s insane nightmares and Picasso s primitive fantasies defying the cool, linear ideology of progress. Indeed, Picasso s affinity with ancient and non-modern civilizations helped reframe art-historical discourse away from the univocal Western narrative of Modernism. His soldiers in Massacre in Korea are naked barbarians wearing rustic helmets and antique, three-pronged weapons, grotesque warriors whose crude nudity leaves them as exposed as their victims. In the 1983 Trinidad Carnival, the King of Minshall s band River was Mancrab, fig. 2a & 2b a river-polluting crab and genocidal criminal of the River People, though more elaborate than 은아니겠지만, 그야말로만국공통어가되어가고있는것이다. 미국이보여주는원자폭탄에대한소잃고외양간고치기식의반성에대한비판의일환으로, 민셜은경쾌한 죄의행진 을보여주고있다. 워싱턴의반전시위자들은위협적인평화의메시지가담긴플래카드와배너등을가지고원자탄의위험을사전제거하겠다는명분하에이라크를침공한부시에맞선다. 전쟁터에끌려나간미국교외의시민들은 아부그라이브 (Abu Ghraib) 의참상을공연함으로써이라크전쟁이라는가면무도회를통렬히비난한다. G.I. 조 (G.I. Joe: 실제미국군인들을본딴장난감군인인형-역주 ) 의복장을모방한의상을입고전쟁포로들을얼굴가린죄인들로표현함으로써 21 세기최악의익살극을연출한미국병사들은고문이일종의 놀이 가되어버린전쟁의카니발적참상, 즉 이성의동면 The Sleep of Reason 으로인한 전쟁의참상 The Disasters of War 을보여주었다. 봄 2. 드보르디안 Debordian 스펙터클이거부의대상이라면, 디오니소스적카니발은다시용인되어야할것인가? 잠과꿈프란시스코고야의유명한에칭작품 엘수에노드라라종프로듀체몬스트루오스 El Sueño de la Razón Produce Monstruos ( ) 에등장하는괴물들은이성의꿈만큼이나이성의동면 ( 잠 ) 으로부터태어난것이라할수있을것이다. ( 스페인어로 sueño 라는말은영어로 잠 또는 꿈 모두로번역될수있다.-역주) 이괴물들, 즉고양이, 부엉이, 그리고밝게타오르는눈을한박쥐등은카니발의고향인유럽에서아직까지살아남은생물학적종인동시에논리와과학에눈먼인류가초래할기계주의와원자폭탄의시대, 곧히틀러의가스실과원자탄의공포를뜻하는은유인것이다. 이성의동면은곧전쟁으로이어질텐데, 고야는이러한참상을충만한서사와거침없는폭력으로묘사해냈다. 전쟁의참상 The Disasters of War ( ) 이그려내는바닥모를어둠은후일피카소의 한국에서의대학살 Massacre in Korea (1951) 에영감을준 1808년 5월 3일 3rd of May 1808 (1814) 의학살에서더극대화된다. 최초의모더니즘화가 ( 고야 ) 로부터모더니즘의화신이라일컬어지는피카소로이어지는잘못된이성 339

7 Picasso s crude warriors, and bears resemblance to them in their metallic harnessing and embodies the line of development from primitive modernism to carnivalesque sophistication along a path of history still too often left unbeaten. Spring Capital and Carnival The Middle Ages were the times of the grand European carnivals to which the painter and printmaker Pieter Bruegel gave a long-lasting mystique with The Fight Between Carnival and Lent (1559). But by the time dawn came upon the 17th century, Europe had not yet lost its Shrovetide festivals. In Paris, under the impulse of King Louis XIV ( ), whose love of dancing and costuming is well documented, carnival masquerades flourished and slowly gave way to a formalized type of spectacle that was to engender the grand classical tradition of ballet. During that same period, France and other Catholic European nations that celebrated Carnival were engaged in the colonial enterprise. Goya s bats flew to the Indies. (The Bat is, in fact, one of the oldest traditional characters in the Trinidad Carnival.) As Carnival withdrew from Europe as a major popular manifestation, giving way instead to the rarefied enjoyments of the few, it surged in the New World, where slavery and colonization replaced servitude and feudalism. Europe s growing, and soon excessive, consumption of spices and sugar, cocoa, and cotton announced the beginning of capital accumulation and stood in contrast to the famishment of the naked masses of slaves and indentured laborers, breeders of its material pleasures. To their master s materialist pleasure, the newly oppressed opposed the physical and spiritual experience of transient existentialism. If the accumulation of capital is the condition of the Spectacle, the cancellation of capital is the condition of Carnival. If capital excess breeds Spectacle, the lack of capital engenders Carnival. Lack, however, is not absence, but presence denied, the nullification of excess by an excess of excess. In Orphée Noir, Jean-Paul Sartre s introduction to Léopold Sédar Senghor s L Anthologie de la nouvelle poésie nègre et malgache (1948), Sartre uses a similar figure of annulment to define Négritude as the negation of the negation of the black man, a form of de-spectacu- 의계보는미술사의주류에대안적인연대기를이루는것으로, 피카소가표현한원초적인환상성은발전이라는 냉정하고직선적인이데올로기에반기를든것이다. 실제로, 고대또는전근대적문명에대한피카소의지식은서구의천편일률적모더니즘을탈피하여 미술사전반을재편하는원동력으로작용했다. 그가 한국에서의대학살 에서그려내는병사들은낡은투구 와원시적인삼지창을든기괴한전사들로서, 가감없이드러난맨살은그들역시자신들의희생자들과마찬 가지로폭력에노출된힘없는존재들임을실감케한다 년에열린트리니다드카니발에서, 민셜의밴드 강 의주인공은 인간게 Mancrab fig. 2a & 2b 라는존재로, 강을오염시키는게이자강사람들 River People 을가차 없이학살하는범죄자이다. 비록피카소의조악한전사들보다그완성도에서는앞선다할지라도, 원시전사들과 마찬가지로철제갑옷으로온몸을감싼인간게는주류사회가간과해왔던역사의면면한흐름속에서원초적 모더니즘으로부터카니발적세련됨에이르기까지의진전을표상하는일종의아이콘인것이다. 340 자본과카니발중세유럽은대규모카니발이그어느때보다도흥성했던시기로, 화가이자판화제작자인피터브뤼겔 Pieter Bruegel 은그의작품 카니발과사순절간의갈등 The Fight Between Carnival and Lent (1559) 을통해이를신화적으로형상화했다. 그러나, 17 세기초반에만해도유럽에서는재의수요일축제의전통이지켜지고있었다. 춤과화려한옷을즐긴것으로유명한루이 16세 ( ) 통치하의파리에서는가면무도회카니발이성행했으며, 이러한축제는후일고전발레의전통을탄생시킨보다정형화된스펙터클로그형태를갖추어나갔다. 같은시기, 축제전통을이어오고있었던프랑스와유럽의여타가톨릭국가들은식민활동에주력하기시작했다. 고야의박쥐들이인도의하늘을주유하게된것이다. ( 기실, 박쥐는트리니다드의전통카니발에서가장유서가깊은캐릭터중하나이다.) 대중축제의장으로서의유럽카니발이쇠퇴의길을걸으며특권층의유희로전락해간반면, 봉건주의와노역대신노예제도와식민주의라는신체제를바탕으로떠오른신대륙이그전통을계승했다. 설탕과향료, 코코아, 그리고목화등에대해유럽에서수요가폭발적으로늘어나자신대륙에서는자본의축적이진행된한편, 그러한물

8 larization of the black man (a barrier to the bulimia of the gaze) a rhetorical figure and conceptual tool in keeping with Retort s own double negative theme of the destruction of the Spectacle/ the spectacle of destruction. 3. Is a Funeral Procession a Carnival Or Is Carnival a Funeral Procession? The Balisier and the Red Devils On April 20, 2008, on the occasion of the national funeral of Martinican poet-politician Aimé Césaire, the people of Martinique convened in the streets of Fort-de-France by the tens of thousands for a daylong march that ended in the Dillon / Pierre Aliker stadium. Whether following the call of the procession s organizers or because of their own choice, most participants wore white and held a red balisier, symbol of Césaire s political party, but also simply, a flower a traditional element in a funeral figs. 3a & 3b. The polysemic nature of symbols is in accord with the complexity of meaning that different crowd organizations, or indeed, the same crowd organization, can have. In the New Orleans Jazz Funeral, for example, second-liners carrying umbrellas are followed by brass-band musicians surrounded by followers whose number is commensurate with the reputation of the deceased being led to his or her final repose. fig. 3c Emanating from the so-called Social Aids and Pleasure Clubs, with roots reaching back into the slavery era, the Jazz Funeral, more than any other type of funeral procession has undeniable artistic aspects that, ultimately, concur to serve the needs of the community, much like African masquerading traditions. Césaire, the proponent of the black-consciousness movement Négritude, which has been seen as the French West Indian equivalent of the African-American Harlem Renaissance, would not have contested the African origins of many Caribbean socio-artistic practices. Witnessing a masquerade in Senegal along with Négritude co-founder Léopold Sédar Senghor, Césaire had the revelation of the African origins of the Diables Rouges (Red Devils) masquerade of the Martinican Carnival. 질적풍요를실질적으로뒷받침한계층인노예들과계약노동자들은심각한빈곤에시달려야했다. 지배계층이누 리는풍요에반해, 새로이탄생한사회적약자들은덧없는육체적, 정신적존재주의의경험에대해반기를들었다. 자본의축적이 스펙터클 을위한전제조건이라면, 자본의소거는카니발의전제조건이다. 잉여자본이스 펙터클을창출해낸다면, 자본의부족은카니발을생성해내는것이다. 그러나, 부족이란부재가아닌존재의부 정, 즉잉여의잉여로인한잉여의무효화이다. 오르페누아르 Orphée Noir 에서, 레오폴드세다르셍고르 Léopold Sédar Senghor 의 새로운흑인시학과마다가스카르작품선 L Anthologie de la nouvelle poésie nègre et malgache (1948) 서문에서장폴사르트르는이와유사한개념을바탕으로 네그리튜드 Négritude 를 흑인의부정의부정, 즉 흑인의디스페큘러타이제이션 de-spectacularization: 스펙터클화의부정 의일종 ( 시선의거식증에의장벽 ) 이 라정의한다. 이는스펙터클의파괴 / 파괴의스펙터클이라는 반박 의이중부정테제와같은맥락에서의수사학이 자개념적도구인것이다. 봄 3. 장례행렬은카니발인가, 아니면카니발을일종의장례행렬로보아야할것인가? 빌리지에르 Balisier와붉은악마 Red Devils 2008년 4월 20일거행된마르티니크의시인이자정치가인에메세자르 Aimé Césaire의장례식을맞아, 마르티니크인수만명이포트드프랑스 Fort-de-France 거리에모여딜런 / 피에르알리커 Dillon / Pierre Aliker 운동장에이르기까지하루종일시가행진을했다. 진행자들의지휘에의해서건스스로의선택에의해서건간에, 대부분의참여자들은흰옷을입고세자르가속했던정당의상징이자전통적으로장례식에사용되는꽃인붉은발리지에르 balisier 송이를손에들었다. fig 3a & 3b 상징의다의성은서로다른또는동일한군중집단이지닐수있는의미의복합성과그맥락을같이한다. 예를들어, 뉴올리언즈의재즈장례식 Jazz Funeral에서는우산을든 2부행렬뒤로사망자의명성에비례하는수의추종자들에둘러싸인브라스밴드가따른다. fig. 3c 소위 사회복지와유흥클럽 Social Aids and Pleasure 341

9 fig. 3a fig. 3b Spring fig. 3c fig. 3a Funeral Procession of Aimé Césaire through the streets of Texaco, Fort-de-France, Martinique, April 20, Photograph Mike Irasque, Courtesy Mike Irasque fig. 3b Itinerary of Aimé Césaire s Funeral procession in Fort-de-France on April 20, 2008, Martinique 342 fig. 3c Jazz Funeral for John Brunious, Preservation Hall, New Orleans, February 24, 2008, Photograph Claire Tancons

10 Colonial Burial Carnival in New World Creole societies from New Orleans to Martinique, Brazil to Trinidad has evolved as a major field of artistic practice during the last three centuries and, more specifically, over the course of the 19th century, becoming a national festival in the 20th century in the case of the Trinidad Carnival. Continuing into the 21st century, Carnival has exported itself to American and European metropolitan centers such as New York, with the Brooklyn West Indian Labor Day Parade, London with the Notting Hill Carnival, and Toronto with Caribana in a movement of retro-colonization where globalization meets diasporisation. Much like in the Trinidadian motherland, diasporic carnivals carved themselves a piece of urban space out of the necessity to resist and exist, to assess and assert West Indian identity in the face of racism and discrimination. But they also did so to integrate and assimilate in a new environment. The Notting Hill Carnival is a case in point. Recognizing Creole carnivals and festivals as a major, if not the main, field of artistic creation in the Caribbean world is not just about going against the grain of current scholarship about Caribbean arts that too often, merely follows the trend of European academism that has befallen the islands in the more traditional medium of painting, sculpture and drawing. It is also attempting to delineate an alternative art-historical narrative that did not engender modernism but a form that is neither subservient to it nor, for lack of taking part in it, alien to the refinements of high art. Paying tribute to the resistance ethos of Carnival is also recognizing the extent to which carnival processions and political manifestations often collide and converge as expressions of popular angst against real and perceived abuses of power. 4. A Democratic Coup? Torch and Candlelights The Olympic torch relay of 2008 often turned into a political rally as pro- and anti-china protesters often outnumbered and sometimes outdid athletes in their display of global sportsmanship. Following the Olympic torch on its Clubs 에서발원하여그역사가노예시대로까지거슬러올라가는재즈장례식은다른그어떤장례행렬보다도, 마치아프리카의가면전통과도같이, 사회집단의필요를충족시키는미학적요소로충만한것이다. 미국흑인들의할렘르네상스 Harlem Renaissance의프랑스령서인도제도버전이라할흑인자각운동인네그리튜드의선각자인세자르는카리브해에서볼수있는여러사회적, 예술적전통이아프리카에그뿌리를두고있다는사실을부정하지않았을것이다. 네그리튜드의또다른창시자인레오폴드세다르셍고르와함께세네갈에서가면무도회를구경하던세자르는마르티니크의가면무도회인 붉은악마 Diables Rouges 의기원이아프리카로부터온것임을어느순간깨달았다고한다. 봄 식민지적장례신대륙의크레올사회 ( 뉴올리언즈로부터마르티니크, 또는브라질로부터트리니다드에이르기까지 ) 에서볼수있는카니발행사는지난 3세기동안, 그리고특히 19세기를거치면서중요한예술적전통으로발전했으며, 20세기로넘어옴에따라트리니다드카니발의경우와같이전국적축제의형태로자리잡았다. 21세기에들어서면서, 카니발의전통은세계화와민족의이산이동시에진행되는식민주의부흥운동의심장부라할수있는미국과유럽의대도시들, 즉뉴욕 ( 브루클린서인도제도노동절퍼레이드 ), 런던 ( 노팅힐카니발 ), 토론토 ( 카리바나 ) 등으로그입지를넓혀갔다. 트리니다드에서와마찬가지로, 이산된민족집단들이각지에서벌이는전통카니발들은존재적저항이나인종차별주의에대항한서인도제도인으로서의정체성을주장하는방편으로도시지역에자리잡았던것이다. 그러나, 한편으로카니발은새로운환경에적응하고조화를이루려는노력의일환이기도했다. 노팅힐카니발이이와같은경우라할것이다. 카리브해지역에서크레올의카니발과축제의의의를중요한 ( 최고는아닐지라도 ) 예술적창조행위로규정하는것은단지회화, 조각, 또는그밖의전통적인미술매체전반에걸쳐침범해온유럽식의형식주의를맹목적으로따라가는경향을보이던서인도제도미술계에대한오늘날의연구에반기를드는행위일뿐이라는주장은일견단편적이다. 카니발과축제는모더니즘대신순수예술의세련성에반하는, 내지는그에굴하지않는대안적 343

11 world tour was like holding the thermometer of freedom. And in this freedom world tour, cool was greater than warm in indicating a nation s freedom temperature. In Paris, which was gearing up for the fortieth anniversary celebration of the May 1968 student movement an event remembered to this day as an example of freedom of expression the flame was extinguished. In San Francisco and London it had some cold moments as pro-tibet demonstrators tried to get hold of it. In Seoul it could have frozen, had protesters against the Chinese, for the return of North Korean refugees, managed to spray water on it with a fire extinguisher. But then it was noticed that it would burn high in Pyongyang, the capital of the North Korean dictatorship (and world capital of the Mass Games, large scale performances based on group dynamics often depicting a living tableau of a patriotic scene or national leader). China, the 2008 Olympic host country that is under scrutiny for various human rights violations, offered a contrasting picture. The torch left Tiananmen Square under the warm auspices of Chinese officials and returned to Hong Kong to muffled protests by activists for Tibet and Darfur who had not been barred entry to the former British territory. It is in Hong Kong rather than Tiananmen Square that the massacre of June 4, 1989, officially referred to as riots, is remembered by public commemorations. As the flame from Olympia continues its tour of China, it is a different fire that will burn in the streets of Hong Kong, the fire of memory set alight in a candlelight vigil on the anniversary day of the students killings following so-called patriotic pro-democracy marches, organized by the Hong Kong Alliance in Support of Patriotic Democratic Movements of China. Spring Red Festa In contrast, the Gwangju Democratic movement of the 1980s, which started with a coup d état in 1979 and only truly ended in 1993 with the election of the nation s fourteenth president and the launch of the Civilian Government, has become an official celebration as the cornerstone of (South) Korea s democracy. fig. 4 Since being established in 1994, the May 18 Memorial Foundation (named after May 18, 1980, the first day of the Gwangju uprising) has hosted youth festivals, commemorative events, international peace forums and given prizes for Human 인미술사적내러티브를규정하기위한시도인것이다. 카니발의저항정신을받드는것또한카니발행진과정치 적선언이곧부조리한현실과권력의남용에대항하는대중의표현방식으로서서로충돌하며또한조화를이루는 현상이라는주장의주장을수용하는것이다. 4. 민주적인쿠데타? 344 횃불과촛불 2008년의올림픽성화봉송릴레이는운동선수들의세계시민적스포츠맨십을반중국적또는친중국적시위자들이수적으로나, 활동적으로넘어섬에따라자주정치적시위로변질되는경향을보였다. 전세계에걸친성화봉송행렬은마치각지역의자유수위를측정하는온도계와도같았다. 나아가, 더주목할점은, 이자유의세계일주에서각국이나타낸온도가뜨겁다기보다는차가운쪽에가까웠다는사실이다. 1968년의학생운동 ( 표현의자유의한예로써오늘날까지기억되는사건 ) 40주기를맞을준비에한창이던파리에서는심지어 자유의불 이아예꺼지기도했다. 샌프란시스코와런던에서는티베트를지지하는시위자들이성화를빼앗아드는몇번의위기상황도있었다. 서울에서는탈북자들의송환을요구하는시위자들이소화기를분무하려드는등불이얼어붙을뻔한일도있었다. 그러나, 아이러니컬하게도, 북한독재정권치하의평양 ( 애국주의와전체주의를바탕으로한매스게임과대규모공연의메카라할도시이기도한 ) 에서는성화의불이드높게타올랐다. 2008년올림픽개최국이자반인권적정책으로세계의질타를받고있는중국에서는극단적으로상반되는두장면이펼쳐졌다. 중국관료들의비호하에천안문광장을떠난성화는한때영국령이었던홍콩에도달하면서티베트와다푸르의독립을주창하는운동가들의조용하지만강한항의에부딪혔다. 1989년 7월 4일의대학살 ( 공식적명칭은 반란 ) 은그실질적무대인천안문보다오히려홍콩에서더높이추모되고있다. 올림픽성화가중국전역을순회하는동안, 홍콩에서타오른것은중국의애국민주운동홍콩지부가주도했던소위 애국적민주시위행진 이후자행된학생들의학살을추모하는시위대의촛불들이었다.

12 fig. 4 fig. 5 봄 fig. 6 fig. 4 Historical image of the 1980 Gwangju Democratic Uprisings in front of the Former Provincial Office Photo by Kyungtaek Na fig. 5 Contemporary image of the Reenactment of the Gwangju Democratic Uprising by the Youth Committee of the May 18 Foundation as part of the annual Red Festa festival fig. 6 Aerial view of 2008 Seoul Beef Protests Photo by Color News 345

13 Rights awards. One of its most emblematic events is Red Festa, a street festival hosted by the Youth Committee for the May 18 Festival, which reenacts scenes of the uprising. The year 2008 celebrated the 5th Red Festa and comprised mock battles between youths splashed in red paint and armed with sponge sticks instead of the paratroopers billy-clubs, and reenactment of the iconic scene of May 20, 1980, in which a protestor, standing on a bus, led a demonstration of public transportation workers, including dozens of buses and thousands of taxis. fig Korean Carnivalesque, Korean Spectacular Spring Mad Cow as Bœuf Gras According to one of its disputed etymologies, the celebration of a farewell to the flesh (from the Latin carne levare, to take away meat), Carnival has staged the parade of a fattened ox or Boeuf Gras to be sacrificed before the strictures of Lent. Popular in Paris throughout the 19th century, when it also became a fixture of the Rex Parade in New Orleans Mardi Gras, the Boeuf Gras, originally a live ox, was eventually replaced by a papiermâché representation. The 2008 manifestations in Seoul were carnivalesque in nature. Started as protests against the government s reopening of the American beef trade, the manifestations escalated into widespread, large-scale, anti-governmental demonstrations spanning over a month. fig. 6 The motif of a healthy fattened ox, the Boeuf Gras, had been replaced by that of a sick bovine, the Mad Cow, the symbol of happy consumption traded for fear against global consumerist strategies. For the beef protests in Korea were as much a product of a carnivalesque spirit as they were the result of extreme mediatisation. inset 2 Indeed, the popular manifestation was a media revolution, the coming together of interest groups through protest organizations relayed by internet servers, blogs, s, text-messages etc. It also represented the dramatic leap that the country had taken towards democratization of and through the media since 1980s. Where, in the Gwangju Democratic uprisings, the protesters set fire to broadcast stations 붉은축제 Red Festa 반면, 1979 년쿠데타직후시작되어 14 대대통령이당선되면서건국최초의 문민정부 가세워졌을때에야실질 적으로종료되었다고할 1980 년의광주민주화운동은한국민주화의시금석으로서국가적인추모일이되었다. 그림 년에설립된 5 18 기념재단 (1980 년 5 월 18 일, 즉광주항쟁첫날을기리는이름이다 ) 은다양한청소년행 사와국제평화포럼을개최하고인권운동가상을제정하는등의활동을펼쳐왔다. 그중가장주목할만한행사 는 붉은축제 Red Festa 로, 청소년위원회가 5 월 18 일의광주항쟁을기념하면서벌이는거리축제이다 년 에는붉은축제 5 주년을맞아붉은물감으로몸을칠하고의경의곤봉대신스펀지봉으로무장한청소년들이한 시위자가버스위에올라서서수십대의버스와수천대의택시를포함한대중교통종사자들의시위를주도했던 1980 년 5 월 20 일의장면을재연했다. 그림 5 5. 한국적카니발정신, 한국적스펙터클 346 뵈프그라 Bœuf Gras로서의광우병일설에따르면, 육체와의이별을축송하는행사로서의 ( 라틴어의 carne levare, 즉고기를떼어낸다는뜻에서기원 ) 카니발은사순절의구속전야에살찐황소또는뵈프그라 (Boeuf Gras) 를제물로바치는의식에서연원했다고한다. 19세기전반에걸쳐파리에서유행했으며이후뉴올리언즈마디그라카니발의렉스퍼레이드의상징물이된뵈프그라 (Boeuf Gras: 원래는살아있는황소였음 ) 는후일종이모형으로대체되었다. 2008년서울에서일어난일련의시위는그특성상카니발적이었다고할수있다. 미국과의쇠고기수입협상을재개한정부의결정에반발하여불붙은이시위는한달여에걸쳐전국적인대규모반정부시위로발전했다. 그림 6 건강하고살찐황소, 즉뵈프그라의모티프는비실비실하게병든, 미친소의모티프로대체되었고, 행복한소비의상징은전지구적소비주의의전략에대한공포감으로대체되었다. 한국의쇠고기수입반대시위는미디어에힘입은것이기도하지만, 한편으로는축제적성향의산물이기도한것이다. 삽입 2 대중은미디어를통해자신

14 to prevent the spread of wrongful official information, in the 2008 beef protests, the media digital media in particular proved a powerful tool in organizing the manifestations, a tribute to the country s unprecedented success in the digital technology. Destroyed Tower By contrast to South Korea s carnivalesque demonstration of popular strength brought about by its hardfought democratic struggle, and supported by its competitive media industry, stood North Korea s exhibition of spectacular power with the destruction of a cooling tower at the Yongbyon nuclear complex near Pyongyang. A symbol of North Korea s nuclear power, the tower, however, had since long been disaffected. Its destruction was thus seen more as a spectacular gesticulation than as a real commitment to nuclear disarmament, for which many steps still have to be taken. Over just a couple of months, in the divided Korean peninsula, the two opposing tendencies of the Carnival and the Spectacle were brought to climactic heights in popular manifestations in South Korea and in the theatrical staging of destruction in North Korea once again asserting that the two never cease to coexist and are the function of diverging political systems. In this way, they definitely demonstrate that the carnivalesque still has contemporary relevance and may, in light of other popular manifestations worldwide, pose a serious threat to spectacular politics. 6. Of the Idea of the Social Contract Applied to Artistic Practice The Artistic Contract The idea of the Social Contract, upon which modern democracy rests, stipulates that citizens must abide by mutually coercive laws if they are to remain within the bonds of society, in exchange for which they are guaranteed fundamental rights. 들의의지를표명했으며, 각종이익집단이시위를조직해인터넷동호회, 블로그, 이메일, 문자메시지등을통해끝없는증식과확산을거듭해나갔다. 또한, 이시위는한국이 1980년대이후언론의힘을바탕으로이룩한민주화의기록적인발전상을표상하는것이기도했다. 광주시민항쟁당시의시위자들이정부가조작한잘못된정보의유포를막기위해언론사에화염병을던졌던것과는달리, 2008년의시위자들은시위를조직하고유지하는과정에서언론, 특히디지털미디어를 100% 활용했는데, 이러한사례는그야말로한국디지털기술의개가였다. 봄 파괴된탑피흘려싸운민주화투쟁의경험을바탕으로, 그리고경쟁매체산업에의해지지된남한의카니발적시위와는달리, 북한은평양근교의영변원자력발전소의냉각탑을파괴함으로써스펙터클한힘을시위했다. 그러나, 북한원자력기술의상징이라고할냉각탑은이미무용지물이된지오래였다. 따라서, 냉각탑의파괴는핵포기의지의표명이라기보다는연극적제스처라보아야옳으며, 비무장으로의길은아직도요원하다할것이다. 불과두달여에걸친기간동안, 분단된한반도에서는카니발과스펙터클이라는양극단의경향이남한에서의대중시위와북한에서의연극적냉각탑파괴라는형태로선을보였다. 이는, 스펙터클과카니발이영원한평행선이며상극된정치적체계의기능임을여실히보여주는예이다. 이러한맥락에서, 카니발정신은오늘날의사회에서도충분히그개연성을인정받을수있으며, 세계각지에서관찰되는여타의대중시위를통해서스펙터클의정치학에대해심각한위협요소로작용하고있다할것이다. 6. 사회계약론의예술행위에의적용 예술적계약 근대민주주의의모태인사회계약론에따르면시민은기본권의보장에대한보답으로, 또한사회의틀내에머물 기위해, 쌍방간의합의에의해제정된법률을준수해야한다. 347

15 With overpopulation looming and the idea of democracy being challenged, the problem of the 21st century might well be about how to organize the crowds of the world s corners into global citizens and to give them agency. Recent worldwide manifestations, of which the June 2008 Seoul manifestations are the paragon, show that in the Information Age, popular assemblies remain a powerful mode of communicating content or dissent, and that humankind has not reached, not that it should have, the Age of Reason that was supposed to crush its instincts. There may then be something to learn from processional traditions which, having escaped the anesthetic power of reason, the hygienisation of Modernism, and the clarion call of individualism, organize people in a way that binds them together as well as frees them of the bonds of daily life, colonized by false images and empty slogans disseminated by deceitful leaders. If the avant-garde as an actual position of leadership as opposed to a metaphorical one, long derided by the proponents of postmodernism is the strategic and ethical position in which artists should always strive to be, they should all become masmen, leaders of Carnival bands or public demonstrations of thousands to whom liberatory, if temporary, power would be conferred through collective artistic creation. Through Carnival and other similar public manifestations, the social contract is constantly re-negotiated, turned into an artistic contract between the artist-leader and the viewer-participant that, ironically, best realizes the postmodernist ideal of the viewer completing the artwork, as carnival bands only exist insofar as potential revelers are willing to join in and literally, play the game, or rather, play their mas. 7. SPRING in Gwangju Spring The Fall of SPRING The biennale project SPRING pays homage to the Gwangju Democratic movement and to the spirit of May. Spring is a season which, throughout history, coming on the heel of harvest-celebrating pre-lenten carnivals, has always been fertile in revolutionary movements such as the Gwangju Democratic movements. The word spring also calls 인구가폭발적으로증가하고민주주의를위협하는요소들이날로늘어감에따라, 21 세기의인류가직면한문제는 각지의군중을어떻게세계시민으로편입할것이며어떠한방법으로그들에게발언권을부여해줄것인가이다 년 6 월서울의촛불시위에서극에달했던대중시위들은정보사회의도래이후대중집회란동의또는거 부를표명하는강력한전략이며, 이성의발달에의해완벽히제어될것으로믿었던본능이아직도생생히살아있 음을보여주는산증거이다. 그렇다면, 이성의마취된힘으로부터벗어났기때문에, 모더니즘의위생화와개인주의의낭랑한부름은 사람들을결속시키는한편거짓된지도자들이퍼뜨리는공허한표어와허황된이미지로점철된일상의구속으로 부터해방시켜준다고보아야할것이다. 만약아방가르드 ( 이를포스트모더니스트들이경멸해마지않았던은유적지도력의대치점으로서의실제 지휘권이라한다면 ) 가예술가들이늘도달하고자애쓰는전략적, 윤리적입지라면, 그들은모두카니발밴드의리 더즉마스맨 masmen 이되거나집단적, 예술적창조행위를통해 ( 비록일시적이더라도 ) 해방의힘이부여되는대 중시위의지도자가되어야할것이다. 카니발과여타그와유사한대중시위를통해, 사회적계약은지속적으로 재협상되면서예술가 - 지도자와관객 - 참여자간의예술적계약으로재탄생하게된다. 카니발밴드가존재할수 있는전제조건은결국시위자나관객이글자그대로자발적으로참여하여함께그들의 마스 를진행해나가는적 극성과참여성인만큼, 이는아이러니컬하게도포스트모던적예술개념인작품의 완성자로서의관객 이라는이 상에가장가까운것이다. 7. 광주의봄 348 봄의 Fall 광주비엔날레프로젝트봄 SPRING 은광주민주항쟁과 5 월정신을추모하고자한다. 역사적으로봄은추수를축 성하는사순절전카니발끝무렵에오는계절로, 광주항쟁과같은혁명운동의산실이었다. 봄 (spring, 용수

16 to mind the idea of sudden motion and constant tension which is at the core of popular manifestation. Although SPRING was inspired by Gwangju s own May 1980 street uprisings, it is more concerned about re-creating the conditions for the release of the emancipatory energy, which is at the root of popular organization as it is about offering a narrative critique of a particular historical moment critique which is usually inherent in street manifestations. SPRING will thus manifest itself as a procession borrowing from various processional models from carnival parades, to funeral processions, to political demonstrations. Refusing the constricted space of the gallery, SPRING seeks to experiment with the processional format as an alternative curatorial model for the organization of an exhibition in motion, a space of active social participation, best suited for the understanding of self-government and cooperation toward which street demonstrations and human participation tend. As the only element exhibited in Annual Report: A Year in Exhibitions will be an experimental film by Caecilia Tripp, her own Spring in Gwangju shot in the spirit of Rainer Werner Fassbinder s Germany in Autumn it is only fitting that the following be but a teaser of this feature-to-be. SPRING will be a procession rather than a parade, a Carnival rather than a Spectacle, the ideas of procession and Carnival being understood here in relation of contradistinction with parade and Spectacle in accordance with their etymological roots, which might best attest to their differing meaning and intent. While parades are spectacles first and foremost destined to passive visual consumption (spectacle comes from the Latin spectare, to look), processions (from the Latin procedere, to move forward) implies the idea of motion that epitomizes the progressive (both literally and metaphorically) nature of Carnival (à la Peter Minshall). The live and recorded music played and mixed by Jin Won Lee (aka GAZAEBAL) during the procession and used as the score of Tripp s film, will reflect the in-progress nature of the performance through the use of repetitive structures exponentially expanded along with the procession itself. SPRING will be part carnival, part demonstration, and part funeral procession, a diurnal and nocturnal performance of revelers, revolters, and wanderers. Unfolding along one of the main avenues leading to the roundabout across from the Former Provincial Office, the location of the procession, where the students uprisings took place more than two decades ago, is as much of an homage paid to the Democratic movement as it is a formal 철 ) 이라는단어는또한대중시위의핵심인급작스러운동작과지속적긴장을연상시키기도한다. 비록봄이광주본연의 1980년거리항쟁으로부터영감을받은프로젝트라고는하지만, 특정한역사적순간에대한서사적비평 ( 특히가두시위에서자주볼수있는 ) 이라할대중시위의근저에자리한해방적에너지를풀어놓기위한조건들의재창출이야말로이프로젝트의주안점이다. 따라서, 봄은카니발퍼레이드, 장례행렬, 그리고정치적시위에이르기까지다양한가두행렬의형태로표현될것이다. 전시회장내의제한된공간에갇히기를거부하면서, 봄은가두시위와시민들의참여가표상하는자립성과협력성에걸맞은적극적사회참여의공간으로서의 동적인 대안적전시모델을실험해보고자한다. 연례보고 : 일년동안의전시 에는세실리아트립 Caecilia Tripp. 의실험적영화만이전시될것이므로, 그녀자신의 광주의봄 ( 라이너베르너파스바인더의 독일의가을 에서따옴 ) 은뒤따를수많은작품들의맛보기에불과하다할것이다. 봄은, 퍼레이드라기보다는행진, 스펙터클이라기보다는카니발이될것이며, 여기서의행진과카니발은어원적으로퍼레이드나행진에반하는개념으로서그의미와목적이상반된다고보아야한다. 퍼레이드와스펙터클은수동적인시각적소비 ( 라틴어 spectare, 즉, 보다 에서기원 ) 인반면, 행진 ( 라틴어 procedere, 즉 전진하다 에서기원 ) 이라는단어는카니발의 ( 피터민셸적인의미에서 ) 진보적이고전진적인 ( 글자그대로, 그리고또한은유적으로 ) 동작 의의미를극대화한다. 이진원 ( 일명가재발 ) 이행진과트립의영화배경음악용으로믹싱, 연주한라이브또는녹음된음악은행진그자체와더불어기하급수적으로확장된반복적구조의사용을통해공연의 진행적 성격을반영한다. 봄은일부는카니발이고, 또한편시위이며, 다른한편으로는장례행렬로서반란자, 혁명가, 그리고방랑자들의야행성이자주행성인공연이될것이다. 이전의도청건물맞은편의순환로로이어지는대로를따라진행될이행진은 20년도더전에학생운동의장이되었던그곳에서, 행진과그참여자들의육체적, 정신적변이에글자그대로크나큰영향을미칠직선적또는원형적특성들을결합한다는목적하에시도되는형식적실험으로서민주화운동에바쳐지는일종의오마주가될것이다. 행진의선봉에는시각예술가, 삼비스따 sambista와자바스로페즈 Jarbas Lopes, 불만의배를재현한오브제로서일견기괴해보이기까지한스티로폼가두행렬기구, ( 원 봄 349

17 experiment with an itinerary that combines linear and circular properties that will impact, quite literally, on the turns and shifts, both physical and emotional, of the procession and its participants. Leading the procession will be visual artist, sambista and carnavalesco Jarbas Lopes with an unlikely float of Styrofoam, the reconstruction of a vessel of discontent (in its original context, the 2006 Rio de Janeiro Carnival, with the polluting effect of carbon dioxide emissions). Coming next will be Karyn Olivier s investigation of the very ethos of ancient sacred festivals out of which carnivals grew, with the presentation of body prostheses such as additional limbs, wings, stilts, and other such things, designed to confer god-like powers onto their wearers. Marlon Griffith will follow at dawn with an embodiment of the spirit of the Canboulay riots waged by the people of Trinidad against the British attempts to suppress Carnival in Mario Benjamin s work will illuminate the night with a son et lumière (sound and light) mobile sculpture that is also a spirited vehicle. Closing the procession will be a MAP Office funeral procession of chariots of offering, which borrow as much from a Southern Chinese custom (according to which the dead are to be accompanied by everyday objects as a viaticum for the travel to the afterlife) as it does from the Carnival tradition of setting an effigy on fire at the end of the revels. SPRING s premise and success relies on the artistic contract between a handful of artists and a multitude of people. Each artist will be at the head of a rhizomatic experiment in artistic collaboration within his or her own workshop, during which skills will be shared, knowledge disseminated, human bonds sealed. At the core of this rhizomatic dissemination of knowledge will soon be not one but several leaders, as each workshop participant takes over control of the production process from the artist. The artist is to diffuse artistic authority and authorial power as the people gain ownership of the artistic process in a joint enterprise of collective self-definition. Endnotes Spring 1 Retort includes Iain Boal, T. J. Clark, Joseph Matthews, and Michael Watts. The full title of their book is: Afflicted Powers: Capital and Spectacle in a New Age of War. (London and New York: Verso Press, 2005). The book is an expanded version of the group s highly successful 2003 broadsheet, Neither Their War Nor Their Peace. 2 In Omeros (New York: Farrar, Straus and Giroux, 1990), Derek Walcott relocates Homer s ancient tale, The Odyssey, in the Caribbean island of St. Lucia 래 2006년리오데자네이루카니발에서이산화탄소방출로인한오염에항의하기위해사용되었음 ) 등이나설것이다. 그다음은카니발의기원이된고대의신성한축제를다룬카이린올리비에 Karyn Olivier의작품으로, 신적힘을부여해주는상징으로서의도된잉여의팔다리, 날개, 죽마, 그리고여타의장식물들을착용한공연자들이행진한다. 1881년카니발을억압하려했던영국에맞서트리니다드인들이일으킨칸불레이 Canboulay 반란의정신을표현한말론그리피스 Marlon Griffith가뒤따를것이며, 그에이은마리오벤자민 Mario Benjamin의작품은힘있는운송기구이기도한 son et lumière( 소리와빛 ) 모바일조각으로어두운밤을밝혀줄것이다. 마지막으로, 축제가끝날무렵신상에불을붙이는카니발전통과함께중국남부의제례 ( 장례때, 사망자가쓰던일상품을함께묻어저승길로의노자로쓰게하는전통 ) 에서그형상을따온제의적마차들의맵오피스장례행렬이행진의말미를장식하게된다. 봄 의대전제와성공은소수의예술가와수많은사람들간에이루어진예술적약속에기반을두고있다. 참여하는예술가들은각자의워크숍기간동안기술을나누고근본적지식을공유하며관계를돈독히함으로써예술적협력의실험에앞장설것이다. 이러한근본적지식의확산은더많은이들을작품활동의중심부로끌어들여, 참여자한명한명이예술가의뒤를이어생산활동을주도할수있도록해줄것이다. 예술가의역할은예술적권한과작가로서의힘을적절히배분하여사람들이집단적인자아규정의예술적과정에스스로참여하도록하는것이다. 미주 1 반박 에는이아인볼 (Iain Boal), T. J. 클라크 (Clark), 조셉매튜즈 (Joseph Matthews), 그리고마이클와츠 (Michael Watts) 등이참여하고있다. 저서의원제는 고민하는권력 : 새시대의전쟁에서의자본과스펙터클 (Afflicted Powers: Capital and Spectacle in a New Age of War) 이다. (London, New York에서인쇄 : Verso Press, 2005). 이책은 반박 이 2003년성공적으로배포한인쇄지 그들의전쟁도평화도싫다 (Neither Their War Nor Their Peace) 의확장본이다. 2 오메로스 (Omeros) 에서, (New York: Farrar, Straus and Giroux, 1990), 데릭월콧 (Derek Walcott) 은호머의고전 오딧세이 (The Odyssey) 를카리브해의섬세인트루치아에서일어나는사건으로재구성한다. 350

18 봄 Inset 2. June 2008 Beef Protests in Seoul, photo by COLOR NEWS Earless Leader Many a scene in the streets of Seoul shows the emergence of a carnival spirit brought about by the popular energy of a political community, resorting as much to such traditional propaganda tools as placards, flags, and slogans, as to dance, song, music, masquerading and satire; and to spiritual practices, such as the use of votive candles. In one image a guitar and a megaphone share the same contest space; in another, two surgeons propose to cut the useless ears of the nation s leader who does not listen to his people in a satirical saynète similar to Ole Mas in Port-of-Spain. 삽입 년 6월서울쇠고기수입반대시위, 사진 : COLOR NEWS 귀기울일줄모르는지도자 서울의거리를찍은많은장면들이플래카드, 깃발, 슬로건등과같은전통적인정치프로파간다도구만큼이나춤, 노래, 음악, 가면무도회와풍자, 그리고촛불등과같은종교적제의에힘입은대중의에너지를바탕으로부상한카니발의정신을보여주고있다. 한장면에서는기타와메가폰이계속하나의공간을공유하고있으며, 다른사진에서는두명의의사가국민에게귀기울이지않는국가지도자의쓸모없는두귀를잘라버리자는포트-인-스페인 (Port-of-Spain) 올레마스의풍자적세이네트 (saynète) 와도유사한발언을하고있다. 351

19 Caecilia Tripp 세실리아트립 Spring 352 Mi Curaçao, 2005 Color and sound video, 41:50

20 봄 (top) Making History, 2008 color and sound video, 10:00 Co-direction Karen McKinnon / B3 Media Brixton (bottom) The Making of Americans, 2004 color and sound video, 18:00 353

21 Jin Won Lee (aka GazAEbal) 이진원 ( 일명가재발 ) Spring 354 Jin Won Lee (aka Gazaebal) Performance, 2004

22 Jarbas Lopes 자바스로페즈 봄 CO2CO2 Performance at the Rio de Janeiro Carnival,

23 Karyn Olivier 카이린올리비에 Spring 356 Grey Hope, 2008 (clockwise from top left) Blinders Megaphone, Collaborate Skiis, Elastic, Guillotine (opposite) Ladder

24 봄 357

25 Marlon Griffith 말론그리피스 Spring 358 Sketch for RUNAWAY REACTION, 2008 (current page) white pencil on black paper, collage (opposite) poster

26 봄 359

27 Mario Benjamin 마리오벤자민 Spring 360

28 봄 Float of the Ministry of Culture Port-au-Prince, Haiti Carnival, 2006 (Mario Benjamin in collaboration with André Eugène, Jean-Hérard Céleur and Frantz Jacques aka Guyodo) 361

29 MAP Office (Laurent Gutierrez & Valérie Portefaix) 맵오피스 ( 로렌구티에레즈 & 발레리포티패 ) Spring 362 Death with Objects Milan, Italy 2008,

30 봄 Sketches for The Final Battle,