학술논문
“허스티즘”? : 믿음의 정체 / "Hirstism"?: Revealing Damien Hirst's Belief
Document Type
Dissertation/ Thesis
Author
Source
Subject
Language
Korean
Abstract
본 논문은 동시대 미술의 대표 작가 데미안 허스트의 독특한 세계관, 허스티즘을 해명한다. 허스트는 1988년부터 2017년까지 일관되게 ‘믿음’의 문제를 다루고 있다. 그리고 그 믿음들은 허스트의 독특한 세계관을 만든다. 그의 작품들은 그 이전까지 ‘죽음’이라는 인간 존재가 가진 보편적인 한계와 실존적인 고민들을 다루는 것으로 알려져 왔다. 그러나 본 논문에서는 허스트를 믿음을 다루는 예술가로서 비평적으로 재조명하고자 한다. 허스트의 세계관은 종교, 과학, 예술이라는 세 가지 요소의 조합을 통해 알아볼 수 있다. 허스트는 기독교, 특히 카톨리시즘의 외양적인 것을 짜임새 있게 사용한다. 그러나 허스트는 복음의 의미를 제거하고 껍데기만 남긴다. 허스트가 의도적으로 복음의 의미를 삭제하는 이유는 종교에 대해 부정적이고, 세속적 관점을 보이기 때문이다. 본 논문은 허스트의 세계관을 파악하기 위해 영미 철학의 인식론에서 다루는 신빙론의 틀을 사용한다. 신빙론은 믿음의 ‘과정’과 ‘결과’를 분리한다. 신빙론에서 신빙성 있는 인지과정을 거치면 그 믿음은 ‘정당화된 믿음’이 된다. 허스트에게 과학은 ‘믿기 위해 먼저 알아야 하는 것이다.’ 그래서 과학은 그 자체로 신빙성 있는 인지과정이자, 그것이 모여서 만들어진 결과다. 반대로 그에게 종교적 믿음이란 ‘알기 위해 먼저 믿어야 하는 것’이기에 신빙성 없는 인지과정이다. 그렇기에 그 결과인 종교 역시 정당화될 수 없다. 허스트는 예술의 정체에 대해서 알 수 없다는 태도를 취한다. 그러나 자신은 예술가이기에, 예술의 존재가 있다라는 믿음을 정당화해야 한다. 그래서 허스트는 예술의 존재를 종교처럼 ‘먼저 믿는’ 것으로 해결한다. 허스트에게 예술이란 ‘먼저 제시’하고 ‘의심하지’ 않고 믿으면 예술이다. 허스트가 생각했을 때 이러한 믿음은 정당화될 수 없는 신빙성 없는 인지과정이자 종교적 믿음이다. 그래서 그는 종교적 믿음이 예술에 대한 믿음과 비슷하다고 말하고, 이는 그가 예술을 거짓말과 같다고 하는 이유이기도 하다. 허스트는 거기서 나아가 신과 예술을 비슷한 것이라 생각한다. 그 생각은 예술을 종교처럼 믿는다면, 종교의 기능과 효과를 가질 수 있다는 생각으로 나아간다. 허스트는 자신이 믿음에 대해서 오래 고민해온 만큼 대중들이 훌륭한 예술에 대해서 가지고 있는 믿음들도 이용할 줄 안다. 그가 보여주는 상업적 스펙터클은 허스트의 믿음에 대한 태도와 같이 분석, 평가해야 한다. 그는 자신의 예술이 아이콘과 복제 둘 다가 되기를 원한다고 말하지만, 그의 작품은 동시대 미술의 물신에 가깝다. 본 논문은 허스트가 믿음과 믿음 체계에 보인 관심들을 집대성한 예시로 2017년 《믿을 수 없는 난파선의 보물》전을 분석한다. 허스트는 이 전시가 믿음과 신앙에 관한 것이라 말한다. 허스트는 자신의 작업이 고대 보물선의 인양된 유물이라고 주장하면서, 그동안 죽음에 가려져 주목받지 못했던 주제들인 ‘종교’, ‘과학’, ‘혼란’, ‘신’, ‘믿음 체계’, ‘정당화’, ‘진실’과 같은 많은 물음들도 같이 인양해왔다. 그 이전까지 허스트가 보여줬던 예술의 역할 중 하나가 시각적 형식을 통해 믿음 체계를 원활히 작동시켜주는 수단이었다면, 여기서 예술은 반대로 믿음 체계를 해체하는 수단이 된다. 진실과 거짓의 경계를 넘나드는 이 전시는 거대한 규모에 걸맞게 긍정적인 평가와 부정적인 평가들이 다수 존재한다. 본 논문은 긍정적인 평가들을 충분히 받아들임과 동시에, 비판적으로 바라본다. 이 전시에서 등장하는 인지적 혼란이란, 더 나은 가치를 찾기 위한 혼란이 아닌 혼란만을 위한 혼란에 가깝다. 동시에 이 혼란은 식민주의적 특성과 믿음 체계에 대한 잘못된 인식을 줄 수 있기에, 재미와 흥미의 요소로서 전적으로 수용하기는 어렵다. 나아가 이것이 그가 천착해 온 종교와 신앙의 문제와도 관련 있음을 밝힌다. 그는 신화가 과학과 같은 합리적 설명이 존재하지 않던 시절, 필요에 의해 만들어진 허구적 서사라는 것을 강조한다. 그가 신화를 강조하는 이유는 그가 신화를 종교의 기원이라고 보기 때문이다. 허스트는 종교를 신화로, 신화를 서사의 층위로 끌어내리는 것이다. 그 후 허스트는 반대로 자신의 서사 창조를 강조한다. 그에게 신화는 서사와 다름없는 것이기에, 서사의 창조는 곧 신화를 창조하는 것과 같다. 그리고 이는 곧 종교의 기원이기도 하다. 본 연구는 데미안 허스트가 동시대 미술에서 ‘믿음’이라는 인간의 심적 경향들을 가장 적극적으로 구현하고 있는 작가이며, 동시대 미술의 물신주의적 경향을 대표할 수 있다고 보고 있다. 그가 보여주는 스펙터클한 시각 언어는 그가 종교성을 염두에 두고 있다는 점에서 물신에서 출발한 스펙터클이란 용어에 가장 적절한 예시이다. 허스트가 대표하는 동시대 미술의 물신적 경향은 무엇인가를 믿는 인간의 심적 경향과 미술 시장과 제도, 우리가 무엇을 좋은 예술로 판단하고, 정당화하고 있는지에 대해 많은 고민거리를 가져다준다. 이번 연구를 통해 동시대 미술에 대한 다양한 공론의 장이 활성화되길 기대한다.
This thesis explores the worldview of Damien Hirst, referred to as "Hirstism." He have been recognized for addressing the existential dilemma of death. However, Hirst consistently dealt with the theme of ‘belief’ from 1988 to 2017. This thesis aims to critically reassess Hirst as an artist who deals with belief. The worldview of Hirst is revealed through his engagement with religion, science, and art. He considers these to be merely belief system. For example, he tactfully employs the external aspects of Christianity, particularly Catholicism. But it is all show and no substance. He intentionally eliminates the meaning of the Gospel, leaving only the superficial shell. To reveal Hirst's worldview, This thesis adopts the framework of Reliabilism discussed in analytic philosophy. Reliabilism separates the process and the outcome of belief. In Reliabilism, if a belief is based on a reliable cognitive process, then that belief becomes a ‘justified belief’. According to Hirst, science is something that ‘must to know in order to believe’. Therefore, science is both a reliable cognitive process in itself and also the result of such processes. Conversely, he considers religious belief as something that ‘must to believe in order to know’. he think it is not reliable cognitive process, and therefore religious belief cannot be justified. However, due to his lack of understanding of the essence of art, he justifies the existence of art through 'religious belief'. According to Hirst, if one presents art ‘first’ and believes in it ‘without questioning’, it becomes art. Consequently, he considers religion and artistic belief to be similar. This is also one of the reasons why he regards art as lie. Hirst further extends his thinking to equate God and art. This idea suggests that if one believes in art like a religion, it can possess the function and effects of religion. Hirst has delved into the realm of belief for a long time and he also exploits on the beliefs that the public holds about art. His commercial spectacles should be analyzed and evaluated in relation to Hirst's attitudes towards belief. While he expresses a desire for his art to become both an icon and a reproduction, his works closely resemble the fetish of contemporary art.This thesis analyzes Hirst's 2017 exhibition, 《Treasure from the Wreck of the Unbelievable》 as an exemplary manifestation of his interests in belief and belief systems. Hirst claims that this exhibition is the artifacts of an ancient wreck. The exhibition encompasses various themes that have previously been overlooked in Hirst's oeuvre, such as "religion," "science," "confusion," "god," "belief systems," "justification," and "truth." While Hirst's previous art played a role in smoothly operating belief systems through visual forms, this exhibition seeks to deconstruct belief systems instead. The exhibition oscillates the boundaries between truth and falsehood, and as a result, it receives both positive and negative evaluations due to its grand scale. This paper accepts the positive evaluations but also takes a critical perspective.The cognitive confusion present in this exhibition is closer to confusion for the sake of confusion rather than a search for better values. Additionally, this confusion can perpetuate a mistaken perception of colonialism and belief systems, making it difficult to fully embrace it as purely amusing or intriguing. Furthermore, this issue is related to the problems of religion and faith that Hirst has been grappling with. He emphasizes that myths are nothing more than fictional narratives created out of necessity in times when rational explanations like science did not exist. Actually, the reason he emphasizes myth is because it is the origin of religion. Hirst demotes religion to myth and further demotes myth to the realm of narrative. Subsequently, he emphasizes his own creation of narrative. To him, narrative and myth are indistinguishable, so the creation of narrative is akin to creating myth, which is ultimately the origin of religion.This thesis argues that Damien Hirst strongly embodies the human psychological tendencies of "belief" in contemporary art and can be seen as a representative of the contemporary art world's fetishistic inclinations. His spectacular visual language is most fittingly exemplified by the term "spectacle," considering his consideration of religiosity. Hirst's representation of the contemporary art world's fetishistic inclinations raises many concerns about human psychological tendencies of belief, the art market and institutions, and how we judge and justify what constitutes good art. Through this study, I hope to stimulate a lively discourse on contemporary art.
This thesis explores the worldview of Damien Hirst, referred to as "Hirstism." He have been recognized for addressing the existential dilemma of death. However, Hirst consistently dealt with the theme of ‘belief’ from 1988 to 2017. This thesis aims to critically reassess Hirst as an artist who deals with belief. The worldview of Hirst is revealed through his engagement with religion, science, and art. He considers these to be merely belief system. For example, he tactfully employs the external aspects of Christianity, particularly Catholicism. But it is all show and no substance. He intentionally eliminates the meaning of the Gospel, leaving only the superficial shell. To reveal Hirst's worldview, This thesis adopts the framework of Reliabilism discussed in analytic philosophy. Reliabilism separates the process and the outcome of belief. In Reliabilism, if a belief is based on a reliable cognitive process, then that belief becomes a ‘justified belief’. According to Hirst, science is something that ‘must to know in order to believe’. Therefore, science is both a reliable cognitive process in itself and also the result of such processes. Conversely, he considers religious belief as something that ‘must to believe in order to know’. he think it is not reliable cognitive process, and therefore religious belief cannot be justified. However, due to his lack of understanding of the essence of art, he justifies the existence of art through 'religious belief'. According to Hirst, if one presents art ‘first’ and believes in it ‘without questioning’, it becomes art. Consequently, he considers religion and artistic belief to be similar. This is also one of the reasons why he regards art as lie. Hirst further extends his thinking to equate God and art. This idea suggests that if one believes in art like a religion, it can possess the function and effects of religion. Hirst has delved into the realm of belief for a long time and he also exploits on the beliefs that the public holds about art. His commercial spectacles should be analyzed and evaluated in relation to Hirst's attitudes towards belief. While he expresses a desire for his art to become both an icon and a reproduction, his works closely resemble the fetish of contemporary art.This thesis analyzes Hirst's 2017 exhibition, 《Treasure from the Wreck of the Unbelievable》 as an exemplary manifestation of his interests in belief and belief systems. Hirst claims that this exhibition is the artifacts of an ancient wreck. The exhibition encompasses various themes that have previously been overlooked in Hirst's oeuvre, such as "religion," "science," "confusion," "god," "belief systems," "justification," and "truth." While Hirst's previous art played a role in smoothly operating belief systems through visual forms, this exhibition seeks to deconstruct belief systems instead. The exhibition oscillates the boundaries between truth and falsehood, and as a result, it receives both positive and negative evaluations due to its grand scale. This paper accepts the positive evaluations but also takes a critical perspective.The cognitive confusion present in this exhibition is closer to confusion for the sake of confusion rather than a search for better values. Additionally, this confusion can perpetuate a mistaken perception of colonialism and belief systems, making it difficult to fully embrace it as purely amusing or intriguing. Furthermore, this issue is related to the problems of religion and faith that Hirst has been grappling with. He emphasizes that myths are nothing more than fictional narratives created out of necessity in times when rational explanations like science did not exist. Actually, the reason he emphasizes myth is because it is the origin of religion. Hirst demotes religion to myth and further demotes myth to the realm of narrative. Subsequently, he emphasizes his own creation of narrative. To him, narrative and myth are indistinguishable, so the creation of narrative is akin to creating myth, which is ultimately the origin of religion.This thesis argues that Damien Hirst strongly embodies the human psychological tendencies of "belief" in contemporary art and can be seen as a representative of the contemporary art world's fetishistic inclinations. His spectacular visual language is most fittingly exemplified by the term "spectacle," considering his consideration of religiosity. Hirst's representation of the contemporary art world's fetishistic inclinations raises many concerns about human psychological tendencies of belief, the art market and institutions, and how we judge and justify what constitutes good art. Through this study, I hope to stimulate a lively discourse on contemporary art.