저자의 14번째 미술평론집으로, 작가 35명의 작업에 관한 평론과 미술계의 고민이 적혔다. ‘예술이 불이 아닐 때, 예술작품이 불꽃이 아닐 때, 그것이 저항이 아닐 뿐 아니라 저항을 흉내 내는 것조차 아닐 때, 예술은 그저 불의 우울일 뿐이다.’라고 시작함으로써, 서명을 이해시킴과 동시에 미술계를 향한 저자의 기대 방향을 짐작하게 한다.

책소개

미술평론집이다.

예술이 불이 아닐 대, 예술작품이 불꽃이 아닐 때,

그것이 저항이 아닐 뿐 아니라 저항을 흉내 내는 것조차 아닐 때,

예술은 그저 불의 우울일 뿐이다.

아무것도 태우지 못하는.

지은이 | 강선학

부산대학교 사범대학 미술교육과, 동 대학원 미술학과에서 수학했다.

부산시립미술관 학예연구실에서 10여년 일했다.

1985년 수묵화로 첫 전시 이후 10번의 개인전을 가졌다.

저서로 『형상과 사유』(1989), 『그림보기의 고독 혹은 오만』(1995), 『반항과 욕망의 거처』(1997), 『현대한국화론』(1998), 『상처에의 탐닉-우리 현대미술의 정체성과 논리』(2000), 『공격적 풍경』(2003), 『현대 한국화의 해석 지평』(2010), 『은유의 도시』(2010), 『비평의 침묵』(2011), 『부산미술의 조형적 단층』(2011), 『불만의 통속성』(2012), 『불면』(2014), 『질문들』(2016)을 발간했다.

공저로『한국현대미술 새로보기』(2007/미진사), 『한국현대미술가 100인』(2009/사문난적), 『프리즘-한국현대미술 3인의 시각』(2012/도서출판ICAS)등이 있다.

비평과 실기, 그림과 책 사이의 접면에서 새로운 경계를 보아내려하고 있다.

목차

서문 불의우울··································································· 3

1. 전시의 전체주의

‘장치’가되어버린서사들-효과의전면화···························· 17

커피한잔과로칼리즘그리고시장···································· 32

불임(不姙)의생산..2016년부산비엔날레···························· 40

연출의과잉, 전체주의의우려············································ 55

시간과공간으로서부산····················································· 63

소비의숭고와쾌락의현대성············································· 73

2. 이 시대, 대중적인 것의 유혹

예술은대중적이지않다····················································· 83

저항과변혁의미술..부산의형상미술의배경····················· 91

풍경과자화상, 순치의두려움············································ 95

가면들, 그리고반복되는것들·········································· 134

상식, 양식, 그리고서사적언어의감각화························· 143

3. 나에게 말 걸기

경생상외(境生象外)-드러냄과감춤의울림에서················ 153

드러나지않은것에의성찰··············································· 162

맞서지않고현재를응시하기··········································· 169

내성(內省)의언어, 구(球) ·················································· 174

사물들의표면을읽는‘말없는삶’ ····································· 186

울림으로있는··································································· 192

경계에서서존재에게······················································· 199

4. 타자로의 여행

한여행자의지도읽기······················································ 211

‘다른곶’으로밀어내기-존재론적질문······························ 226

시간의밀도, 빈진열장의응시·········································· 234

생성의강렬도와‘사유-느낌’ ············································· 241

잠재된공간흔들기··························································· 247

오래된시(詩)의촉감, 헤테로토피아································· 252

서사를만드는정물들······················································· 259

5. 여기라는 장소

장소를소환하는버팀목, 부산항······································· 267

여기를지우고저기-지금을본다······································ 274

몸으로서의시선-실존적지각··········································· 286

‘아는것’의투명한공간···················································· 296

풍경의시간······································································ 302

단절없는사물들의언어·················································· 309

6. 감각적 몸, 이미지들

잉여의구름-씁쓸한여자들··············································· 319

즉각소진되는심연··························································· 326

몸으로만나는언어들······················································· 332

내가다가가서네가되는-일상이은유가될때·················· 339

작가없는생성의이미지·················································· 344

'강선학의 ‘작가없는생성의이미지’에대한비평'에

대해············································································· 349

7. 자기유사의 지점

주체속타자의무한성으로··············································· 359

자기복제의차이로증식하는것········································ 367

실재없는복제의역설적지점에서··································· 373

자기생성의노출과도약··················································· 378

사유-느낌혹은질적변형················································· 384

8. 문사적(文士的) 그림

문사적그리기로서수묵화················································ 403

넘어서지않으면서넘어서는사유···································· 421

작가 찾기 ········································································ 439