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@article{ART001563262},
author={신승철},
title={Incarnation and Transfiguration: Cyborg Art as an Image Practice},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2011},
number={29},
pages={127-156},
doi={10.17057/kahoma.2011..29.005}

TY - JOUR
AU - 신승철
TI - Incarnation and Transfiguration: Cyborg Art as an Image Practice
JO - Journal of History of Modern Art
PY - 2011
VL - null
IS - 29
PB - 현대미술사학회
SP - 127
EP - 156
SN - 1598-7728
AB - Performance by Orlan and Stelarc is based on radical body modification. With the aid of prosthesis, they transfigure their body, and the posthuman proposition, “the body is obsolete” justifies their action. The cosmetic surgery of Orlan follows the instruction of Zeuxis. She has the brow from Mona Risa, the chin from Venus, the eyes from Psyche, and the lips from Europa through the act of 9 plastic surgeries. In this sort of image practice,‘becoming-image of body’ and ‘becoming-body of image’ can be observed. Images by old masters are embodied on her face, and this embodiment of image is involved in the invention of her identity. Stelarc tried to make his body empty by implanting the prosthesis. His body becomes fluid through the cables which penetrate it, and it is transfigured as “the body”, which is objective imagery. “The body” isn’t controled by his own will, but by multiple agents. So, it is not in the temporary and ephemeral body, but in the eternal image that he can manifest himself. The radical image practice of Orlan and Stelarc follows the long tradition of body art,insofar as it is involved in the modification and transformation of the body. On the one hand it follows a lesson by the artists who dedicate their body to art, and on the other it faces the anthropologic and posthuman task, that is to say the active reaction against conditio humana. In this context, Orlan’s and Stelarc’s body art takes over the magical function of image-representation, and it can manifest itself as an artistic form. Becomingimage of body and embodiment of image, which is obeserved in cyborg art, extends the idea of ‘body-image’, so that it covers not only image production about the body but also a wide range of image practices on the body.
KW - 변용(transfiguration);보철(prosthesis);오를랑(Orlan);사이보그(Cyborg);스텔락(Stelarc);재현(representation);체현(embodiment);포스트휴먼(posthuman)
DO - 10.17057/kahoma.2011..29.005
ER -

신승철. (2011). Incarnation and Transfiguration: Cyborg Art as an Image Practice. Journal of History of Modern Art, 29, 127-156.

신승철. 2011, "Incarnation and Transfiguration: Cyborg Art as an Image Practice", Journal of History of Modern Art, no.29, pp.127-156. Available from: doi:10.17057/kahoma.2011..29.005

신승철 "Incarnation and Transfiguration: Cyborg Art as an Image Practice" Journal of History of Modern Art 29 pp.127-156 (2011) : 127.

신승철. Incarnation and Transfiguration: Cyborg Art as an Image Practice. 2011; 29 : 127-156. Available from: doi:10.17057/kahoma.2011..29.005

신승철. "Incarnation and Transfiguration: Cyborg Art as an Image Practice" Journal of History of Modern Art no.29(2011) : 127-156.doi: 10.17057/kahoma.2011..29.005

신승철. Incarnation and Transfiguration: Cyborg Art as an Image Practice. Journal of History of Modern Art, 29, 127-156. doi: 10.17057/kahoma.2011..29.005

신승철. Incarnation and Transfiguration: Cyborg Art as an Image Practice. Journal of History of Modern Art. 2011; 29 127-156. doi: 10.17057/kahoma.2011..29.005

신승철. Incarnation and Transfiguration: Cyborg Art as an Image Practice. 2011; 29 : 127-156. Available from: doi:10.17057/kahoma.2011..29.005

신승철. "Incarnation and Transfiguration: Cyborg Art as an Image Practice" Journal of History of Modern Art no.29(2011) : 127-156.doi: 10.17057/kahoma.2011..29.005