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@article{ART002004110},
author={HAN EUI JUNG},
title={The Trace of Presence-Absence: About the Contemporary Usage of the Shadow},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2015},
number={37},
pages={223-245},
doi={10.17057/kahoma.2015..37.009}

TY - JOUR
AU - HAN EUI JUNG
TI - The Trace of Presence-Absence: About the Contemporary Usage of the Shadow
JO - Journal of History of Modern Art
PY - 2015
VL - null
IS - 37
PB - 현대미술사학회
SP - 223
EP - 245
SN - 1598-7728
AB - Shadow demonstrates the presence of an object, but it is also a proof of the absence because it doesn’t contain any part of the substances. Because of the duality, shadow is considered as the bearer of multiple significations. Platon offers the negative character, ‘illusion’, to the shadow. Shadow is only an image of an image, a deformation of adeformation of a reality and far off the essence of a thing. ‘Skiagraphy’ by Butades’s daughter, quoted in Natural History by Pliny, is to record the trace of her lover, namely, a substitute for the absence with the presence. We look for the platonic illusion through Christian Boltanski, and the inversion of the allegory of the cave through Bruno Perramant. A characteristic of the modern thought on shadow is the separation of the self, and an encounter with the other. The shadow by Jung is related to the dark side of the self. Gregory Crewdson extends it to the unconscious aspect of a society. In the deconstructionism of Derrida, the origin of the ‘I/self’ tracks back to ‘encounter with the Other before I am.’ The painting as the shadow is a place of the play of presenceabsence, and here I always encounter the other. In this respect, in Three Portraits (1984) by Francis Bacon, the other(’s photography) causes ‘I’(my shadow) and these shadows transcend the border between ergon and parergon.
KW - shadow;silhouette;skiagraphy;allegory of cave;Butades;Jacques Derrida;Memoirs of the Blind
DO - 10.17057/kahoma.2015..37.009
ER -

HAN EUI JUNG. (2015). The Trace of Presence-Absence: About the Contemporary Usage of the Shadow. Journal of History of Modern Art, 37, 223-245.

HAN EUI JUNG. 2015, "The Trace of Presence-Absence: About the Contemporary Usage of the Shadow", Journal of History of Modern Art, no.37, pp.223-245. Available from: doi:10.17057/kahoma.2015..37.009

HAN EUI JUNG "The Trace of Presence-Absence: About the Contemporary Usage of the Shadow" Journal of History of Modern Art 37 pp.223-245 (2015) : 223.

HAN EUI JUNG. The Trace of Presence-Absence: About the Contemporary Usage of the Shadow. 2015; 37 : 223-245. Available from: doi:10.17057/kahoma.2015..37.009

HAN EUI JUNG. "The Trace of Presence-Absence: About the Contemporary Usage of the Shadow" Journal of History of Modern Art no.37(2015) : 223-245.doi: 10.17057/kahoma.2015..37.009

HAN EUI JUNG. The Trace of Presence-Absence: About the Contemporary Usage of the Shadow. Journal of History of Modern Art, 37, 223-245. doi: 10.17057/kahoma.2015..37.009

HAN EUI JUNG. The Trace of Presence-Absence: About the Contemporary Usage of the Shadow. Journal of History of Modern Art. 2015; 37 223-245. doi: 10.17057/kahoma.2015..37.009

HAN EUI JUNG. The Trace of Presence-Absence: About the Contemporary Usage of the Shadow. 2015; 37 : 223-245. Available from: doi:10.17057/kahoma.2015..37.009

HAN EUI JUNG. "The Trace of Presence-Absence: About the Contemporary Usage of the Shadow" Journal of History of Modern Art no.37(2015) : 223-245.doi: 10.17057/kahoma.2015..37.009