경계와 이질성의 재구축: 안드레 세라노(Andres Serrano)의 작품에 재현된 타자성

This paper aims to explore the meaning and aesthetic value of Andres Serrano’s work against the backdrop of the discourse of otherness. In dealing with a range of subject matters implicated in a variety of issues from politics to religious symbols and divinity, Serrano consistently highlights the way in which the category of otherness can be critically examined at locales of subjectival formation or its transformations. However, this critical observation is not to suggest any monolithic or hegemonic image of otherness: Without any particular attachment to social or locational specificity, the other in his work comes off as a kind of ontological aporia, whose affects and traces prompt questions and interpretations. Seen in this sense, an artist, according to Serrano's view, is the one who remains in the perpetual cycle of questions and negations, haunted as he is by the shadow of the other. In this ambivalent mode of questions and self-doubt, his photographic works all tend to question or reinterpret the distinction drawn between conceptual or cultural opposites in representation such as sacred and secular, God and man, soul and body, divinity and materiality.