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http://dx.doi.org/10.17703/JCCT.2021.7.4.331

The Social Meanings of Typicality(Prison, [Solitary] Confinement, and Conduit[Passage]) in Peter Halley's Works  

Song, Hayoung (Dept. of Art, Hong-Ik Univ)
Publication Information
The Journal of the Convergence on Culture Technology / v.7, no.4, 2021 , pp. 331-336 More about this Journal
Abstract
This study first examined the social meanings of typicality found in the prison, (solitary) confinement, and conduit(passage) in Peter Halley's works, in which both the prison and (solitary) confinement represent a suppressed structural framework. The former has freedom and escape excluded from it, and the latter allows for mutual regulation and connection as a space of positive mediation. Conduits are interpreted to be flexible and have the potential of creating something new through connection and communication with the outside world. The study then compared and analyzed the meanings of typicality in Halley's works and the concept of segments proposed by Gilles Deleuze and Félix Guattari as social justice in that both of them were in the same context. The findings lead to a conclusion that Halley's prison, (solitary) confinement, and conduit(passage) can be connected to a solid, flexible, and escape segment, respectively, by Deleuze and Guattari.
Keywords
Peter Halley; Prison; (Solitary) Confinement; Conduit(Passage); Segment; Gilles Deleuze; Felix Guattari;
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  • Reference
1 Yun Nanjie, "Landscape of contemporary art" Hangilart, p. 331, 2012
2 Yun Nanjie, "Landscape of contemporary art" Hangilart, pp. 332~333, 2012.
3 Danoff, Mchael, Peter Halley: Painings 1989~1992, p. 16; Des Moines: Des Moins Art Center, 1992.
4 For the following segments Gilles Deleuze and Felix Guattari, "A Thousand Plateaus," translated by Kim Jaein, saemulgyul Publishing House, pp. 373~382, 2003
5 YI Jinkyung, "Nomadism 1," Humanist, p. 654, 2002.
6 Gilles Deleuze, "Dialogues," translated by Heo Heejeong.Jeon Seunghwa, pp, 217~219, 2005.
7 I think that what we do in the visual arts is really only important insofar as it engages issues that are real in society as a whole("Binational: American Art of the Late 80s, German Art of the Late 80s" exhibition catalogue, the Museum of Fine Arts, Boston, the Institute of Contemporary Art, Boston, pp. 95-101, 1987)