초록/요약

Felix Gonzalez-Torres’ candy works are neither fixed nor constructed into a formulaic form owing to the participation of the viewers and collectors. This shows defiance towards the authority of society and the isolation of the subject, and can be analyzed as reflecting Georges Bataille’s concept of ‘formless’ as ‘expenditure’. This study therefore aims to find out how this has been implemented in Gonzalez-Torres’ candy works. For this purpose, Bataille’s theories of ‘expenditure’ and ‘formless’ are contemplated, and the aspects of the ‘formless’ that represent ‘expenditure’ are explored. ‘Expenditure’ is consumption without purpose or condition, and it criticizes society’s inclination towards producing useful things and achieving results, and the alienation of the subject therein. ‘Formless’ is the base material state devoid of essence, which violates the authority and value of ‘form’ in philosophy. The formless that represents expenditure disrupts the classification of forms, thereby connecting the valuable and the unworthy, the self and the other. It also attacks the authority of society and established meaning through ‘alteration’ of the fixed form. And by revealing the mutual ‘improbability’ between form and meaning, achieving a planned result is made impossible. Felix Gonzalez-Torres’ candy works continue to dissipate through the candies being taken by the audiences and refilled. This altering form prevents the work from acquiring a concluded meaning and through the evocation of death, exposes the transience of authority of a production-oriented society. In addition, the artist, viewers, and collectors intervene in the works in ways that unsettle their classified roles such as the viewers touching and eating the works, and the collectors changing the composition of the works, freed from the state of disconnection and communicating with each other. The works expand in numerous unplanned ways through improbable relationships and processes. Thus, it can be ascertained that the formless aspect in the works of Gonzalez-Torres reveals expenditure that violates ‘production’ through the violation of ‘form’.