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초록· 키워드
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With the rapid growth of urban population by industrialization and the progress of mass production technique by machine, leisure activity for city workers have got to be possible, accordingly, cultural consumption structure has changed, and popular culture started to rise to the surface targeted for many ordinary masses, not only for some elite classes. Art has naturally come to reflect such social change in its materials and expression styles. Mass-produced objects, printing materials and photo images often introduced in modern art productions are the expressions of life pictures living in the modern society in which mass production and consumption has become a routine reality.
As their representative examples, this paper looked into the photo montages of Berlin Dadaists having struggled to re-combine the fragments of photo images keeping specific factuality as an extraordinary way, and transmitted strong political messages. And Merz-collages of Kurt Schwitters gathering up miscellaneous printing materials dumped as wastes and creating delicate formativeness ranking next to abstract painting. In the same context, and also it explored readymades of Marcel Duchamp picking up mass-produced commodities, nullifying the practical traits and converting the meaning of plain things to unique and original art works. Banality to Dadaists became weapons to scold the selfishness and arrogance of the older generation bringing about a tragedy so-called first world war, and to attack the hierarchial and prejudiced vision of existing art communities, and in addition, effective means to shape art not split from the life of all plain people.
Banality playing a critical and challenging weapons to dadaism served as the ground of 'aesthetics of routineness' to find out a door heading for surrealist world in daily life, as it was linked with the positive view of surrealism seeking an alternative art to reconstruct Europe ruined by the first world war. A surrealist production often takes an outrageous and illogic expression pattern, so it was misconceived as art turning a deaf ear to the reality and tracking fantasy. However, indeed Surrealism was a humanistic movement which came up with a specific and practicable alternative to drastically recognize realistic problems and resolve them. and struggled to rights and freedom to lead the chaotic realistic world to an orderly direction all people dream of. The production of surrealists utilizing routine objects and reproductive images were the attempts to realize that goal in a formative way.
Rene Magritte reaped an unexpected formative effect by putting the images of familiar and common routine objetcs side by side with an extravagant combination against physical rules and logical thoughts, and produced painting leading the spectator to a mystical world 'depaysement' process. Max Ernst created a strange and wonderful world like alchemy through collages illogically attaching cuts and photo images containing concrete reality. Savador Dali tried to intentionally shamming the free imagination of an organized mental disease called paranoia, and express the another world of truth invisible to the eyes of normal people. And the box series of Joseph Cornell, arranging in a small box bead, glass cup, tobacco pipe and routine goods, an astronomical chart, and old map, displayed the transcendental world of time and space where the past, the presence, internal space and the universe co-exist. In a word, banality to surrealists was a formative means to materialize the belief that they can find out, even in daily repeating routine, a door heading for mystical, wonderful and poetic world, in other words surrealite : the world of absolute reality.
This kind of strategy of banality revealed by Dada and Surrealism was inherited to all art trends actively applying to art production mass-produced objects, images and re-production technique such as Neo-Dada, Pop Art, Nouveau Realisme, Nouvelle Figuration, Hyper Realism from the mid-1950s. As with dadaists or surrealists, these newly emerging young artists adopted banality as a means to challenge abstract art which became the old generation to them. Namely, they attempted to reflect in their works the excess of mass products and accumulation of enormous wastes, and the reality of consumption society flooded with mass media related ad images, by doing so, they succeeded to their artists seniors trying to realize art not separated from life. This genealogy of banality handed down to Dada, Surrealism and post-war various art trends was the history of challenging to hierarchy existing among art genres, traditional art materials and commonplace materials, and artists and spectators. The politics of banality of Dada and Surrealism who endeavored to maintain that all things are possible with human rich imagination and creative spirit exist in art creation was another dynamic driving force leading the currency of modern art along with modernist aesthetics.
As their representative examples, this paper looked into the photo montages of Berlin Dadaists having struggled to re-combine the fragments of photo images keeping specific factuality as an extraordinary way, and transmitted strong political messages. And Merz-collages of Kurt Schwitters gathering up miscellaneous printing materials dumped as wastes and creating delicate formativeness ranking next to abstract painting. In the same context, and also it explored readymades of Marcel Duchamp picking up mass-produced commodities, nullifying the practical traits and converting the meaning of plain things to unique and original art works. Banality to Dadaists became weapons to scold the selfishness and arrogance of the older generation bringing about a tragedy so-called first world war, and to attack the hierarchial and prejudiced vision of existing art communities, and in addition, effective means to shape art not split from the life of all plain people.
Banality playing a critical and challenging weapons to dadaism served as the ground of 'aesthetics of routineness' to find out a door heading for surrealist world in daily life, as it was linked with the positive view of surrealism seeking an alternative art to reconstruct Europe ruined by the first world war. A surrealist production often takes an outrageous and illogic expression pattern, so it was misconceived as art turning a deaf ear to the reality and tracking fantasy. However, indeed Surrealism was a humanistic movement which came up with a specific and practicable alternative to drastically recognize realistic problems and resolve them. and struggled to rights and freedom to lead the chaotic realistic world to an orderly direction all people dream of. The production of surrealists utilizing routine objects and reproductive images were the attempts to realize that goal in a formative way.
Rene Magritte reaped an unexpected formative effect by putting the images of familiar and common routine objetcs side by side with an extravagant combination against physical rules and logical thoughts, and produced painting leading the spectator to a mystical world 'depaysement' process. Max Ernst created a strange and wonderful world like alchemy through collages illogically attaching cuts and photo images containing concrete reality. Savador Dali tried to intentionally shamming the free imagination of an organized mental disease called paranoia, and express the another world of truth invisible to the eyes of normal people. And the box series of Joseph Cornell, arranging in a small box bead, glass cup, tobacco pipe and routine goods, an astronomical chart, and old map, displayed the transcendental world of time and space where the past, the presence, internal space and the universe co-exist. In a word, banality to surrealists was a formative means to materialize the belief that they can find out, even in daily repeating routine, a door heading for mystical, wonderful and poetic world, in other words surrealite : the world of absolute reality.
This kind of strategy of banality revealed by Dada and Surrealism was inherited to all art trends actively applying to art production mass-produced objects, images and re-production technique such as Neo-Dada, Pop Art, Nouveau Realisme, Nouvelle Figuration, Hyper Realism from the mid-1950s. As with dadaists or surrealists, these newly emerging young artists adopted banality as a means to challenge abstract art which became the old generation to them. Namely, they attempted to reflect in their works the excess of mass products and accumulation of enormous wastes, and the reality of consumption society flooded with mass media related ad images, by doing so, they succeeded to their artists seniors trying to realize art not separated from life. This genealogy of banality handed down to Dada, Surrealism and post-war various art trends was the history of challenging to hierarchy existing among art genres, traditional art materials and commonplace materials, and artists and spectators. The politics of banality of Dada and Surrealism who endeavored to maintain that all things are possible with human rich imagination and creative spirit exist in art creation was another dynamic driving force leading the currency of modern art along with modernist aesthetics.
목차
Ⅰ. 들어가는 말
Ⅱ. 평범함을 통한 다다이즘의 전략
Ⅲ. 평범한을 통한 초현실주의의 전략
Ⅳ. 맺는 말
참고문헌
ABSTRACT
참고문헌 (29)
참고문헌 신청
1. [단행본] - Ades, Dawn / 1986 / Photomontage / Thames and Hudson Ltd.
2. [단행본] - Alquié, Ferdinand / 1955 / Philosophie du surréalisme / Flammarion
3. [단행본] - Behar, Hanri / 1984 / Le Surréalisme: textes et débats / Librairie Général Française
4. [단행본] - Breton, André / 1969 / Entretiens / Gallimard
5. [단행본] - Breton, André / 1991 / La beauté convulsive / Centre G. Pompidou
2. [단행본] - Alquié, Ferdinand / 1955 / Philosophie du surréalisme / Flammarion
3. [단행본] - Behar, Hanri / 1984 / Le Surréalisme: textes et débats / Librairie Général Française
4. [단행본] - Breton, André / 1969 / Entretiens / Gallimard
5. [단행본] - Breton, André / 1991 / La beauté convulsive / Centre G. Pompidou
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