지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
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Monochrome painting, performances with naked women, and the patented International Klein Blue(IKB). These are trademarks of the French artist Yves Klein (1928 - 1962). His general image that emerges from the literature is negative: he was “a mixture of self-appointed messiah and self-aggrandizing showman” (D. Hopkins 2000), his work was turned into “an avant-garde of dissipated scandals” (R. Smithson 1966), and his rhetoric was “of authorial grandeur and pseudomysticism” (H. Foster 2004). These critical views are mostly based on his “Blue Period” and the notion of self-commodification. However, little is known about the perspective of Klein’s new genre art in his “Pneumatic Period,” whose concepts invite comparison with those of such Neo-Dadaists as Joseph Beuys and Andy Warhol.
In this context, this study aims to shed a new light on the Klein’s materialist-perspective by analyzing his exhibition 〈The Void/Le Vide〉 in Paris 1958 as well as his invention of the “Zone of Immaterial Pictorial Sensibility” in Antwerpen 1959. With these forms of performance-installation art began his “Pneumatic Period,” which would be expanded on his project “air architecture” in 1960’s. In this period, the artist of the postwar climate under de Gaulle sharply observes the ‘pneuma’ or breath that runs through all kinds of art in a capitalist consumer society and proposes his idea of the “revolution of art towards the immaterial” and “overcoming the problematics of art.”
What 〈The Void〉 presented is not an empty white-painted art-gallery but the full-scale value of art, casting a quite problematic question: what would be the art of this capitalist and consumer society? I think the answer could be found in his imagination of monetary system. Using air as an immaterial material and creating an ambiance in art gallery, Klein exchanged his “immaterial pictorial sensibility” for money, that is, what Marshall McLuhan called “a social medium or extension of an inner wish and motive.” Money creates values and sensibility is the real capital. In this way, the artist could draw a picture of the nation and economy based on true quality that freed from power and money. This is the healthy art and society that Klein wished.
In this context, this study aims to shed a new light on the Klein’s materialist-perspective by analyzing his exhibition 〈The Void/Le Vide〉 in Paris 1958 as well as his invention of the “Zone of Immaterial Pictorial Sensibility” in Antwerpen 1959. With these forms of performance-installation art began his “Pneumatic Period,” which would be expanded on his project “air architecture” in 1960’s. In this period, the artist of the postwar climate under de Gaulle sharply observes the ‘pneuma’ or breath that runs through all kinds of art in a capitalist consumer society and proposes his idea of the “revolution of art towards the immaterial” and “overcoming the problematics of art.”
What 〈The Void〉 presented is not an empty white-painted art-gallery but the full-scale value of art, casting a quite problematic question: what would be the art of this capitalist and consumer society? I think the answer could be found in his imagination of monetary system. Using air as an immaterial material and creating an ambiance in art gallery, Klein exchanged his “immaterial pictorial sensibility” for money, that is, what Marshall McLuhan called “a social medium or extension of an inner wish and motive.” Money creates values and sensibility is the real capital. In this way, the artist could draw a picture of the nation and economy based on true quality that freed from power and money. This is the healthy art and society that Klein wished.
목차
Ⅰ. 들어가는 말
Ⅱ. 〈빈 공간〉전시와 “비물질의 회화적 감성”
Ⅲ. “비물질을 향한 예술의 발전”
Ⅳ. 나가는 말
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Abstract
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UCI(KEPA) : I410-ECN-0101-2012-609-004196009