• 미술이론과 현장
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• 제15호
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• pp.167-198
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• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• 한국실내디자인학회논문집
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• 제27권1호
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• pp.68-79
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• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• 한국가구학회지
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• 제15권2호
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• 디자인학연구
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• 제19권2호
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• pp.365-374
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• 2006

'레디 메이드' (Ready made)란 예술로 선택 제안된 일상의 사물들을 의미한다. 이 용어는 예술적 오브제가 지닌 특수성을 파괴하고자 하였던 뒤샹의 창작과정에서 만들어졌는데 예술세계를 넘어 창의성을 기초로 하는 모든 디자인 영역에 영향을 끼쳤다. 본 연구의 목적은 교육적 관점에서 '레디 메이의'(Ready made)방법 고찰에 있다. 뒤샹의 경험과 그가 디자인 세계에 끼친 영향을 시작으로. 본 연구는 교육적인 관점으로서 레디메이드 방법론적인 테크닉을 연구하였다. 이 연구 방법은 서로 다른 여러 대학의 40명의 학생들에게 프로젝트를 임명하여 나온 경험적인 관찰의 결과를 토대로 하였다. 수집된 결과는 구성적, 개념적, 집합적, 정교적, 각각의 구체적 특성이 있는 방법에 따라 4가지로 분류하였다. 관찰의 결과에 따라 나뉜 4가지 카테고리는 같은 방법으로 훈련되어진 기술의 다양함이 실체적으로 표현되었다. 이것은 젊은 디자이너들을 위해 특별하게 제안된 기본적인 연습으로서 레이디 메이드 기법이 지닌 가치를 유연성 있게 보여주고자 하였다. 아이디어에 중점을 둔 일상의 오브젝트의 새로운 정체성과 재활용의 관심, 재인식, 탐구에 의해 디자인된 프로젝트의 관련을 통해 학생들의 중요한 기술이 발전되었다.

• 한국가구학회지
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• 제17권2호
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• pp.89-100
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• 2006

Minimalism describes various movements in art and design, which flourished mainly in the USA in the 1960s. Its popularity, however, was cut short by post-modernism. In the mid-1990s, minimalism was given a second breath of life and became culturally popular, especially in areas such as design and art the minimalist movement launched some trends that supplanted post-modernism and whose influences still cast a heavy shadow on society today. From this point of view, in analyzing the form and characteristics of the artists and their work from the 1960s, which were the first generation of the minimalist furniture designers, it is necessary to understand and analyze contemporary artists and their art. In this study, four American minimal artists in the furniture design field, Donald Judd, Richard Tuttle, Scott Burton, and Richard Artschwager were studied along with their works. The results show the three distinct characteristics of minimalist furniture design featuring strict and simple geometric shapes: the form, which was influenced by early modernism variety and origin, which are formative of the materials and the way they are used as influenced by surrealism and a new concept of art such as aesthetics for the little things, which echoes influences of Dadaism, and especially of earlier artists such as Marcel Duchamp.

• 복식
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• 제59권5호
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• pp.41-52
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• 2009

In contemporary art, soft materials are used in various forms and ways as a medium expressing contingency beyond a simple nature of materials. In the late 1960's, the appearance of soft sculpture as a refusal of the stereotyped 'Erection' characteristic of traditional sculpture served as an opportunity for more attention to soft materials. Fashion is the reflection of age, and the mirror of society, culture and arts. In other words, soft sculpture and fashion are artistic behaviors in the same context, which have neither been fixed nor erected. This study finds its significance in analyzing correlation between soft sculpture and fashion, and the importance of contingency as artistic expression means in this age when boundaries between genres are obscure, and artistic values are given to fashion. By doing so, it aims to present the direction toward which fashion should face in the future, establishing a new aesthetic consciousness with which more creative and various expressions are available in fashion as well. This study presented as its theoretical background the concept of soft sculpture affected by Marcel Duchamp among representative examples of the contingency that started to appear in art starting in the early 20th century. It also analyzed the soft sculpture appeared in 1960s and the expression methods and features of contingency appeared in fashion after late 1990s through a new approach of piling up, hanging up, and tying, three categories classified by Maurice $Fr{\acute{e}}churet$. Common features of the contingency expressed in soft sculpture and fashion were derived in the analysis, which are intensive effects of energy, values given to physical properties themselves, and esthetics of anti-form.

• 한국의류학회지
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• 제35권7호
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• 미술이론과 현장
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• 제1호
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• pp.49-70
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• 2003

What is an exhibition? Is it of the system which is designed to serve Art Works in their representation, or is it a place where the artistic presentation could be considered as art work itself? After modernist era, the role of exhibitional space might have been shifted from those two principle raison d'$\^{e}$tre of exhibitional space into another, a new one. What Deleuze would call it as he borrowed the term from Spinozian philosophy : the Affectional Space. This new type of exhibitional space has been announced since 1969 when a Harald Szeeman, young independent curator and art critic from Swiss, has organized his brilliant exhibition "When Attitudes become Form" in Bern. For sure, these intensities in curatorial practices have been existing before like some early 20th century exhibitional efforts by Marcel Duchamp, El Lissitzky, Yve Klein, etc. It has influenced much on many of, otherwise most of contemporary art exhibiting practices. And now it seems to be necessary to give it a conceptual idea which could enlighten better the new paradigm of exhibitional practices that we try to clarify. I would propose the idea of that new exhibitional space as "space of non-organic becoming". This idea is inspired by Deleuze's ever famous philosophical work Thousand Plateaus, which, with Folds by the same author, has contributed to many contemporary and aesthetical debating issues. What is "affect"? Explaining about Spinoza's principle concepts, Deleuze defines it as a kind of durations or variations which are constituted by different levels of perfection. One perfection is precedented or followed by certain perfection bigger or lesser through lived transitions or passages. So each time it actualizes and reflects the state of All as a cut of Reality while each state of affections, images or ideas can not be separated from the duration which binds it to the precedent state and extends it to following one. Affect is also a term of changes. One affects at the same time it is affected. Exhibitional space as affect (or affectional space) is distinguished from representational and presentational space in the way it attributes movement, produces arrangements and generates new factors of artistic creation including those which are outside of ever accepted artistic elements. The concepts of affectional space are used especially to enlighten contemporary situation of artistic and curatorial processes. Art is no more limited to be seen as mere objects of aesthetical admiration, nor as art vis-$\`{a}$-vis art relationship apart from the whole. It includes possibilities and virtuality that appear in the imperceptible and undescribable manners if delimited in given language. As once noticed by Kuhn, we might be living in a paradigmatically shifting world, not only in Art but also in Life. And we need to express it more with Art as moving and affectional nods than as just a clean window or a distinct manual book.

• 교육심리연구
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• 제26권4호
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• pp.901-926
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• 2012

창의성에 관한 지금까지 연구들은 창의적 인물들의 개인 특성 및 환경 요인들을 규명하고 구체적인 발달과정을 도출하는 데에 집중되었다. 본 연구는 예술 분야의 창의적 인물의 특성 및 환경 요인들을 확인하기 위해 예술 분야에서 뛰어난 창의성을 인정받은 인물 5인을 선정하고, 이들에 관한 문헌 분석을 실시하였다. 연구 결과, 예술 분야 창의성은 예술가들의 자의식이 성장하고 변화하는 양상을 기준으로 '자기 발견', '자의식 강화', '자의식 정제'로 구분되었다. '자기 발견'은 예술가가 예술 분야에 재능이 있는 자신을 인식하고, 해당 분야로 진로를 결정하는 단계이다. 이 과정에서는 분야에 대한 호기심을 표현하고 성실한 학습이 이루어진다. '자의식 강화'는 예술 분야에서 자신이 표현하고자 하는 바가 명확하게 구축되는 시기이다. 예술가들은 새로움에 대한 갈증을 해소하면서 높은 수준의 몰입을 통해 자신만의 예술 세계를 형성해 나간다. 마지막으로, '자의식 정제'는 보다 확고해진 자신의 예술 세계를 간단하고 명료하게 표현하는 시기이다. 이 시기에 예술가들은 다른 분야와의 통섭을 시도하고, 예술의 성과를 사회적 차원에서 공유하면서 자신의 예술 세계를 더욱 확장한다. 본 연구는 영역 특수적 관점에서, 자의식의 변화라는 개인 내적 측면에 집중하여 예술 창의성의 본질을 확인하였다는 점에서 의의를 갖는다.

• 문화기술의 융합
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• 제8권5호
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• pp.171-176
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• 2022

본고는 20세기 중반 이후 펼쳐진 상호학제적인 융합적 예술실천의 핵심적 유형인 사운드아트 큐레이팅이 가지는 역사적 의미와 가치를 고찰한다. 이에 '사운드아트'의 시작에서 현재까지의 발전적 과정을 정리하되, '사운드'라는 재료가 기능한 시각예술의 맥락을 시대 순으로 살피고 주요한 사운드아트 전시의 큐레이팅 사례를 중심으로 '사운드'가 제공한 미학적 체험의 파장과 동시대적 의의를 분석하고자 한다. 이를 위하여 본문은 세 개의 섹션으로 구분하여 전개한다. 첫 번째 섹션에서는 19세기 후반 미래파와 다다이스트의 사운드 시에 뒤이어 1913년 마르셀 뒤샹이 음악악보를 시각예술과 접목했던 시도 등이 아방가르드 작곡가 존 케이지의 시각적 음악에도 깊은 영향을 끼쳤음을 인식한다. 이에 이러한 배경이 '사운드'를 새로운 미디어로서 다루는 전시의 등장을 야기했음을 설명한다. 두 번째 섹션에서는 1970년대 들어서면서 예술적 미디어로서의 사운드가 시각성이 지배하는 전시공간과의 비판적 관계성을 성찰하게 하는 역할을 하게 되었음을 설명한다. 세 번째 섹션에서는 1980년대 이후 현재까지 관객이 전시장의 조직 내에서 마치 하나의 시각적 오브제처럼 사운드를 체험하도록 하는 큐레토리얼 방법론을 분석한다. 본고는 이러한 과정을 통해 전시장에서의 지각적 구조를 관습화 했던 역사적 실천을 비평적으로 대하며 동시대 예술현장에서 생명력 넘치는 사운드의 역할을 고민한 사운드아트 큐레이팅의 유의미한 방법론을 사유해 본다.