기계와 속도를 통해 본 아방가르드 미학

허정아 한국미학회 2008 美學 Vol.54 No.-

The Avant-garde movement was the first time for machine and art to meet in art history, and it is appraised to be the historical event for velocity to fundamentally transform art. In this context, the present study examines Avant-garde aesthetics in the 20th century from the perspective of machine and speed. By applying speed, which was the most significant cultural keyword at the turning point of the century, to formative arts, Avant-garde artists endeavored to express motion on stationary paintings. As a result, Avant-garde aesthetics distinguished itself from traditional artistic concepts and became the leading trend in modern art. The Avant-garde aesthetics which was derived by machine and velocity show the following four characteristics. First of all, Avant-garde art dismantled the conventional ways of reconstruction and generated the process toward abstract art. Abstract art is also associated with research on motion, which was prevalent in the 19 century, and the development of visual machine that was attempted to capture motion. Secondly, speed in Avant-garde art dismantles perspective drawing and develops a new system of modern aesthetics by adapting multi-point perspective on paintings. Perspective drawing is a modern perspective that fixes an object by observing from only one point. In contrast, multi-point perspective is a method of observing from diverse angles, which characterizes Avant-garde as the art of public society. Next, as speed transcends the limits of the space of paintings and directly affects the human body, this combination of body and machine becomes a crucial phenomenon in Avant-garde aesthetics. A number of works manifest the mechanical body and even depict the body as a mechanical component. The belief in machines at that time lies in the background of this phenomenon. Finally, by triggering the dissension between form and content, machines made Avant-garde art reject consistent meaning. Only mechanical lines, geometrical forms and mechanical shapes exist in the paintings, and no narrative structure is found. Also, an artist's individuality is enfeebled in a ready-made product which regards itself as art. Therefore, Avant-garde art developed it unique aesthetics in its association with scientific technology that was rapidly expanding at that time, and advanced in modern arts.

시의 혁명과 시적 혁명 : 심미적 아방가르드와 ‘온몸의 시’로서의 아방가르드

김승희(Kim Seung-Hui) 한국시학회 2007 한국시학연구 Vol.- No.20

Avant-garde art brought the energy of a full transformation to Korean poetry, which was bogged down in traditional lyrical conventions. The impulse provided by the avant-garde, violating the standard artistic norms, produced many experimental texts in a quest for constant renewal. Studies of the avant-garde in Korean poetry have so far mainly been conducted in terms of Modernism. Taking the tendency toward Dadaism found in the early poems of Im Hwa or Jeong Ji-Yong in the 1920s, the influence of Futurism and Cubism in the concrete or visual and numerical poems by Yi Sang in the 1930s, surrealist texts expressing in prose the flow of the unconscious by free association and the absence of spacing between words, or the surrealist poetry of Jo Hyang in the 1950s, etc. the specific avant-garde artistic quality is defined. However, although the texts and poetic theories of the poet Kim Su-Yeong in the 1960s are clearly avant-garde, they present slight differences from the previous forms of avant-garde poetry. In his 'full-bodied poetics' or his 'anti-poetics,' Kim Su-Yeong rejected the forms of literature that were Modernist only in technique, advocating at the same time a text into which physicality had been integrated and a revolution of society. Kim Su-Yeong's antipoetics is very similar to the poetics of negation of Julia Kristeva. She linked the conflict between the symbolic and the semiotic and the physical to the production of text as she explicated the nature of avant-garde poetry. She stipulated that avant-garde texts do not simply violate the standards of previous aesthetics, they rather express a challenge to the symbolic structures governing society as a whole, as a revolutionary dream. Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms 'a revolution in poetry' and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong's 'full-bodied poetry' does, 'a poetic revolution.' In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called 'poetic revolution.' Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.

아방가르드, 네오-아방가르드, 새로움의 정치학

진휘연(Whuiyeon Jin) 현대미술사학회 2013 현대미술사연구 Vol.0 No.34

This paper explores the history of the avant-garde as the major concept for the 20th century art and attempts to find its’ possibility as a valid discourse for the art today. One of the military terms, “avant-garde” became a cultural metaphor and has been adopted by literatures and art since the 16th century. However it has been defined as the politically critical perspective to society both in concept and practice by Saint-Simon in the 19th century. In the Theory of the Avant-garde (1974), Peter Buger provided the theoretic hypothesis based upon Saint-Simon and Frankfurt school, in particular, Adorno and Benjamin. He opposes to Greenbergian concept of modernism, especially criticizing the autonomy which excludes art from the society and hinders art from criticizing the Bourgeois society. Buger categorizes historical avant-garde separating from Modernism; Dada, Surrealism, Russian avant-garde, and Futurism all reject traditional aesthetics and negate autonomy while trying to reconnect social aesthetics and art. In addition, Burger was eager to criticize de-modern art movement since 1950s due to repeating historical avant-garde. He blamed it as anti-avant-garde, because it institutionalized and systematized the historical meaning of avant-garde. Regarding Burger’s neo(post)-avant-garde theory, Hal Foster, rebuked his idea, proposing repetition is not a negative term. He proclaimed that as Freud theorized in “trauma”, repetition makes things recognized. Therefore, neo-avant-garde produces real meaning repeating historic avant-garde; besides, the latter could not be marked in the history without the former. Whatever the differences of their theories, avant-garde is not a historic period or style; nor aims only for the negation of the convention and ideology. Even though avant-garde is regarded as the best terminology for framing something new, Rosalind Krauss, Hal Foster, and Jacques Derrida doubt if there is anything new in the history of art. It is semiotic false if there is perfect newness. In this perspective, “newness” is never been satisfied. Avant-garde, related to the newness, could not be grouped based upon its political or formal characteristics. In this circumstance, I suggests, avant-garde is still valid for individual experience for something special and meaningful. For example, the Swiss architect Peter Zumthor’s Bruder Klaus Field Kapelle, a private chaple in mid-Germany, has been built in unique method with help from the neighbors of the town. Zumthor designed and worked from his inspiration coming from his own memories of every day materials. Setting a fire from inside of the chapel consisting of 120 tree logs below concrete wall, the whole church has unique features and elements, that stimulate the viewers’ senses. Smell, color black, surface textures, and light above, all provoked each viewer’s memories and experiences. Avant-garde is working expressing something unique and special, which might have aroused a new emotions and ideas. Neither a historic category, nor socio-political critical stands, avant-garde could help to expands artistic (re)production in the 21stcentury.

21세기 서양미학의 동향과 전망을 위한 시론 2-아방가르드 이론의 재검토

김종기(Chongki Kim) 현대미술사학회 2015 현대미술사연구 Vol.0 No.37

The aim of this essay is to deal with the putative twilight of the avant-garde movement and its prospects for the contemporary 21st century. This essay first analyzes the core of Burger’s avant-garde theory and appraises Buchloh and Foster’s criticism thereof. Then, the issues of the avant-garde and the post-avant-garde will be scrutinized from a pro-Burger perspective with a focus on Burger’s rebuttals. Burger regards the historic avant-garde as a failed project, and believes that the neo-avant-garde is a mere replica of the previously failed historic avant-garde. According to him, the neo-avant-garde has lacked the capacity to resist and to criticize ever since its beginning. However, Buchloh and Foster criticize Burger because they recognise the neo-avant-garde as taking a progressive stance. Regarding this, Burger criticizes Buchloh by stating that he is too pre-occupied with the analysis of superficial content, and therefore does not grasp the significance of the original avant-garde project in terms of a generalized theory. In addition, Burger does not deny Foster’s view that the avant-garde intention is truly being practiced by the second neo-avant-garde artists. However, he points out that there is always the risk of over- and under-appreciation when we appraise the works of individual artists. Therefore he insists that establishing the general theory is of foremost importance if we can acknowledge that an artist’s artwork has co-existing positive and negative features at the same time. Based on this, he argues that the avant-garde can exist only if the general population forms the belief that social change is needed to resolve conflicts within a society.

비엔날레를 통해 본 중국 실험미술의 전개

유재길(Yoo, jae-kil),김문정(Kim, moon-jung) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.3

The Chinese avant-garde art that this study aims at is progressed through the changing steps in most clearly manners in the Chinese contemporary art phenomena, which have been developed in earnest since the 1980s. The contemporary art in China is related to political situations more closely than those in other global areas. For this reason, the Chinese avant-garde art is at odds with the government from the beginning to obtain the duly right to the free exhibition or display, getting out of the overt censorship. However, with the circumstances in an effort to get the enlarged right to production of art work and expression, all the activities about exhibition came under the rigid censorship by the government after the Tiananmen Square protests in 1989 and faced with cooling period rapidly. It seems that the Chinese avant-garde art was faced with crisis thanks to the Tiananmen Square incident. And yet, unexpectedly, this mishap played a role as shortcut to a new breakthrough. Those contemporary art in China, whose introduction to the western hemisphere was initiated in the 1980s, became a refreshing impetus to the international art community thirsty for a new thing, gaining much attraction. Their avant-garde art of the 1990s were handled heavily via the art works done by the Chinese immigrant artists in such a large scaled global exhibition as Venice Biennale. As the international attention was paid to the Chinese avant-garde art increasingly, the greater concern was triggered in the country through a variety of the domestic shows for their own avant-garde arts in recognition of these circumstances. Based on the criticism in the political sense, the avant-garde art trials that were performed vehemently outside the institutional framework got down to a series of institutional entrance and went through a great change after the 1990s. This study worked on this and dealt with 'a matter of institutionalization' outspoken in the expressing method of avant-garde arts, which have gained a spotlight again through the domestic biennale and show since the 1990s especially in the developing phases. For this purpose, the Chinese avant-garde art was reviewed according to its chronological nature and this study took a look at what details were related to the biennale performed inside and outside. Then, the discussion proceeded to the institutionalized experiment by approaching the microscopic way in terms of the trend analysis of specific expression mode for the various problems that go with the Chinese avant-garde art. In case of China, the special style unique to China was established for their ownavant-garde arts under the contradicting coexistence with social regime and market economy both. From this interesting fact, this phenomenon was interpreted herein as 'concealment' strategy concurrent with Jean Baudrillard. Their avant-garde art mode recognized as remarkably strong, accelerated into the political institution since the 1990s, deals with the cover-up about 'intrinsic existence' behind rather than the deliverance of what is just seen commonly as it is. Consequently, it could be concluded that the political censorship and confinement were definitely contributable to establishment of the Chinese unique mode in the avant-garde art in the course of entering into an awkward harmony with the market economic system after the era of the 1990s.

1970년대 이후 한국 현대시에서 전위의 맥락

권혁웅(Kwon Hyuck-Woong) 한국시학회 2007 한국시학연구 Vol.- No.20

This study is concerned with the context of avant-garde poetry from 1970's to 2000's. There are three types of Korean avant-garde poetry. Each type has it's own techniques. First, there is the social avant-garde type of poetry. It's based on un-poetic points as like montage-technique which put the various discourse together. Second, there is the self-conscious avant-garde type of poetry. It's founded on the nonsense poetry-as it called- or nonsense poetics which are introduced by Kim Chun-su (김춘수). Third, there is the lyric avant-garde type of poetry. It is based on the disharmony and allegory instead of harmony and symbol. The avant-garde means the destruction of the contemporary norm and style. As time goes by, the contemporary meaning of avant-garde is completed done. And the poetry of ‘the late’ avant-garde is posted into the history of literature. The examination of the historical context of avant-garde poetry would be the study of the vicissitude of poetic norm and style.

한국미술의 아방가르드 시론

김영나(Kim Youngna) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-

The tradition of the avant-garde to break the conventional forms of art and to actively intervene in the operations of society is a product of the Modern West. In the West, too, there were different kinds of avant-gardes. If the early twentieth century avant-gardes pursued radical aesthetics, the Russian avant-garde group dreamed to reform life from its root and to achieve social reform. The avant-garde movements in Korea have oscillated between these1) two poles?the purely aesthetic and the avidly political. In early 20th century Colonial Korea, the Proletarian Art emerged as an avant-garde movement, but was oppressed because of its association with social and political ideologies. As a result, in the popular mind of Korea, avant-garde came to be defined as those of aesthetic and formalistic radicalism. Even after Korea regained its independence from Japan in 1945, this perception of the avant-garde persisted. The first Korean art to be properly recognized as avant-garde was Informel, which appeared in late 1950s. With its emphasis on radical abstract art, Informel resisted realistic art which dominated the National Art Exhibitions. The group was perceived as avant-garde because it demanded the reform of established institutions, and attempted to change the existing views of aesthetic value by challenging them. The rise of Informel can ultimately be attributed to the rebellious social aspirations of the generation which emerged in the decade following the Korean War. Following the example of Informel, later art groups such as AG, ST, and the participants of 1967’s United Exhibition of Korean Young Artists actively claimed the avant-garde label for themselves. Nevertheless, the sincerity of their avant-garde status was still questioned at the time. This doubt likely stemmed from the fact that these groups were simply experimented with various newest artistic forms, and did not necessarily seek to transform life and society through their belligerence and heresy. Informel was primarily concerned with voicing their opposition to conservative mainstream art, but the Minjung (“people’s”) Art of the 1980s was part of a larger cultural movement which defined itself as “an anti-mainstream culture movement which attempts to topple the dominant culture.” The Minjung artists had a strong belief that art could have a decisive effect on social change, and they used their works to actively oppose the dominant culture. Even though Informel and Minjung Art, two most representative avant-garde movements, are located on opposite ends of the avant-garde spectrum, they are alike in that they each emerged during a transitional social period. Also, both movements failed to produce work which was aesthetically unique from the Western avant-garde. But this issue of aesthetic dependence is found not only in the Korean avantgarde, but also in non-Western avant-garde in general.

미국 네오아방가르드 미술의 몸의 정치학

조수진(Cho Soo-jin) 현대미술사학회 2010 현대미술사연구 Vol.0 No.27

This study focuses on embedding a meaning to the 'body' which is one of the major paradigms in art practice, theory and criticism of the 1960's America. In the Western society, the U.S in particular, this period is also known as the transition era from modernity to post-modernity when extreme socio-cultural changes took place. In the art fidel, new arts such as Neo-Dada, Happening, Fluxus, Performance, Minimalism and Pop art were born. However, despite their various aspects, they commonly seemed to oppose the oppressive formalist modernism of Abstract Expressionism, and started to be interpreted in relation to the concept of 'avant-garde'. The avant-garde here is in contrast with Clement Greenberg's 'Modernism avant-garde', contributing to the concept of Europe's 'anti-modernistic avant-garde' by promoting the combination of life and art This is in retaliation to modernism's aestheticism that tries to establish an art system and separate art from the outside world. Peter Burger's 'neo-avant-garde' theory classified the art practice that originated in America since Abstract Expressionism as an anti-modernistic avant-garde. Burger named the experimental art that originated in the West in the post-World War II era as 'neo-avant-garde' and identified it as a repetition of 'historical avant-garde', including Dada, Surrealism and Russian Constructivism. This theory describes neo-avant -garde art as a mere superficial imitation of collage, photomontage and ready-made, born to resist formalist modernism by the historical avant-garde, and did not carry on the true will to criticize the system. However, American art theorists, such as Benjamin Buchloh and Hal Foster, not only accepted the neo-avant-garde concept as a paradigm to analyze American experimental art, but also embedded a positive meaning to avant-garde's 'repetition', and claimed that neo-avant-garde must go through the process of repeating the looks of historical avant-garde in order to put avant-garde into real practice. In alignment to the researcher's argument mentioned above, this study will try to claim neo-avant-garde as a new type of avant-garde resisting against the changes of art institution, which appeared in the transition stage from modernism to post-modernism. A critique to modernism born from modernity which is created by capitalism and the creative destructor of that continuity; neo-avant-garde has the mission of criticizing the institution of art The historical avant-garde of the past was merely a 'critique of the conventions of the traditional mediums' through painting and sculpture, but since the 1950's when late capitalism took place, neo-avant-gardes came across the issue of art, commodity and spectade being related, and started to study art institution. This article thus focuses on presenting 'body' as a core resisting strategy of neo-avant-garde towards art institution. In the history of modern art, the body of the artist and the viewer went through exposure and concealment, depending on the era and trend. Nevertheless, the role and importance of body in the art of historical avant-garde, named by Burger, cannot be emphasized enough. In various historical avant-garde 'soirees' and 'festivals' of the early 20thcentury, held in Zurich, Paris and Berlin, the body was the subject and object of expression. Their practice tried to overcome the dosed system of modernism art medium and integrate art into the part of people's daily lives. However, one must notice that much of neo-avant-garde art also originates from the actions of the human body As a global post-war effect, such development took place in a wide variety of areas; from Abstract Expressionism, which is a formalist modernism, to Neo-Dada, Happening, Fluxus, and Judson Dance Theater, which advocates the New Dance. Based on these facts, the corporeality of historical avant-garde and neo-avant-garde art can be inferred. Thus, this article identifies the 'body' as something that app

김수영의 아방가르드 메타포 연구 - ‘반동’과 ‘불온’ 개념을 중심으로

신지연 한국언어문학교육학회 2016 한어문교육 Vol.36 No.-

The aim of this paper is to examine ‘Avant-garde Metaphor’ that has driven a change in Kim Soo Young’s literature since the April 19 Revolution. While this paper builds upon the existing discussions that the poet has been significantly influenced by avant-garde literature such as Surrealism, it seeks to explore how it developed further in the later period. For that purpose, the paper singles out ‘reaction’ and ‘impropriety’ as keywords that dominate the literature of the poet in his late period and analyzed the avant-garde spirit embodied within. In this regard, this paper intends to call these concepts ‘avant-garde metaphors.’ The existing studies failed to reveal a link between the meaning of ‘reaction’ unfolded in his poem, Grand Root, avant-garde characteristics of his ‘avant-garde’ concepts, and the meaning of ‘impropriety’ suggested in the discussions, as they treated them separately. This study develops the premise that the very concepts of ‘reaction’ and ‘impropriety’ are founded on the avant-garde in terms of art history and Kim Soo Young created his own ‘avant-garde’ concepts based upon it. Hence, the paper stresses that while the concepts of ‘reaction’ and ‘impropriety’ originated from the avant-garde, they also play an important role in forming his unique ‘avant-garde’ concepts. It is a precondition of Kim Soo Young’s ‘avant-garde’ concepts that the avant-garde characteristics of literature are indivisible from the issue of political freedom. Again, it is fully reflected in his concept of ‘reaction’. He sets and mobilizes political contexts including dirty history and tradition, ideologies, foreign influence, etc., on the antipode of ‘reaction’ and at the same time, unveils his will to literally overthrow them. It is deemed to be arising from the understanding of Dadaism and Surrealism from the viewpoint of art history and knowledge. Therefore, the concept of ‘reaction’ presents the spirit of Kim Soo Young’s own avant-garde to overcome the political frustration of the May 16 coup. In other words, his ‘reaction’ spirit stemming from anti-artism of Dadaism does not just cease at poetic technique but also can be seen as the result of an attempt to recover the social-transformative functions of literature. The notion evolves even more with the concept of ‘impropriety’. Sometimes, Kim Soo Young used an expression such as ‘avant-garde impropriety’, which accentuates the fact that the very concept is underpinned by the spirit of avant-garde that refuses the existing order and the established power. In the sense, it can be viewed that the concept of ‘impropriety’ may also imply avant-garde metaphor. Closely intertwined with the violation of social taboos, ‘impropriety’ is adopted as a metaphor that represents the confrontational status between literature and society. The concept can be said to be a case in point: the avant-garde spirit transforms itself against the social context of Korea. As such, as Kim Soo Young broached metaphors reflecting avant-garde spirit through ‘reaction’ in his poems and ‘impropriety’ in his writings, it can be said that it ushered in the possibility of independent avant-garde literature in Korea.

1930년대 한국시의 아방가르드와 데카당스

전봉관(Jun Bong-Gwan) 한국시학회 2007 한국시학연구 Vol.- No.20

This study aims to reveal the destiny of avant-garde through Kim Girim's Poetry Gisangdo. Avant-garde presupposes temporality in creating and experiencing arts. Avant-garde means successive attempts of exploring new artistic forms and ideologies against old conventions and traditions. So avant-garde implies dichotomy of 'Old and New'. When the term first emerged during the first world war, avant-garde which includes dadaism, surrealism, cubism, futurism etc. was new and progressive forms of arts, but nowadays avant-garde works in that period are no longer new and progressive. As time passes on avant-garde declines to decadence. Kim Girim known as modernist poet not avant-garde poet. But his several poets follows avant-garde style. His poem Gisangdo inspected contemporary world civilization in 1930s. He used diverse proper nouns; foreign names and places. When he first published Gisangdo, proper nouns were not so difficult to understand, but nowaday these look like cryptograms. He investigated realities in 1930s not in 2000s. Gisangdo was the newest style of poem when it was published but nowaday it is just out of fashioned poem and almost impassible to read. To interpret Gisangdo, we can understand the value of 'old avant-garde as well as it's real meaning.