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0°ÇÀÇ Èı⺸±âÃÊÇö½ÇÁÖÀÇ°¡ ¹Ì¼ú¿¡¼ºÎÅÍ °ÇÃà±îÁö ¹ÌÄ£ ¿µÇâ¿¡ ´ëÇØ ¿ä¾à Á¤¸®ÇÑ ÀÚ·áÀÔ´Ï´Ù.
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dada ¡Á art dada anti art dada meaningless if i shout: ideal, ideal, ideal knowledge, knowledge, knowledge boomboom, boomboom, boomboom
i have recorded fairly accurately progress, law, morals, and all the other magnificent qualities that various very intelligent people have discussed in so many books in order, finally, to say that even so everyone has danced according to his own personal boomboom,
and that hes right ¸¸¾à ³»°¡ ¼Ò¸®Ä£´Ù¸é ÀÌ»ó, ÀÌ»ó, ÀÌ»ó Áö½Ä, Áö½Ä, Áö½Ä »×»§, »×»§, »×»§ ³ª´Â ´Ù¾çÇÑ ÃÖ°íÀÇ Áö½ÄÀεéÀÌ Çã´ÙÇÑ Ã¥¿¡¼ ÅäÀÇÇß´ø Áøº¸, ¹ý, µµ´ö ±×¸®°í ¸ðµç ´Ù¸¥ Ç°¼ºµé¿¡ ´ëÇØ
¸Å¿ì Ãæ½ÇÇÑ Çؼ®À» ÇØ¿Ô´Ù.
±×·¯³ª ¿©±â¿¡¼ ³ª´Â ¸ðµç»ç¶÷Àº Á¦³ª¸§ÀÇ »×»§°Å¸®´Â Àå´Ü¿¡
¸ÂÃç ÃãÀ»Ãá´Ù´Â °á·Ð¸¸À» ¾ò¾ú´Ù.
»ó½Ä°ú °ü½ÀÀ» ºÎÁ¤
(¿¹¼ú»Ó ¾Æ´Ï¶ó »çÈ¸È ÀüÅë µî ¹®¸í Àü¹ÝÀÌ ´ë»ó)
Á¶È¿Í Áú¼ ¹× ÇÕ¸®Àû ±ÔÀ² µîÀ» ¸ðµÎ °ÅºÎ (ºÎÁ¶È¿Í ¹«Áú¼, ±×¸®°í ºñÇÕ¸®Àû ÀÏÅ» µîÀÌ
»ç¶÷µéÀÇ º»¼º¿¡ ´õ °¡±î¿î ³»ÀçµÈ Áø½ÇÀ̶ó°í ÁÖÀå)
expression methods ¨ç conceptual art ¨è È¥ÇÕµÈ Áú¼¸¦ °¡Áø °ÇÑ°³¼º°ú µ¶¸³¼º ¨é Âû³ªÀÇ »ó»ó·Â¿¡ ÀÇÇØ ¶°¿À¸£´Â ¿µ°¨À» Áß½Ã
¨ê ÀÏ»ó ¼Ó¿¡ ¹æÄ¡µÇ¾îÁø »ç¹°¿¡ »õ·Î¿î °üÁ¡¿¡¼ Àǹ̺ο©
¨ë ¿¹¼úÀÇ ÀϹÝÈ·Î ´Ù¾çÇÑ Ç¥Çö¹æ¹ý¿¡¼ Àü°³ architecture reflected dada 1 Ÿ À帣ÀÇ È¥ÇÕ architecture & movie & psychology parc de la villette / bernard tschumi(1983) coop himmelblau 2 coop himmelblau ÀÌÁúÀû Àç·á³ª ÇüŵéÀ» º´Ä¡ ÀÌÁúÀû ÃàÀ» ±âÁ¸ÀÇ ¸Æ¶ô ¼ÓÀ¸·Î »ðÀÔ ÇÁ·Î±×·¥À» ¿ì¿¬È÷ Á¶ÇÕ Æò¸é ¹× ±â´ÉÀÇ ºÒÈ®½ÇÇÑ °áÁ¤ ½ºÄÉÀÏÀ» ¿Ö°î½ÃÅ°´Â ÇàÀ§ architecture, reflected dada ¿ì¿¬Àû º´Ä¡ ¹Ì¼úÀç·á ½É¹Ì¼º Çü½Ä°ú ³»¿ë »çÀÌÀÇ ¿¬°ü¼º ¾Æ¸§´Ù¿òÀÇ ¹«ÇѼº °íÁ¤°ü³ä Å»ÇÇ ±â´ÉÀ» ¹«½ÃÇÑ ºñÇÕ¸®Àû ±¸Á¶¹° ÆóÇ°À¸·Î ÁöÀº ±¸Á¶¹° ¡é
¸Þ¸£Ã÷ °³³äÀ» 3Â÷¿ø ȯ°æ °ø°£À¸·Î È®ÀåÇÑ °Í.
°ÇÃàÀÇ ÀüÅëÀû °¡Ä¡°ü °Å becoming (µÇ¾î°¡´Â Áß) ºÒ¾ÈÁ¤ÇÏ°í È¥¶õ½º·¯¿î ºÐÀ§±â ¾Æ¸§´ä°í Á¶È·Î¿î °ÍÀ¸·Î °¿äµÇ´ø Åë Áú¼ÀÇ °ÅºÎ ÇÕ¸®¼º°ú ³í¸®°¡ ¼±¸»çȸÀÇ Ç㱸Àû °¹Ú°ü³äÀ» Áö¹èÇÑ ÁÖ¹ü
¼±¸ ¹®¸íÀÇ À§±â¿¡ ´ëÇÑ ºÎÁ¤Àû ºñÆÇÀ» ÁÖ·Î °³ÀÎÀÇ
½É¸®Àû Ãø¸é¿¡¼ Á¢±Ù ±â°è¹®¸í¿¡ ´ëÇÑ ´ëÀÀÀ» À̵¥¿Ã·Î±â ¹®Á¦¿Í °ÇÏ°Ô °áÇÕ ¡º ÃÊÇö½ÇÁÖÀÇ ¼±¾ð ¡» andre breton, 1924
¡°ÃÊÇö½ÇÁÖÀÇ.³²¼º¸í»ç.¸»À̳ª ±Û, ¶Ç´Â ¿©Å¸ÀÇ ¹æ¹ýÀ» ÅëÇؼ
»çÀ¯°¡ Çö½ÇÀûÀ¸·Î ¾î¶»°Ô ±â´ÉÇÏ´ÂÁö Ç¥ÇöÇÏ°íÀÚ ÇÏ´Â ¼ø¼öÇÑ
ÀÚµ¿¼ºÀ» ¶æÇÑ´Ù.¸ðµç ¹ÌÇÐÀû µµ´öÀû °æ°è¸¦ ³Ñ¾î, À̼ºÀÇ ÅëÁ¦°¡ ÀüÇô ¹ÌÄ¡Áö ¸øÇÏ´Â »óÅ¿¡¼ ¹ßÇöµÇ´Â »çÀ¯¸¦ ¶æÇÑ´Ù¡±
surrealism ¹«ÀǽÄÀÇ ¼¼°è¸¦ ¸ùȯÀûÀ¸·Î Ç¥ÇöÇÏ´Ù automatism ȸÈ
rene magritte, <ºÒ°¡´É ÇÑ °ÍÀÇ ½Ãµµ>, 1928, ĵ¹ö½º¿¡ À¯È, 116x81cm
ÃÊÇö½ÇÁÖÀÇ È¸È´Â ¼¼°èÀÇ ³»¸é Çö½ÇÀ» ã±â À§ÇØ ¹«ÀǽÄÀÇ ½ÉÃþÀ» µé¿©´Ùº»´Ù. ÀÌ´Â ºñ¹üÇÑ ±â¹ýµé, ƯÈ÷ °ÅÀÇ ¿¬±Ý¼úÀûÀÎ º¯½Å¼úÀ» ±¸»çÇÏ¿© ²Þ, µµÃë, ¹éÀϸùÀÇ ¿µ¿ªÀ¸·ÎºÎÅÍ È¯»óÀû ¾ÏÈ£µéÀ» ºÒ·¯³»¾î °íÂ÷¿øÀÇ Çö½Ç·Î µé¾î°¡±â À§ÇÑ ¿¼è·Î »ï´Â´Ù
°ÇÃà°ú ÀÚ¿¬, Àΰ£°ú ¹°ÁúÀÇ ´ë´ãÇÑ °áÇÕÀÌ, ¼ö¼ö²²³¢ °°Àº »óȲ¿¡ ±«»óÇÑ Á¸ÀçµéÀÌ µîÀåÇÏ´Â ÃÊÇö½ÇÁÖÀÇ ±×¸²°ø°£ÀÇ Æ¯Â¡À» ÀÌ·é´Ù. ±×¸®ÇÏ¿© °ÅÀÇ ¹«ÁøÀåÇÏ°Ô ±×¸²À» â¾ÈÇÏ¿© ¹«Á¦ÇÑÀ¸·Î ÀÚÀ¯·Ó°Ô Çü»óÈÇÒ ¼ö ÀÖ´Â »õ·Î¿î ±¸»ó¼ºÀÇ ¹ÌÇÐÀÌ »ý°Ü³´Ù
expression methods ¨ç automatisme ¨è frottage ¨é decalcomanie ¨ê depaysement ¨ë rayogram ¨ì collage ¨í grattage
¿¡¸¥½ºÆ®ÀÇ <ÀÙÀÇ ½À¼º>, <±×³à´Â ÀÚ½ÅÀÇ ºñ¹ÐÀ» ÁöŲ´Ù>
frottage 1 ³ª¹« ÆÄÆíÀ̳ª ³ª¹µÀÙ À§¿¡ Á¾À̸¦ ´ë°í ¿¬ÇÊÀ» ¹®Áú·¯ ±×¸²ÀÌ ¶°¿À¸£°Ô ÇÏ´Â ¼ö¹ý ¹®Áö¸£±â 󸮹ý expression methods ¿¡¸¥½ºÆ® <ºñ¿Â ÈÄÀÇ À¯·´> 2 ¿Å±â±â 󸮹ý decalcomanie (ÀÌÇÏ »ý·«)
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