키슬러의 공간조형에 대한 연구 (A Study on the Space Construction of Frederick John Kiesler)

서지정보

· 발행기관 : 한국기초조형학회
· 수록지 정보 : 기초조형학연구 / 9권 / 2호 / 273 ~ 282페이지
· 저자명 : 김홍진

초록

When paintjngs and sculptures are considered as space being, Kiesler found the starting point of a space construction by raising questions if paintings were confined to the restraint of a frame while sculptures to its own form. Here he thought that the conventional restrictions should be destroyed and eventually should be liberated into three dimensional, phisical space. He also suggested an archetypical space as an interaction between humans and objects, between phenomenon and generalization, and between materials and mind. ‘The principle of unity’ means the one that connects the creative consciousness of a man with a daily environment and can be applied to the whole space including surroundings of paintings, sculptures, furniture, architectures and so on. Basically, audiences can participate in the process of creating works and can appreciate them with the same way as the artists do. In addition, he placed the ultimate purpose of activities related to the scenic design in ‘the ordinaries of an art’, not in the pursuit of commercial profits. If his activities in the field of set design are called ‘the dispersion and the fusion of genres’, the exhibition design can be thought as connected to today's concept of installation. This study tried to find the core of his view, environments that are considered as a synthetic substance in the consecutive relations among objects can be available when ‘the object itself can explained until it is acknowledged as an synthetic environment’. For this, I propose that the object and the environment have the same value, and artistic concept centering on the objects becomes constantly expanded phisical space and cosmic space.

영어초록

When paintjngs and sculptures are considered as space being, Kiesler found the starting point of a space construction by raising questions if paintings were confined to the restraint of a frame while sculptures to its own form. Here he thought that the conventional restrictions should be destroyed and eventually should be liberated into three dimensional, phisical space. He also suggested an archetypical space as an interaction between humans and objects, between phenomenon and generalization, and between materials and mind. ‘The principle of unity’ means the one that connects the creative consciousness of a man with a daily environment and can be applied to the whole space including surroundings of paintings, sculptures, furniture, architectures and so on. Basically, audiences can participate in the process of creating works and can appreciate them with the same way as the artists do. In addition, he placed the ultimate purpose of activities related to the scenic design in ‘the ordinaries of an art’, not in the pursuit of commercial profits. If his activities in the field of set design are called ‘the dispersion and the fusion of genres’, the exhibition design can be thought as connected to today's concept of installation. This study tried to find the core of his view, environments that are considered as a synthetic substance in the consecutive relations among objects can be available when ‘the object itself can explained until it is acknowledged as an synthetic environment’. For this, I propose that the object and the environment have the same value, and artistic concept centering on the objects becomes constantly expanded phisical space and cosmic space.

참고자료

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