The purpose of this study is to reestablish the innovative and experimental designs of Rei Kawakubo by considering and analyzing the flow on the avant-garde nature of her design collection from 1981 to 2017. Design trends such as the art trend, silhouette, color, and expressive technique showcased in Rei Kawakubo’s collection from 1981 spring/summer to 2017 spring/summer were examined through precedent studies, books, internet materials, and the avant-garde expressive nature of her designs appearing in modern fashion. Additionally, this study considers the definition of avant- garde and analyzes the expressive nature of Rei Kawakubo’s 137 works from the Comme des Garcons collection, exhibited in New York’s Metropolitan Museum of Art. As a result of this examination, the avant-garde expressive nature seen in modern fashion was classified into the following themes: historicity, de-structure, exaggeration, intermixture, and surrealism. As a result of reclassifying these characteristics according to historical flow, the historicty, intermixture, and de-structure appeared in the 1980s, while intermixture, exaggeration, and de-structure appeared in the 1990s. More recently, historicity, intermixture, and de-structure appeared in the 2000s, and intermixture, de-structure, exaggeration, and surrealism appeared in the 2010s. The present study is significant in providing theoretical material for the more innovative and various design development in diverse domains while helping to define and understand the avant-garde expression through Rei Kawakubo’s collection.

As a type of intimate architecture, fashion has always mediated the dialogue between clothes and the body, or fashion and figure. This study seeks to inquire the current aesthetic consciousness of the body and dress in Japanese avant-garde fashion and intends to research the features and meanings in the pastiche of Western sartorial convention in Japanese avant-garde fashion in order to examine the changing aesthetic attitude in postmodern fashion. The study investigates subjects of the fashion collections of the turn of the twenty-first century, when pastiche strategies frequently appeared in Japanese avant-garde fashion, through the methodology of literature research and case analysis. The results of the study are as follows: by developing the strategy of pastiche, Japanese avant-garde fashion exposes the defectiveness of the Western idea of the idealized and standardized body for mass productions, thus freeing design from its traditional confinement to the human body. Drawing on the re-conceptualization of the sartorial convention of Western tradition, Japanese avant-garde fashion designers tend to experiment with extreme exaggeration in form, refusing to subscribe to the traditional Western values built on the balance and symmetry of the body. Through the combination of the past and the present as well as the inner-wear as outerwear strategy, the historical pastiche challenges convention and symbolism, which results in the discord between signifiant and signifié of clothing.

장르 영화의 이데올로기는 이제 과감한 컴퓨터그래픽과 화려한 스펙터클 그리고 입체라는 새로운 기술전략으로 관객에게 승부를 걸고 있다. 하지만 그럼에도 불구하고 이데올로기에 봉합되지 않고 예술로서 영화의 책무를 끊임없이 보여주려는 노력 또한 여전히 존재한다. 그러한 노력은 폭로와 전복의 미학을 통해 가능한 것이다. 디지털은 바로 이러한 면에 있어서 이율배반적 기능을 수행하게 된다. 관객에게 거칠고 날카로운 그들의 삶을 여과 없이 보여주기 위해 디지털은 자기의 모든 장식적 껍질을 벗어버리게 되는 것이다. 디지털 0과 1의 픽셀미학은 이미지의 아방가르드적 현존을 가능하게 하며 관객의 능동적 참여를 이끌어 내게 한다. ‘국내 디지털 아방가르드 영화 <자본당 선언, 만국의 노동자여 축적하라>는 바로 이러한 진화의 한 축을 이루는 진보적인 국내 실험영화 중 하나이다. 이에 본 연구는 국내 디지털 아방가르드 영화<자본당 선언, 만국의 노동자여 축적하라>의 숭고미학에 있어서 탈이데올로기적 특징을 리오타르의 이론을 통하여 고찰해 볼 것이다.

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of ‘avant-garde’ visual art, which is explained as formal ‘purity’ and ‘abstraction’ as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of ‘avant-garde’ architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the ‘Universal Philosophy’ including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on ‘from Being into Becoming’.

The purpose of this study was to analyze the features of the avant-garde architecture in the end of the 20th Century based on the ontology as a metalanguage. In view of the results so for achieved, it is possible to say that the thought of becoming, topology, rhizome thought and the Deleuze's concepts of the fold and the event as ever-changing and evolving at any given time are found in the avant-garde architecture, and the introduction of ontological thought into architectural design encourage hopes for a more natural and existential quality in architecture. However, the avant-garde architecture in the end of the 20th century disclosed the limitation in the architectural expression of ontological thought due to the lack of fully understand on ontology. In conclusion, the ontological approach in architecture offers a new morphological methodology and a new way of programming considering the existential aspect of space through the bricoleur's means leaving the ontological meaning of architecture itself.

This paper aims at understanding the Characterics of Architectural Education Methodology in Hannes Meyer's Bauhaus. Through the analysis of his Bauhaus curriculums, writings and works, especially Co-op designs and buildings, this paper investgates the problems caused by functionality, diagramic organization of modern life and sociality, and grasps the meaning of his works. Meyer realized the possibility of Bauhaus education system resulting from mechanical and technological progress, and pursuited the architecture for the proletarian masses. According to analysis, functionality and critical sociality were adopted to criticize bourgeosie humanistic architecture, it reveals Hannes Meyer's architectural Avant-garde strategy.

이 글은 무엇보다 역사적 맥락 속에 케이지를 놓고 보려는 시도이다. 그 밑바탕에 놓인 역 사적 관심사는 “삼중의 변증법적 대립”(칼리니스쿠 1994, xviii)의 전개로 서술되는 미적 모 더니티의 서사와 케이지의 관계이다. 특히 주목하는 것은 “역사적 아방가르드”(뷔르거)와 네 오아방가르드 사이의 이행기, 즉 케이지의 《4분 33초》(1952)에서 분수령을 이루는 시기이 다. 이 무렵 케이지의 작업에서 우리는 자기부정을 함축하는 아방가르드의 딜레마를 해소할 또 다른 논리를 찾을 수 있기 때문이다. 이로써 운명(殞命)을 운명(運命)으로 타고난 아방가 르드를 살리는 법을 케이지의 말⋅글⋅음악 가운데서 찾으려는 것이 이 글의 목표이다. 이 는 케이지의 후기 작업을 이해하는 데 결정적인 ‘우연성 이전 시기’에 대한 재평가와 연결될 뿐만 아니라 그의 텍스트 실천과 음악 실천 사이의 상호영향까지 확인할 좋은 기회를 마련해 줄 것이다. 역사적 아방가르드의 실패가 자신의예술적 성공에 놓여 있는 역설을 어떻게 이해해야 하 는가? 문제는 자율성이다. 그것은 철회되어야 할 부르주아 이데올로기인가, 계속 유지되고 존중받아야 할 역사적 성취인가? 이것 아니면 저것인가? 양자택일은 어떤 식으로든 부정성 에 헌신했으나 정작 그 자신이 기존의 긍정적 질서에 기생하거나 결탁하게 되는 일을 피할 수 없다. 그 이유는 첫째 예술의 자율성은 사회와 ‘매개’된 상대적 자율성이기 때문이다. 둘 째, 미적 모더니티 자체에 내재한 모순으로 인해 자율성과 타율성은 끊임없이 대립하면서 자 신과 정반대되는 것으로 끊임없이 전도되기 때문이다. 이와 같은 변증법적 시각에서 볼 때 아방가르드는 예술의 자율성에 반작용하는 한 모더니즘의 일부이기도 하고 또 예술제도를 문제시하는 한 모더니즘과의 단절이기도 하다. 양자택일의 진퇴양난에 빠지지 않는 길은 바 로 이 양면성의 논리를 깨닫는 것부터 시작할 수 있을 것이다.