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The word ‘object’ is etymologically known to be derived from Latin word ‘objectum’, which has been widely used among Scholastics. When interpreted literally, it means a thing which is or placed in front (une chose qui est jetee ou placee devant). When we use the word in daily life, an object is something that is given from our hand, is physical existence in form of unit, is limited in size and has purpos. However, an object is not limited or something that can be hold, measured, weighed or possessed. Sometimes it is regarded as a philosophical subject and an abyssal imaginary theory which overcomes superficial reality.
From above, we can find series of possibility to interpret semiologically the word object. The given sign of concrete and abstract object holds double reality of superficial and natural meaning. The semiology of object is based on principle of it cannot have definite meaning by itself unless we, the artist and viewer, try to find its connotation. In other word, there is no definite concept to one object. Only given concept by artist’s intention or viewer’s unique will exists.
Object in the area of art changes in different form from its original function and materiality usually, and it is called ‘Depaysement’. To explain this concept, various cultural scientific theories such as sociology, psychology and anthropology are adopted. Therefore, object becomes one symbol as a medium in charge of connecting an art work to certain philosophy or ideology. Numerous meanings of object can be found from relations between its environment or situation. Sometimes, one object may derive opposite meanings.
This thesis is based on how object art and semiology merged in 1960s through the work of Belgian artist, Marcel Brodthaers. He is well known for combination of various things with virtual reality from creation and communication on object. Under the influence of Rene Magritte, he gives rise to subtle collision between visual shape and conceptual allegory through combination of language and object or the overturn of its meaning. Hence through his work, the general problems introduced in contemporary art, are brought out into new aspect of criticism.
From above, we can find series of possibility to interpret semiologically the word object. The given sign of concrete and abstract object holds double reality of superficial and natural meaning. The semiology of object is based on principle of it cannot have definite meaning by itself unless we, the artist and viewer, try to find its connotation. In other word, there is no definite concept to one object. Only given concept by artist’s intention or viewer’s unique will exists.
Object in the area of art changes in different form from its original function and materiality usually, and it is called ‘Depaysement’. To explain this concept, various cultural scientific theories such as sociology, psychology and anthropology are adopted. Therefore, object becomes one symbol as a medium in charge of connecting an art work to certain philosophy or ideology. Numerous meanings of object can be found from relations between its environment or situation. Sometimes, one object may derive opposite meanings.
This thesis is based on how object art and semiology merged in 1960s through the work of Belgian artist, Marcel Brodthaers. He is well known for combination of various things with virtual reality from creation and communication on object. Under the influence of Rene Magritte, he gives rise to subtle collision between visual shape and conceptual allegory through combination of language and object or the overturn of its meaning. Hence through his work, the general problems introduced in contemporary art, are brought out into new aspect of criticism.
목차
Ⅰ. 오브제의 개념과 유형
Ⅱ. 오브제의 기호학
Ⅲ. 오브제와 시각예술
Ⅳ. 마르셀 브로타에스의 경우
Ⅴ. 맺음말
참고문헌
Abstract
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