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Avant-Garde Acceptance and Politicization of Art on the Lim Hwa’s Literary Criticism in Late 1920s

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2013, 37(), pp.3-42
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : February 28, 2013

lee, seong-hyuk 1

1한국외국어대학교

Accredited

ABSTRACT

Avant-garde of around the First World War was the collective art movement which tried to keep a balance between art and life. It criticized the existing art as institutionalized. Avant-garde not only has destroyed the representation of the existing art but also has tried to reorganize a real life artistically through several experiments. It was Lim Hwa that did active work of such an avant-garde in the Japanese Occupation of Korea. While Lim Hwa accepted the radicalism of avant-garde impassionedly at that time, he wrote the radical and political poems digesting this avant-garde. He announced not only a literary creation but also the literary criticism which had accepted avant-garde theory. Lim Hwa started to accept the avant-garde theory while publishing the literary criticism of introducing the Italian Futurism and Vorticism. But he criticized the Italian Futurism as representing the modern pace and freshness. He accepted the Vorticism of expressing the primitive life force with non-representational. He had made the ‘proletarian literature’ as the literature expressed by the repressed life force of proletarian through selective acceptance of avant-garde. He had insisted that proletarian literature could be ‘something’ because proletarian literature did not have fixed-method. Thus he was getting into trouble how to make the proletarian literature. At that time he met Murayama Tomoyoshi and the art theory of MAVO. In the mid-1920s, Murayama Tomoyoshi and MAVO who shook the Japanese art world had refused to be a professional artist. They had practiced the avant-garde work while going across the non-art world. It had been important for them to revolute, to create and to stand on state-of-the-art through manufacturing the ‘buildende kunst’. Sculptor Kim Bok-jin tried to combine the proletarian art movement and buildende kunst accepting the art theory of MAVO. Lim Hwa insisted that the artistic activities ways of MAVO should be politicized consciously by converting it into the propaganda-agitation activities. He insisted that ‘proletarian literature’ should not be the representation of reality any more but it should be the propaganda-agitation art of changing a reality like avant-garde. In order to create the propaganda-agitation literature consciously, Lim Hwa had to surpass the proletarian literature theory which expressed the proletarian life force. It was related that Murayama Tomoyoshi not only broke with DADA but also accepted Russian Constructivism as the proletarian art. Murayama Tomoyoshi accepted the functional and practical view of art. This practicality was equivalent to the propaganda-agitation of proletarian literature practicality which Lim Hwa had insisted. Accepting the Russian Constructivism which tried to liberate the art from the esthetics, Lim Hwa employed violent language to sublate the art category completely. Simultaneously accepting the Russian Constructivism which insisted that technology, experiment and material should develop the society, Lim Hwa defined the ‘proletarian art’ as the ‘art for weapons’ of changing the world. Since accepting the Russian Constructivism he entered the movie world which needed the state-of-the-art technology at that time. He created the ‘short epic’ making full use of cinematic skills acquired there.

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