일본 네오다다 오거나이저즈와 중국 샤먼다다의 비교연구 -사회적 배경이 작품과 활동에 끼친 영향을 중심으로-

Since the Dada movement was first declared in Switzerland, which shook the foundations of our thinking and proposed a new way of thinking, many artists around the world have learned, embraced, and digested the spirit of Dada in their own way. Artistic movements that inherited the spirit of Dada also arose in Japan and China in the early years of modern art. This study focuses on ≪Neodada Organizers≫, ≪Xiamen Dada≫ and examines and compares the establishment and development of the two artistic movements, starting with the historical background of the Dada movement in both countries. ≪Neodada Organizers≫ originated in Shinjuku, Tokyo in the 1960s and carried out its activities in various ways, including installations, performances, and events. ≪Xiamen Dada≫ originated in Xiamen, a small city far south from Beijing, during the 85 Art Movement, when contemporary art movements were active across China after the death of Mao Zedong, and produced works in a variety of forms, including painting, installation, performance, and photography. Both groups had Dadaism as their main spirit, opposed traditional art and forms, and disbanded after a short period of activity. However, the exhibition form and specific works of ≪Neodada Organizers≫and ≪Xiamen Dada≫ have many differences, especially in the use of objects and behaviorality in their art works. This can be attributed to the different social contexts in Japan and China at the time and the extent to which their art was accepted, which in turn influenced the future activities of the members of the two groups to a greater extent. This study is important for understanding the diversity of early Asian modern art and for further research.