ScholarWorks@숙명여자대학교

초록

Duchamp’s Boite-en-valise(1941), one of 320 editions, was purchased by the National Museum of Contemporary Art in Korea in 2005. In 2008, it became the focus of a series of politically impacted debates that led to the dismissal of this institution’s director and the subsequent lawsuit between these two parties, which eventually resulted in the former director’s winning of the suit. The unexpected life of Duchamp’s work in Korea reflects the status of homeless artworks after the modernist period that are now destined to be dislocated at the demand of capital in the global age. The migrant life of Duchamp’s works resembles his own life. To avoid wars, he moved from Paris to New York and from Buenos Aires to Paris, then back to New York. Dislocating himself frequently, his was a metaphor for the nomadic life of contemporary artists. Inspired by the recent developments in Korea and by Duchamp’s own description of Boite-en-valise as a “portable museum,” this paper analyzes key works from 1911 to 1941 based on Duchamp’s habit of creating box works and practice of exile and dislocation. Among the works under discussion will be: Boite-en-valise(1941), One Mile of String(1942), Green Box(1934), Opposition and Sister Squares are Reconciled(1932), Monte Carlo Bond(1924), Small Glass: To Be Looked At ... with One Eye, Close To, for Almost an Hour(1918), Sculpture for Traveling(1918), A Bruit Secret(1916), Network of Stoppages(1914), Box of 1914(1913-14), Three Standard Stoppages(1913), and A Sad Young Man on a Train(1911).

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