The transition and its significance of reception of Marcel Duchamp in Japan
| Project/Area Number |
24520107
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Kyoto Institute of Technology |
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Principal Investigator |
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| Project Period (FY) |
2012-04-01 – 2015-03-31
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| Project Status |
Completed (Fiscal Year 2014)
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| Budget Amount *help |
¥2,990,000 (Direct Cost: ¥2,300,000、Indirect Cost: ¥690,000)
Fiscal Year 2014: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2013: ¥1,040,000 (Direct Cost: ¥800,000、Indirect Cost: ¥240,000)
Fiscal Year 2012: ¥1,040,000 (Direct Cost: ¥800,000、Indirect Cost: ¥240,000)
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| Keywords | マルセル・デュシャン / 受容 / 現代美術 / 反芸術 / シュルレアリスム / ダダ / 美術批評 / コンセプチュアル・アート / 概念 / 東野芳明 / 西洋文化受容 / 錬金術 / 瀧口修造 / ネオ・ダダ / 近代美術 |
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| Outline of Final Research Achievements |
I advanced the research for the transition and its significance of reception of Marcel Duchamp in Japan, analyzed the changing mode of its reception from Dada to Surrealism of the pre-WWII period, and re-examined the role of Shuzo Takiguchi and Chiruu Yamanaka. I made it clear that Yamanaka was much more trying to actively evaluate the Duchamp than Takiguchi at that time.
Furthermore in order to clarify the condition reception of Duchamp from after World War II till now, I conducted the interviews of many artists as well as re-examined the transition of Duchamp evaluation in the critical discourses. In particular, comparing the theories on Duchamp by Yoshiaki Tono and by Yusuke Nakahara, I revealed that there truly was the contrasting two ways of its reception in the post-WWII Japan.
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Report
(4 results)
Research Products
(3 results)
