한나 회흐 초기 포토몽타주의 특이성

Abstract

This study analyzes the singularity of early photomontage by Hannah Höch (1889- 1978), the only female artist in the Berlin Dada Group. Her early photomontage presupposes the image of a new woman(Neue Frau), which stood out in German society after World War I. The concept of a new woman, which began to materialize in Germany during World War I, meant a female economic entity independent of male-centered economic power. As a Berlin Dadaist, Höch utilized a method of reconstructing the image of the aggregate based on the symbolism of the photographic fragments in the Berlin Dada Group’s unique formalities that destroy and dismantle the image of the mass media. In addition, unlike male dadaists, the internal semantic structure of photomontage has been strengthened by using text to embody the image’s symbolism. Höch’s methodology is based on the formalities of Berlin Dada, but the anti- Dada attributes that maximize the symbolic system of the image overlap to communicate visual meanings. In addition, it connected the justification to expose the male-centered gender hierarchical view inside Dada to the purpose of the Dada, who tried to tell the social structural contradictions. In this respect, Höch’s early photomontage implies an irony on the border between Dada and anti-Dada.