The word assemblage came from 1953 Jean Duvipe (1901–85)This is the name given to a series of lithographs made from collaged sheets of paper and refers to works in which more material is attached than Cubist collage. In 1954, he extended this name to a technique of making small figures out of various fragments of starched paper, wood blocks, and sponges. He thought that collage should only be applied to works produced by gluing Picasso and Braque during the synthetic cubism period from 1912 to around 1920. In 1954, he held an exhibition at the Rive Gauche Gallery with small works made from discarded materials such as newspapers, bricks, and metal pieces. In 1956, he held an exhibition of assemblages, which consisted of small pieces cut from painted canvas, in which thin metal pieces, leaves, dried flowers, and butterfly wings were combined. By denying any possibility of distinguishing between beauty and ugliness, Duvipe created the aesthetic conditions for junk art and pop art in the 1960s.

​There is no clear distinction between junk art and assemblage, as junk art artists often assemble scrap pieces to create expressive compositions. Assemblage, however, is a term for artists who work by assembling or combining non-artistic materials into a three-dimensional sculptural composition for expressive purposes. Their work emerged as a reaction against welded sculpture, which was treated similarly to abstract expressionism in painting, but is considered a second generation of expressive abstract sculpture because it nonetheless had an expressive purpose. Many sculptors who produce assemblages are closely related to the spirit of Pop Art, and assemblages belonging to the Pop Art tradition evoke nostalgia for discarded materials and should be distinguished from junk art.

​Terms such as assemblage, situational art, environmental art, and tableau are used relatively loosely for classification purposes and have slightly different meanings to different users. No matter which classification criteria are used, one can see that an artist’s work falls into several categories. Here, assemblage is used to refer to a tableau in which works composed of various materials and various objects are collected in a box and displayed simultaneously. Assemblage may fall under the categories of pop art, expressionist art, junk art or punk art. These things can be abstract, but they can also be realistic.

​The name Assemblage was adopted in the 1961 ‘Assemblage’ exhibition held at MoMA, New York. The exhibition includes collages and small compositions by Futurist, Dada, and Surrealist artists as well as Synthetic Cubism, Marcel Duchamp’s readymades, Cornell’s box composition works, de Kooning, Enrico Bai (Italian painter), Motherwell, Rauschenberg, etc. collages by Alberto Beuri, rough burlap paintings by Alberto Buri, sculptures by Nevelson, Tangli, Stankiewicz, Jean Crotti (Swiss-French painter and husband of Duchamp’s sister), and César’s compressed automobile collections. Object works showing a wide range of styles and schools, such as water and tableau works by Kienholtz, were exhibited (Warhol 31, 54, 60, Duchamp 279). When applied to object works, the relative usefulness of this designation decreased.

​William Seitz defined assemblage, which emerged as a new art.

“Constructive art, which is wholly assembled rather than painted, drawn, carved, or imitated, and uses, in whole or in part, non-formed materials, factory products, or artistic materials as elements of a work of art.”

After the ‘Assemblage’ exhibition, this name gradually came to be more strictly applied only to the works in which various objects were collected and placed in a box. If we categorize them into two categories, Rauschenberg’s Combine Painting, which expands Schwitters’ concept of collage into three dimensions, and Armand’s collective work, which expands Duchamp’s ready-made concept, are the works.​

The work of Kurt Schwitters (1887-1948) was called collage at the time, but it can be seen as a pioneering work of assemblage. Praised by Herbert Reed as “the greatest master of collage,” Schwitters studied at the Dresden Academy and initially worked in the expressionist style, but later opposed expression itself being the main purpose of art. Influenced by Kandinsky, he held a solo exhibition at the Sturm Gallery in Berlin in 1918 (Duchamp 230). Accepting the Cubist method, he mainly produced collage works, while writing poetry in the collage method. It was comparable. Described by Reed as “a poet comparable to James Joyce,” Schwitters also used verbs as nouns in his poetry, and such puns were of interest to Duchamp, so he interacted with Duchamp, who was the same age.​

Beginning in 1918, Schwitters built collages into pictorial compositions using discarded materials such as bus tickets, cigarette husks, postage stamps, theater tickets, magazines, nails, hair, old merchandise catalogs, and strings. His work is both lyrical and poetic. (Duchamp 231) Settled in Hanover after World War I, he created ‘Mertz’ in 1919. The title was discovered by chance and is derived from the commercial-private bank Commerz-und Privatsbank in the commercial letter, only the middle letter merz. After composing a collage of papers he randomly collected, he named it ‘Mertz Painting’. He tried to free art from traditional materials and techniques, and from seeking expression out of ideal or social motives. In this attempt, he constructed a new and unique form of collage using the remnants of urban civilization.

​From 1923, Schwitters began construction of the <Mertz Building> (232 Duchamp) at his house on 5th Avenue Waldhaustra in Hanover. At the time of its founding in 1932, the magazine of the Abstract-Creative Group, to which he joined, introduced photographs of the Merz Building sculptures. This composition gradually formed a skeleton made of plaster and wood, and the inside was like a labyrinth. Schwitters organized objects related to the life around him into the interior of the building. As he himself said, it became a building in the strict sense of the term with sharp angles and clear shapes enough to remind one of “Cubist paintings or Gothic architecture.” His house was destroyed and disappeared by Allied bombing in 1943. He also picked up the discarded pencils of a poet friend and decorated the house, and there was also a bra used by Jean Arp’s wife Sophie. From 1923 to 1932, he devoted himself to publishing the magazine <Mertz>

​Joseph Cornell (1903–73), who had no formal art training but is known for his romantic or Victorian ‘boxes’ of old objects, found poetry, song, and nostalgia in discarded materials by arranging them in personal boxes. (Warhol 52) His ‘box’ harmonizes the formal rigor of constructivism with the lively fantasy of surrealism. Cornell, like Schwitters, demonstrated a gift for making poetry out of the ordinary. As he appropriately put the materials he wanted in the box, the materials were no longer original materials, but became the materials chosen by the poet, giving people an aesthetic experience. However, unlike Schwitters, he was fascinated by fragments of once beautiful and precious objects, not waste or garbage, and irrationally juxtaposed them using surrealist techniques to evoke nostalgia.

​It was in the mid-1930s that Cornell began arranging strange materials in glass-lined boxes. In his box, which shows the stereotypical world of personal dreams of surrealism, there are old photos, maps, and sometimes paintings of Renaissance and 19th-century Americans. He meant his time and the literature and art that moved him. His works, in which the lost childhood and longing dreams are trapped in a box, remind people of memories and dreams. Since the material he used was pop material, some critics say he is a pioneer of pop art. Even Rauschenberg and Jones, who collaged the materials in the mid-1950s, did not deny Cornell’s influence.

​Richard Stankiewicz (1922-83), who worked on assemblage in earnest after World War II, was born in New York. In 1951, he switched to sculpture. Stankiewicz specialized in welded metal sculptures, and after returning to New York, in the early 1950s he became one of the first artists to create sculptures using scrap metal scraps and old, worn-out machinery. 53) He was digging in the backyard of his studio in Manhattan one day in 1951 and found bricks and rusty iron pipes. He looked at them for a long time and then welded them and used them as part of the sculpture, which was the beginning of assemblage. This assemblage, which can be said to be an element of urban realism, is the remnants of civilization that can be easily seen in the city. In 1951-52, following the example of Picasso and Konzalez, he welded rusty iron pieces together with David Smith, a leading American sculptor, and this experience led him to test the possibility of welding discarded iron pieces to create sculptures. Later works turned to purely abstract compositions, and in the 1960s they gradually became brighter and more lyrical. In the 1970s, the style changed again, turning into an abstract composition in which hammered circles and squares of steel interlocked. In April and May 1997, when a retrospective of Stankiewicz was held at Zabriskie, a commercial gallery in Manhattan, people recognized that he was a pioneer of assemblage.

​Russian-American sculptor Louise Nevelson (1899-1988) went to the United States in 1905, studied art in earnest at the Art Students League in 1929-30, and received guidance from Hans Hoffmann in Munich. She gained international fame for her ‘sculpted walls’, which she began producing in the late 1950s. This is a relief in the form of a wall made up of many boxes and partitions, which are made up of everyday objects such as chair legs, metal pieces, balustrades, and top decorations, ‘found objects’ that form an abstract form. The structure was painted in a uniform black color, later white or gold, showing a strong contrast between the elegance of the form and the banality of the closed form. <Marriage Chapel IV> (Warhol 54), produced in 1960, is a wall with dozens of wooden boxes, inside which hundreds of materials are arranged. She cut and used pieces of furniture or obtained materials from ruined houses to use as materials. In the case of the <Wall> series, each box is filled with materials that can be easily found around. She arranges various small materials scattered around her and paints them all the same color to eliminate any sense of three-dimensional composition. He made a wall with dozens of wooden boxes and arranged hundreds of materials inside the boxes, and these works solidified his position as a leader in assemblage and environmental sculpture.

​Beyond the blue chip of the Korean art world, the artist Woojin Kim, who has been receiving intense attention for the past five years and is a collection of many fans, is known as a ‘sculptor’ and ‘formal artist’. However, starting with this exhibition [Neo Assemblage], an artist named Woojin Kim wants to imprint in the minds and hearts of the audience that he is an ‘artist’ who belongs to various categories in art history.​

​In this exhibition, which will open the novelty of [Assemblage], Woojin Kim will show works that combine flat and digital, including synthetic cubism, and will show the evolution of his works as an artist. , I would like to have an artistic conversation with all those who support him about the works that will be presented at the Venice Biennale 2022 next year.