本文根據亨利．列斐伏爾（Henri Lefebvre, 1901-1991）的《日常生活批判》（Critique of Everyday Life）一書之立場，將日常生活批判看作一種整體性的社會改革，並探究日常生活如何透過重置「常」與「異」的分界，來實現僵化現代生活的解放，以及資本主義社會的殖民式經濟系統。

列斐伏爾認為，資本主義透過各種技術使得日常生活逐漸產生異化，若要掀開異化的面紗，就必須以「完整的人」為目標，對日常生活進行批判和重建。基於資本社會的發展和藝術活動相互影響的前提，以及超現實主義致力於日常中各種客觀機遇的發掘，與列斐伏爾的批判意識相近，本文在列斐伏爾的日常生活批判理論的基礎上，以〈1938年國際超現實主義展覽〉為研究對象，討論超現實主義如何透過物件的「無效性」和「神奇」，來協調與日常生活實踐之間的關係，最後再以列斐伏爾的日常生活審美化理論作結，討論「讓生活成為藝術品」與20世紀現代性轉向的關係。

Based on the standpoint of Critique of Everyday Life by Henri Lefebvre (1901-1991), this study regards the critique of everyday life as an integrated social reform and further explores how everyday life realizes the liberation of rigid modern life and the colonial economic system in a capitalist society by resetting the boundary between similarity and difference.

Lefebvre argues that capitalism has made everyday life gradually characterized by alienation through various techniques. To lift the veil of alienation, setting “the total man” as the goal is necessary for conducting the criticism and reconstruction of everyday life. Based on the premise that the development of capital society is mutually affected by artistic activities, as well as the discovery of the objective hazard in everyday life that surrealism has focused on is similar to the critical consciousness of Lefebvre, this study takes the 1938 International Surrealism Exhibition as the subject to discuss how surrealism coordinates its relationship with everyday life practices through the useless and marvelous objects based on Lefebvre’s critique of everyday life theory. In closing, Lefebvre’s aestheticization of everyday life is used to conclude through the exploration of the relationship between “letting everyday life become a work of art” and “the modern turn in the 20th century.”

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