도시민 삶의 질적 추구와 여가생활 증진에 이바지하는 미술관의 역할은 수동적인 예술작품 보존의 공간에서 방문객의 다양한 요구를 수용하는 공간으로 전환됐다. 현대인에게 부족한 자연과 예술에 대한 향유와 보다 나은 휴식의 공간이 되기 위해선, 미술관의 역할을 내부공간에 국한시키지 않고 옥외의 공간으로 확장하는 것이 필수적이다. 본 연구는 미술관의 옥외 전시공간 방문객을 대상으로 중요도 및 만족도를 조사 분석하고 이를 토대로 옥외 전시공간의 질적 향상을 추구한다. 연구 대상지로는 수도권을 대표하는 국공립 미술관으로 국립현대미술관 과천관과 소마미술관을 선정했으며 설문조사 및 IPA 분석 방법을 사용해 후행 연구에 활용 가능한 실증적 데이터를 제공한다. 연구 결과 25개의 항목에서 중요도와 만족도간에는 유의미한 차이가 있었으며 각 항목에 따라 현상 유지, 최우선적으로 개선되어야 할 사항, 현시점에서는 고려가 불필요한 사항, 추후 시설 도입 시 고려되어야 할 사항으로 분류할 수 있었다. 특히 보행공간에 대한 안전성과 연계상태 그리고 이동의 용이성 등이 개선되어야 할 것으로 판단되었다. 미술관의 옥외 전시공간 조성 과정에서 고려 또는 개선되어야 하는 방안을 수립하는 데에 본 연구의 결과는 유용한 기초 자료로 활용될 수 있을 것이다. 도시민의 요구에 따라 미술관의 옥외공간에 대해 보다 세부적인 연구와 체계적인 가이드라인 구비와 함께 쾌적한 휴식의 장소가 되도록 해야 함을 명시한다.

본 연구는 어린이를 대상으로 한 과학전시관의 현황을 파악하고 어린이 과학관에서의 교육효과를 높이기 위한 전시 공간연출의 개선방향을 제안하기 위한 연구이다. 이를 위하여 어린이과학관 전시물과 전시공간을 전시내용에 따라 크게 3가지 주제로 분류하고, 전시매체와 전시공간을 분석하는 분석틀을 개발하였다. 연구 대상은 국내 어린이를 대상 으로 한 전시관 총 7곳을 목적 표집하여 선정하고, 촬영을 통해 자료를 수집하여 분석틀에 따라 분석하였다. 연구 결과, ‘신 체’와 ‘주변 사물’, ‘자연 현상’을 전시 내용으로 한 전시현황을 분석했을 때, 어린이의 발달수준에 맞지 않는 어려운 내용으로 구성되어 있으며, 전시매체 측면에서는 설명적 매체와 관찰형 매체가 주를 이루고 있는 것으로 나타났다. 또 한 전시공간 측면에서는 설치물요소와 색상요소에 의존하는 경향이 높으며, 전시 주제에 따른 동선의 흐름이 대체적으 로 전시 내용 전체 스토리를 유추하기 어렵다고 할 수 있겠다. 이를 개선하고 어린이 과학관에서의 교육효과를 높이기 위해 전시 연출의 기획단계에서부터 관련 전문가들의 협업을 통해 전반적인 진행이 이루어져야 할 것이다.

The market for luxury is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012, Ko, Phau and Aiello 2016) as well as the ubiquity of digital marketing channels (Okonkwo 2009). Moreover, social media has transformed the logic of fashion marketing by providing new ways of engaging, interacting, and connecting with customers (Dhaoui 2014) as well as enabling consumers to participate in branding process (Burman 2010). As a consequence, also luxury brands need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). What is more, despite of growing importance of social media marketing in luxury industry, extant research on the topic still remains quite limited (Ko and Megehee 2012). While the previous studies have well documented the benefits of luxury marketing on social media (Kim and Ko 2012, Kim and Ko 2010, Brogi et al. 2013, Kontu and Vecchi 2014, Godey et al. 2016), and their implications on luxury brand management (Dhaoui 2014, Larraufie and Kourdoughli 2014), and even co-creative marketing practices (Choi, Ko and Kim 2016, Tynan, McKehnie, and Chuon 2010), no studies to this date have looked at co-creation from consumer-perspective. This article provides a novel perspective on luxury branding, by following the resource-based theory of consumer (Arnould, Price and Malshe 2006) to study the brand identity as co-created in social media. To do this, visual frame analysis (Goffman 1974, Luhtakallio 2013) is applied on consumer generated images downloaded from Instagram feed of brand exhibition staged by luxury brand Louis Vuitton. Based on the analysis, a typology of co-created brand identities is proposed. The findings indicate that in the branded exhibitions, consumers co-create brand identity by utilising resources available in the experiential brandscape by taking and posting these objectifications of brand on social media (Presi et al. 2016) and in so doing create symbolic/expressive, and experiential/hedonic value (Tynan et al. 2010). Theoretically, this article provides a novel perspective on luxury brand as co-created and in so doing, demonstrates the dynamics of firm-consumer co-creation. What is more, to extend the emerging stream of visual analysis of luxury (Kim et al. 2016, Freire 2014, Megehee and Spake 2012), an application of novel is demonstrated in the article. Managerially, this explorative study provides new insights on luxury marketing in social media by suggesting that branded experiences should be designed in a manner that engages the consumer to actively use the resources available to them. The financial implications of this shift are also significant as according to McKinsey study, three out of four luxury purchases are influenced by social media (Hope 2016)

광주비엔날레는 광주 민주화 운동으로 인한 도시의 상처를 문화적으로 치유한다는 명분을 내 세우며 1995년 국내 첫 비엔날레로 창설됐다. 광주비엔날레의 지역성은 5ㆍ18 민주화운동에 상당 부분 기대고 있으며, 주최측은 이를 ‘광주정신’이라고 표현해 왔다. 초창기엔 본전시에 민중미술 작 품을 출품하는 것으로 지역성을 드러냈으며, ‘지역’의 범위는 광주에서 한국, 재외 교포, 아시아 등 으로 점차 확장됐다. 2010년의 제8회 《만인보》에서는 5ㆍ18과 직접적 연관성이 없는 작품들만으 로 전시를 꾸렸다. 본논문은 《만인보》가 캄보디아 폴포트 정권의 양민 학살 관련 사진, 중국 ‘수조 원’ 등 지구상 ‘또다른 광주’들을 전시장에 소환함으로써 광주의 지역성을 오히려 강화, 지역성 구 현의 전환점을 이루었음을 밝혔다.

This study empirically analyzed the influence of media on a visitor's satisfaction and re-visit by setting up 5 sorts of exhibition media as text, docent, virtual museum, website and Smartphone App based on practical exchange and communication between a visitor and an exhibition provider. The research results are as follows: First, all these 5 sorts of media suggested by this study were found to be able to have an influence on a visitor's satisfaction and re-visit. Second, it was found that the factors preferentially affecting a visitor's satisfaction and re-visit were 'Docent' and 'Website' factors. Accordingly, it is judged that it's necessary to more preferentially consider 'Docent' and 'Website' factors than the other factors in order to increase a visitor's satisfaction and re-visit. Third, it's possible to interpret that the bigger a visitor's satisfaction, the higher a visitor's intention to re-visit through the verification that a visitor's satisfaction will have a significant influence on a visitor's re-visit. The implication of this study lies in the fact that this study attempted at an integrated approach by analyzing the relative size of the influence through across-the-board suggestion of influential factors on a museum visitor's satisfaction and re-visit.

Exhibitions are becoming a new important marketing tool in the fashion industry. Consumer’s interest in the haute couture and arts is increasing in parallel to the increase of the need of museums to attract visitors. While many fashion brands have been holding exhibitions, very few studies have investigated the effectiveness of exhibitions. This study aims to obtain practical implications which can be applied to further exhibition marketing processes. To this end, the main goals of this study are thus as follows: (1) to analyze the fashion exhibition cases by categories; and (2) to examine customer satisfaction by the fashion exhibition types and to determine how customer satisfaction affects the brand image. In order to classify the fashion exhibition types, a total of 160 cases held in the last five years in all over the world were collected and the range was set to the B2C fashion exhibition practices. For quantitative analysis of the customer recognition, the survey was distributed to total of 309 participants. Each of respondents evaluated three stimuli therefore the nine stimuli were respectively evaluated by 103 people. As a result of our analysis, nine types of fashion exhibitions were derived by two criteria, namely, (1) the main purpose of an exhibition and (2) the contents of an exhibition. Most fashion exhibitions are held with the goals of aesthetics, sociability, and remembrance. Exhibitions display various fashion products, such as apparel, shoes, bags, and jewellry, fashion photography, as well as various artistic media, such as video, drawings, and installation arts. The nine types of fashion exhibitions were used as a stimulus to quantitatively verify the effectiveness of fashion exhibitions. According to the results of the statistical analyses, customer satisfaction and brand image were significantly different in the fashion exhibition type but the exhibition type does not directly affect the brand image. This study provides a better understanding of the growing influence of factors on the fashion exhibitions and extends the limited research area by verifying the response of fashion exhibition visitors on the marketing level. Moreover, our results provide practical implications for fashion brands to establish successful exhibition marketing strategies.

Introduction Many cultural remains are located in Iksan: Buddhist temples, royal palaces, ancient walls, and the Sangneung, the Tomb of King Moo and his Queen from the Baekje Kingdom. Mireuksa was the largest Buddhist temple on the Korean peninsula when it was first built in the 7th century during King Moo's reign. In those times, large temples were usuatly built in the national capital Historians believe that Iksan was one of the capital cities along with Woongjin and Sabi during the Baekje Kingdom since the Mireuksa(the largest Buddhist temple of the period,) was built in Iksan. However, there is no official record that the capital city during King Moo’s reign was transferred to Iksan. Regardless of the dispute, it is apparent that Iksan was an important city under the reign of King Moo and was governed under Baekje rule. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries. Costume type varies according to locale and period since costumes may be used as a medium to reflect politics, economy, religion, and social atmosphere. The basic forms of Korean traditional costumes were shaped in the Three Kingdoms, which was known as the most significant era of history for Korean costumes. There haves been extensive studies regarding the costumes of the Three Kingdom Period; however, there is limited research on Baekje Kingdom costumes due to the lack of primary sources(relics and literatures) based on secondary sources from neighboring countries.

저자는 2013년 1월 15일부터 2015년 3월 25일까지 약 2년 2개월에 걸쳐 우리나라 9개 자연사박물관을 방문하고 오류연구를 하였다. 그 결과 7개 박물관에서 총 28개의 오류를 발견하였다. 본 연구의 목적은 이러한 오류가 왜 발생하는가, 또 오류가 발생하지 않게 하거나 발생한 오류를 조기에 수정하는 방법은 없을까 하는 대안을 찾는데 있다. 그렇게 하기 위해 선행논문과 서적을 연구하고 대상 자연사박물관에 대한 설문조사를 하였다. 연구결과를 토대로 다음과 같은 대안을 제시하였다. 첫째, 세부전공 분야별 학예사 인력을 확충하되, 단기적으로는 대학 등과 연계하여 자료 발굴, 보전, 연구, 전시자료 작성 등에 전문가를 참여시킨다. 둘째, 전시과정에서 미리 분류체계를 수립하며 보전전문가를 확보한다. 셋째, 전시과정에서 외부 전문가의 심의과정을 만들고, 관람자의 의한 오류 시정 절차를 구축한다. 넷째, SNS, 도슨트, 교육프로그램을 통해 학생과 주민이 오류시정 참여하도록 해야 한다. 다섯째, 대중매체를 통해 명확한 학술적 배경을 기반으로 만들어진 고생물들의 참신한 모습을 보여줌으로써 기존의 문화적 관성을 해결한다.

The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.

The exhibition <Myrtis: Face to Face with the Past> was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the ‘rescue excavation’ and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl ‘Myrtis’, which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists’ continuous efforts to promote projects of contemporary artists, publications, and school programs related to the <Myrtis> exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through <Myrtis> exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

본 논문은 2011년 과천과학관에서 개최한 "iZ 히어로의 대모험"전시를 통해 미디어테크놀로지를 활용한 보다 효과적인 전시 방법론에 대한 연구이다. 전시를 통해 아동관객들의 태도와 인식변화에 대한 설문을 실행하고 전시가 원하는 메세지 및 정보전달이 효과적으로 전달되었는지를 분석하였다. 전시의 설문은 전시 관람전과 전시 관람후로 나누어 설문결과를 비교 분석하였다. 이 과정에서 도출된 결과를 바탕으로 단순히 관객들의 흥미만을 유발하는 전시가 아닌 관객과 소통하고, 효과적인 정보전달이 가능한 전시의 형태를 제안하고자 한다. 마지막으로 “iZ 히어로의 모험” 전시의 고찰을 통해 향후 융합체험전시의 보다 효과적인 방법론을 논하였다.

인터랙티브 미디어 아트는 상호작용을 통한 관객의 참여와 소통이 가장 중요시 되는 예술이라 할 수 있다. 종래의 예술작품을 관람하는 관객은 작가가 전달하는 메시지를 일 방향적으로 수용하는 입장이었다면, 인터랙티브 미디어 아트를 관람하는 관객의 입장은 작품과 상호작용하면서 작품을 완성하는 적극적 참여자이며 생산자적 입장으로 변화 되었다. 본 연구는 수용미학적 측면에서 인터랙티브 미디어 아트 전시장에 전시된 작품의 사례를 통하여 인터랙티브 미디어 아트 작품과 관객이 어떤 방식으로 상호작용하고 작품과의 교감이 이루어지는지 살펴보고, 전시 해석매체인 도슨트의 설명과 월텍스트를 활용하여 관람하였을 때 관객의 감성커뮤니케이션에 어떠한 영향을 미치는지 실험하였다. 도슨트는 작가의 의도와 작품에 대하여 스토리텔링 방식으로 설명하면서 관람자로 하여금 자연스럽게 작품에 집중하도록 유도하였다. 그 결과 작품과의 교감도를 높이는데 전시 해석매체의 역할이 유의하게 높은 것으로 나타나, 향후 도슨트의 역할이 작품과의 상호작용을 통한 관객의 적극적 참여와 교감을 증진시키는데 중요한 요소임을 제시하고자 하였다.

최근 들어 과학관과 학교 교육과정의 연계가 강조되고 있으나 과학관이 학교 교육과정을 어느 정도 반영하고 있는지를 가늠할 수 있는 기준은 부족한 실정이다. 이에 본 연구의 목적은 과학관의 교육과정 반영의 정도를 객관적으로 판단할수 있는 기준을 개발하고 이를 이용하여 과학관 패널 전시 설명문을 평가하는데 있다. 이를 위해 중등학교 성취기준에 따른 평가 도구를 개발하였으며, 이를 이용하여 충청도지역의 세 과학관에서 지구과학 패널 전시 설명문의 교육과정 반영도와 교육과정 도달 수준을 측정하였다. 연구 결과 과학관 지구과학 패널 전시 설명문의 교육과정 반영도는 38.7%로 측정되었으며, 교육과정 도달 수준은 5.0 만점에서2.82로 평가되었다. 차후 과학관 전시물의 패널 전시 설명문의 수준을 결정하는 과정에서 교육과정의 성취기준에 대한 교육과정 반영도와 도달 수준의 평가 결과가 활용될수있기를 기대한다.

이 논문에서는 충청도지역의 주요 문화공간인 공연장을 중심으로 지방 공연장의 운영 실태와 공연장의 규모 및 시설의 형태, 년 간 행사되는 공연물의 공연 실적 등을 통해 지방문화 예술의 문제점을 제시하고 지방문화의 발전 활성화를 위한 구체적 방안을 모색하고자 한다. 충청도지역의 공연장의 형태와 시설 및 공연 실적의 비교는 최근에 신설된 공연장을 포함한 비교적 공연활동이 활발한 공연장을 중심으로 하였으나 공연예술 보다는 일반교양 행사에 주로 대관 되는 지방 공연장의 특성으로 인해 극히 적은 수의 공연 실적을 토대로 충청도지역의 공연활동을 평가하는 자체가 무리가 있다. 그러나 공연장의 공연 시설 및 공연 실적을 통하여 무용을 포함한 각종 공연물이 공연장으로 인해 발생되어질 수 있는 문제점을 발견하고 보완함으로서 무대예술의 발전과 나아가 지방문화의 발전을 꾀할 수 있는 방법을 제시하는데 도움이 될 수 있을 것으로 사료되는바 상호 비교를 감행하였다. 그러므로 본 논문은 충청도지역의 문화공간인 주요공연장을 중심으로 공연장의 운영현황 분석을 통해 충청도지역과 문화예술의 활성화를 위한 개선방안을 제시하는데 그 목적을 둔다.

This study aims to clarify the architectural characteristics of three houses of Choseon Exhibition. Exposition/exhibitions were thought to be a model for the world. It shows the real status of the development, and thinking with visions at that times; therefore, exhibited house models would be a good source for what to be considered for the ideal houses of that times. Through the study, we could find out as belows. 1. The houses exhibited conserved the sitting-on-floor living style, otherwise the most proposals for house improvement suggested a chair-and-table style because of its hygienic quality and integration of the life at home and at work(school, too). 2. The spacial scheme for-family prior over for-guest was emphasized, but models at the exhibition were structured with Japanese traditional spacial program, such as Jashiki(座敷), Kyakunoma(客の間) or Tsuginoma(次の間), which were all Tatami-floored. 3. Through this exhibition, it is clarified that the architectural society in colonial Korea also tried to improve the modern housings, not only direct reception of the developed proposals. These houses was planned with the acceptance of the locality, such like Ondol, a floor heating facility which the Japanese engineer improve the efficiency. 4. Also these exhibited houses became a start to recognize a house as a product, and spurred on commercialization. As the result, we could find out that these exhibited houses accepted the modern housing proposals selectively, and that even if the exhibitions shows the advance in usual these houses were planned with the very conservative notions.