• 건축사
• /
• 통권543호
• /
• pp.20-21
• /
• 2014

• 주택과사람들
• /
• 통권197호
• /
• pp.18-18
• /
• 2006

2006년의 젊은 미술 앞에서 두통을 경험하거나 침묵으로 일관했던 이라도 걱정 말자. 현대 미술의 향연 광주 비엔날레에서는 '전통과 새로운 정체성의 충돌'이라는 동시대 아티스트들의 고민만 염두에 두고 발걸음을 옮기면, 첨단 미디어 아트 앞에서도 누구나 유쾌하게 배부를 수 있다.

• 한국실내디자인학회논문집
• /
• 제18권6호
• /
• pp.60-68
• /
• 2009

Cheoungju International Craft Biennale is not just an art exhibition but more like a pubic festival which is including an experiential learning and a public participation section as well as a special exhibition and an international competition section. Thus it is strongly required to present an appropriate meaning and mood corresponding to each exhibition hall. The paper has examined the exhibition topics during the last 10 years and the plannings and contents to install the exhibition hall according the yearly topic and it has analyzed the comprehensive evaluations after the exhibition. The research scope is limited to the part related to the exhibition hall and facilities, which is including calculation of dimensions and layout, access and movement system, the appropriateness of the design and construction period, measure of applied technology appropriateness, post management as well as planning intent, estimation of the number of the visitors, preliminaries. With the results shown in the comprehensive evaluation and analysis, the paper has presented two issues, the one related to the procensure and preparation and the other related to the facilities. It is showed that both problems are due to the lack of expertise and it is necessary for the experts to participate from the first step of the procedure including planning for the successful exhibition. For the appropriate exhibition hall corresponding to the exhibition planning and scale, it is required to have the professional considerations of successful space and visitor's movement management, display environment, construction method, and post management. The study presents that architectural and interior design have to take an active part in constructing exhibition design in overall stage including the initial, practice, and evaluation stage.

• 디지털융복합연구
• /
• 제19권2호
• /
• pp.387-395
• /
• 2021

본 연구는 대학이 지역사회와의 융합을 통해 지역문화의 지속과 경제 활성화를 어떻게 이끌 것인가에 대한 사례 연구이다. 이러한 사례로 세계적 공예행사인 청주국제공예비엔날레를 주관하고 있는 청주시와 청주대학교 공예디자인학과 간의 연계 프로그램에 주목하고자 한다. 지역정체성(locality)을 담고 있는 공예를 이용해 세계적 지역행사로 발전시킨 청주국제공예비엔날레의 지역 문화행사로서의 가치는 분명하다. 또한 청주에 유일한 공예교육기관인 청주대학교와의 융합은 대학과 지역간 연계프로그램의 성공적인 모델을 제시하고 있다. 본 연구는 지역문화행사와 지역 소재 대학 간의 융합사례를 다양한 측면에서 분석하고 이를 기반으로 대학교육에서 지역사회와의 창의적 융합의 가능성을 제시하는데 연구의 목적이 있다. 이를 통해 단순 교류 차원을 넘어 지역과 대학 간의 심도 깊은 연계를 통해 새로운 지역발전 가능성을 창출하기 위한 중요한 판단의 바탕을 제공할 수 있을 것이다.

• 한국실내디자인학회논문집
• /
• 제25권1호
• /
• pp.13-23
• /
• 2016

2014 Venice Biennale of Architecture, presented by general director Rem Koolhaas, has shown the distinct difference between his present displays and past displays. Under the theme of FUNDAMENTALS and ABSORBING MODERNITY, Rem Koolhaas has developed his own unique way which is a research-oriented display technique to explain the difference at the exhibition. The purpose of this study is to define a research-oriented display technique as realism rhetoric for the opened dialectic and identify its aspect of a methodic approach. This report investigated not only Rem Koolhaas's thought and theoretical approach through his work but also the comparison of between his present and past displays. His display is based on the constellation of Central Pavilion, National Pavilions, and Arsenale display and reflected the reality of architecture in self-deception through the metonymical interaction of various facts and records. Rem Koolhaas called it the composition of contradiction. In his work, the spatial situation which is the present has been made with the intervention of historical events and has revived the reality of architecture. Also, the present is a montage of the strict control of architecture, the isolation from the architecture itself, and the autonomic communication with other fields. Finally, as a result of his work, Rem Koolhaas has shown that his display is not the end of phase but a phase of creation.

• 패션비즈니스
• /
• 제24권3호
• /
• pp.114-120
• /
• 2020

This paper is a study of culture and identity expressed in textile art works of the age of globalization, centering on the Beijing International Fiber Art Biennale. This study began with the idea that globalism would develop regional cultural diversity as well as contribute to the field of art. In 2000, the Beijing International Fiber Art Biennale held its first large exhibition, and a total of 10 biennales were held from then until 2018. Get an understanding of the Beijing International fiber art Biennale, and select award-winning works from one to ten times to learn about cultural characteristics and identity. The analysis was based on the works of awards from China and Japan, including Korea, which are the center of East Asian culture. The Beijing International Fiber Art Biennale has steadily increased the number of participating countries, writers and works, and once again opened the stage for the revival of textile art following the Lausanne International Tapestry Biennale. Through the Beijing International Fiber Art Biennale, textile artists hope to promote world harmony in textile art, respect cultural diversity and conduct equal dialogue between East and West cultures.

• 한국실내디자인학회논문집
• /
• 제26권1호
• /
• pp.63-74
• /
• 2017

This study is for the characteristic of expression of exhibition presentation in 'The Korean peninsula' which is the Golden Lion Winner at the Venice Biennale in 2014. The Korean peninsula provides two opposite political and economic systems and adaptations of modernism through various multi media images. The curator, Minsuk Cho, presented cinema montage image of Collision for analyzing dynamic exhibition organization and provides the foundation of his theory from Bergson's image and duration to Deleuze's movement-image and time-image which is mentioned from Deleuze's book "cinema 1" and "cinema 2". Furthermore, the Korean peninsula has showed perception-image and affection-image from Eisenstein & Vertov's cinemathology and systemized exhibition presentation. The montage of Collision has maximized the movement from the variety and complexity in a collision and it made difference between information images which are space, time, emotion, intelligence, the tumult between subjectivity and objectivity, fragments from reorganizing itself, and distribution and art images. The limit of montage of Collision's dialectic is not only visual but also space from organic organization but the Korean peninsula overcomes its limit and shows leap of tactile perception and time-reflection from the montage of Collision's dialectic. Therefore, the exhibition of the Korean peninsula presents the conviction of adaptations of modernism.

• 건축사
• /
• 통권654호
• /
• pp.28-33
• /
• 2023

자연과 건축의 관계를 탐닉해 온 아키텍트 마우리시오 페소(Mauricio Pezo)와 소피아 본 에릭사우센(Sofia bon Ellrichshausen), 그리고 안톤 가르시아 아브릴(Anton Garcia-Abril)이 한국을 찾았다. 서울도시건축비엔날레 참여, 메덩골 정원 내 건축물 진행 상황 확인, 홍익대학교 강연 등 바쁜 일정 속에서도 건축 미학과 작품에 대한 이야기를 나누는 시간을 가졌다.

• 패션비즈니스
• /
• 제14권4호
• /
• pp.74-90
• /
• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• 국제지역연구
• /
• 제13권2호
• /
• pp.712-739
• /
• 2009

본 연구는 예술경영의 한 영역으로 다루어졌던 미술경영의 범위에 대한 다양한 견해를 경영학적 시각에서 문헌고찰과 통계자료를 근거로 정리하였다. 공연예술 분야의 예술경영은 경영학적인 조직관리, 인력관리, 마케팅, 재무관리 등을 접목할 수 있는 영역이다. 그러나 미술경영은 경영이론의 파생적 관점에서 접근할 수 있는 분야가 있는 반면 미술이라는 특수한 학문영역에 대한 접근이라는 관점에서 새로운 시각이 요청되는 분야이다. 미술은 미술작품의 미학적 관점과 미학사적인 해석이 필요한 전문영역이 포함되기 때문이다. 이와 함께 지난 10여년 사이에 미술시장의 개방과 활발한 국제교류가 이루어지고 있어 미국과 유럽, 중국 등의 주요 국제미술시장에 대한 경영전략적인 접근이 필요하다. 이러한 국제미술시장은 국제경매시장, 국제비엔날레, 국제아트페어, 화랑의 해외진출 등과 관련하여 첫째, 국내 작가의 스타작가 양성과 같은 전략적 접근이 필요하다. 둘째, 비엔날레와 아트페어를 비롯하여 세계 유명 박물관이나 미술관의 작품에 대한 대규모 블록버스터 전시기획력이 요청된다. 국제미술시장에 대한 경영전략적인 접근은 바로 국가의 문화경쟁력을 높여주며 국가이미지 제고와 다른 산업에까지 영향을 미칠 것이기 때문이다.