• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.432-442
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• 2009

This research had a look at what effect of the pursing benefit has on satisfaction, behavioral intention, and attitude of the visitors to the Gwangju Biennale. The survey was conducted for 320 visitors who finished their exhibition viewing schedule starting September 5 until September 19 [15 days]. 300 questionnaires excepting 20 unfaithfully responded copies among those collected from the surveyed were used for the analysis. As for the statistical disposal of the collected data, after going through the process of Data Coding, this research conducted an frequency analysis using SPSS 12.0 for window & statistics package program AMOS 5.0, an exploratory factor analysis to test the reliability and feasibility of the data, and reliability test of each factor; then, this research tested a hypothesis using structural equation model. The research results are as follows: First, as a result of factor analysis of the 15 pursuing benefits, 4 factors were elicited, such as pursuit of an intellectual experience, pursuit of a novel, exotic experience, pursuit of interpersonal, cultural exchange, and pursuit of internal fullness, etc.; as a result of factor analysis of the 10 attitudes, three factors were elicited, such as affective, cognitive, behavioral factors; as a result of factor analysis of 12 types of satisfaction, two factors, such as satisfaction with facilities and convenience matters, etc. were elicited. Second, as a result of the suitability of research model, suitability, its fidelity came out as $x^2=107.508$, d.f.=48, p=.000, Q=2.240, GFI=.942, AGFI=.906, RMR=.024, NFI=.952, TLI=.963, CFI=.973, RMSEA=.064. Third, pursuing benefit was found out to have a positive effect on satisfaction, attitude, and behavioral intention. Fourth, attitude was found out to have a positive significant effect on satisfaction. Fifth, attitude was found out to have a positive effect on behavioral intention. Sixth, satisfaction was found out to have a positive effect on behavioral intention.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Korean Architects
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• s.594
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• pp.170-181
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• 2018

국립현대미술관은 김중업건축박물관과 공동주최로 건축사 김중업을 조명하는 '김중업 다이얼로그'전을 8월 30일부터 12월 16일까지 국립현대미술관 과천 중앙홀과 2전시실에서 열고 있다. 그가 설계한 30여 년간의 건축물과 관련된 사진과 자료 3000여 점이 전시중이다. 전시는 학예연구사의 안목과 해석작업이 중요하다. 역사와 문화라는 재료를 요리하는 학예연구사의 안목에 따라 그 가치가 빛나거나 그 반대일 수 있는데, 이런 이유로 학예연구사는 전시기획에 대한 권한을 갖고 역사해석, 전시방법 선택 등을 하게 된다. 정다영 학예연구사는 2011년부터 국립현대미술관의 건축부문 학예연구사로 일해 왔다. 올해 베네치아 건축 비엔날레 한국관 공동 큐레이터로 참여해 '스테이트 아방가르드의 유령'전을 기획했으며, 이번 '김중업 다이얼로그'전도 그의 작품이다. 월간 '공간'에서 약 6년간 기자생활을 하고, 학예연구사의 길을 걷고 있는 그녀는 전시라는 매체를 통해 건축의 영역과 담론을 확장 증폭시켜 관계를 맺고 퍼트리는 어쩌면 당대 건축계에 가장 필요한 일을 해주고 있다.

• The Journal of Art Theory & Practice
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• no.3
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• Journal of Digital Convergence
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• v.10 no.5
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• pp.327-331
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• 2012

Although crafts industry in Chungcheongbuk-do where Cheongju International Craft Biennale is held has an excellent infrastructure, it is backward comparing with other regions. So we face up to the reality and desire to contribute to the creation of added value and the development of local crafts culture through study on the here and the hereafter of Chungbuk crafts industry. We figure out the customer satisfaction and the potential customer preference for cultural products on sale currently. Then, we establish a detailed marketing strategy and study the way how we can solve the current difficulties including design, technique and marketing.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.2
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• pp.536-542
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• 2012

This research the impacts of the experiential marketing elements to the relationashin orientation and the results are as follow. It showed items of emotional experience, cognitive experiences, ative experience, relationshin experience positively affect to the festival brand loyalty. Through these results, first, we could suggest a new data for the development of the festival experience marketing for the enhancement of the festival brands in the future. Second, as the new research applying the festival and experiential marketing, we could found the experiential marketing through the intangible goods as like the festival could affect to the reinforcing of the relationship orientation. This is scientifically could suggest the basis to enlarge the scope of application. Also it could suggest industrially a lot of implications to establish the marketing strategy of the festival and reinforcing strategy of the relationship orientation.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.12 no.1
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• pp.283-294
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• 2012

Recently increasing usage of smart phones so, the application field of convergence industry between IT technology using smart phone-based mobile communication networks and other industry branches is expanding. In addition, R&D technologies in other fields are applied to smart phone applications effectively in order to develop products and support daily life more convenient. However, it is very hard to control these products and there is no efficient solution for this problem when many people are sent to specific area for big events, such as Biennale, Film Festival, EXPO, and so on. In order to solve this problem, this paper describes a network-based ticket reservation system and its organization using augmented reality on smart phone and mobile communication networks. In particular, we propose a method of designing and developing prototyping system based on smart phone application design technologies, prior to developing real smart phone application.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.131-137
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• 2019

The purpose of this study is to draw the factors that makes the visitors decide to visit the art-museum and verifying the influence of visit determinants on recommendation intention and revisit intention. Visitors to Gwangju Museum of Art and Gwangju Biennale in Gwang-ju city were chosen for this study. Data were collected for 30 days from September 15 to October 14, 2018. A total of 350 visitors were attended in this research and finally 315 samples were used for the empirical analysis. The result of this study showed that 4 determinant factors(Escape from the ordinary, self-development, novelty, culture experience) of visiting art-museum were identified which all influences on behavioral intention(recommendation intention, revisit intention). Particularly, 'novelity' is the major factor influences on recommendation intention followed by 'escape from the ordinary' factor. Moreover, 'escape from the ordinary' factor influences the most on revisit intention among all determinants of visiting art-museum.

• Journal of Communication Design
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• v.60
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• pp.402-412
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• 2017

Since the 1990s, the role of the government has been shifting towards governance. This new governance emphasizes government's role in establishing a cooperative system with private organizations through network structure and interaction. In the 1990s, Korean Government support for artists and exhibitions increased unprecedentedly. In the 2000s, support for the arts shifted in ways so as to integrate genres. Simultaneously, in order to strengthen the creative capacities of artists, support for new artists, multi-art and fusion arts have increased. From 2010, 'visual arts' business support was provided. In addition, 'visual arts' was supported by a joint planning project from 2013 Also, an overseas residence program has actively supported exhibitions through international exchanges. Since 2005, it has expanded to cooperation with India, Iran and Asian countries as well as with the Betani Studio in Germany. In addition local government supported for artists and the Biennale, residences, regional cooperative business through the local cultural foundation.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.3
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• pp.263-285
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• 2011

Despite the process of neoliberalization has made a decisive influence on our society as a whole, there seems little interests in neoliberal urbanization and entrepreneurial urban projects promoting it. This study is to see relationships between neolibealization process and recent urbanization and urban policies in terms of entrepreneurial city mediating them. In particular, this paper tries to reconceptualize entrepreneurial city as corresponding to privatization and commodification, financialization, state redistribution, and management and manipulation of crises which Harvey(2005) suggests as four main features of neoliberalization process in general and 'accumulation by dispossession' in particular, and to characterize it in terms of 'creative destruction' and of 'entrepreneurial governance'. As examined in the later part of this paper, recent cases of these entrepreneurial urban projects in S. Korea include volatility of land and housing price in the Capital region and urban regeneration and newtown projects, project for free economic zones construction in Incheon and other 5 regions, project for SOC construction heavily relying on private investment, in particular project financing pursued nationwidely including Daegu, and project of urban cultural marketing to promote capital inflow tacitly as well as to enhance urban imagine explicitly.