• Smart Media Journal
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• v.7 no.1
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• pp.24-30
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• 2018

Acquisition of the FIDO authentication technology in pursuit of improved security function of the NFC-based 2 factor electronic payment system enabled GenoTech Ch., Ltd. to develop its new service, Gallery-Auction, demoed at Daegu Exhibition. The demonstration was followed by the improvement requests in banner creation & installation, changes in UI, changes in order of operation, etc, which were taken into account for the succeeding update. During the second demonstration held at 'Art: Gwangju: 17,' it analyzed and visualized the number of visitors per hour there.

• Smart Media Journal
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• v.6 no.3
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• pp.29-40
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• 2017

Lately weight for smartphone mounted to function for NFC is increasing, rapidly. Because of this, NFC related technology is made by many companies. We developed Gallery-Auction for security enhancements and new services of NFC-based 2 factor electronic payment system. Enhanced security features development of user authentication module through fingerprint recognition to apply FIDO authentication technology and developed electronic contract voice service of Gallery-Auction using TTS(Text to Speech). Therefore we enhanced convenient and simple authentication method and security through NFC mobile electronic payment.

• Korean Association of Arts Management
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• no.50
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• pp.177-212
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• 2019

In an effort to understand the global standing of artists from Japan, China, and Korea, this article presents an analytic study of data from auctions, notable international contemporary art galleries, notable international art museums, contemporary art biennials, and the Venice Biennales' award. We also look at select art exhibitions as they have been covered by international art magazines to analyze the geography of international contemporary art. Our analysis of international art magazines shows that the global position of the three Asian countries we consider is low in comparison with select Western countries. Auction data, on the other hand, reveals that Chinese and Japanese artists are highly regarded in economic terms, while the visibility of Japanese artists is emphasized in the data we consider from art biennials. In the permanent exhibitions and contemporary art biennales we look at, we note that the visibility of Chinese artists is much higher than that of Japanese and Korean artists, who also demonstrate remarkable visibility. We find that Korean artists represent an important presence in our analysis of the Venice Biennale awards, with Japanese and Chinese artists holding noteworthy positions. Through these myriad criteria, we develop a clear idea of the nature of the global position of artists from Japan, China, and Korea. The Asian art world can profit from these findings by considering them when developing strategies for managing the growth of its artists on the international contemporary art scene.