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

• 한국멀티미디어학회논문지
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• 제17권7호
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• pp.895-905
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• 2014

Recently the trade show is a massive marketing effort of a particular industry and introduces new products to potential customers, as well as the ability to elevate the brand's image and corporate identity. It is increasing its importance as a venue of communication. In these changes, the exhibition is required to have the emotional approach to enhance the dynamic and creative image of companies. Therefore, the product itself as well as the importance of various visual contents of the exhibition is increasing positive effect of the image and marketing on their products. In this sense, this study analyzes video contents of the exhibition that was held in Amsterdam, the Netherlands, Europe's largest display show 'ISE (Integrated Systems Europe)' in 2013, focusing on the domestic company, Samsung, LG Electronics and other four foreign companies. The analysis is based on the Herbert Zettl's applied media aesthetics related to the video contents, through which we can find the way to the development of exhibition video contents making for Trade show.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2007년도 추계학술발표대회 논문집
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• pp.157-158
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• 2007

This is an interior design for a furniture & lighting design exhibition. The concept of design is to secure the smooth flow planning of an audience and effective direction of an exhibit Design content include 1) installation(passage of light) to guide an audience from entrance to right side of the exhibition space to prohibit the flow dispersion and keep smooth continual circulation flow plan 2)image-wall to introduce exhibition 3)installation to help the global understanding of exhibit 4)exhibition stand design considering proper height of audience's eye.

• 한국경제지리학회지
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• 제20권3호
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• pp.419-430
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• 2017

본 연구는 전시회 이미지가 방문객 만족과 행동의도(재방문 및 추천), 그리고 방문객 만족이 행동의도에 미치는 영향관계를 검증함에 목적이 있었다. 이에 대전국제와인페어 방문객 489명을 대상으로 설문조사를 실시하였으며, 실증분석결과는 다음과 같다. 첫째, 지역 전시회 이미지 분석결과 6개 요인(신기성, 체험성, 구매성, 유희성 및 이용성)이 도출되었다. 둘째, 전시회 이미지 요인에서 신기성, 체험성, 구매성, 유희성 및 이용성 요인의 순으로 방문객 만족에 영향력이 큰 것으로 나타났으나, 향토성 요인은 영향을 미치지 않는 것으로 나타났다. 셋째, 재방문과 전시회 이미지 요인 간 영향 관계에서 신기성, 구매성, 체험성, 유희성, 향토성 및 이용성 요인의 순으로 영향력이 큰 것으로 나타났다. 넷째, 추천의도와 전시회 이미지 요인간 영향력 검증 결과, 신기성, 체험성, 유희성 및 구매성 요인이 추천의도에 유의한 영향을 미쳤으나 향토성 및 이용성 요인은 영향을 미치지 않는 것으로 나타났다. 다섯째, 방문객 만족은 행동의도(재방문 및 추천)에 유의한 정(+)의 영향을 미치는 것을 나타났다.

• 한국실내디자인학회논문집
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• 제22권3호
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• pp.195-204
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• 2013

Today, the children's museum evolved from place of exhibition for seeing and feeling, to that of exhibition for searching and touching, or so-called the hands-on exhibition. This will allow for grabbing the interest from children and provide an opportunity for learning by an actual experience at this intellectual and benign environment. But in this modern society that constantly undergoes evolution even as we speak, it is not an easy task to bring our children to museums, because they are vastly exposed to various media. Moreover, if the children who visited museums carelessly bypass the specific areas intended for exhibition, the educational purpose of "enhanced learning effect with hands-on experience" is easily underachieved. According to children's visual stimuli, their behavioral charactoristics are appeared to freewill curiosity but they show shorter elapsed time(impermanence), intensity(stubbornness), frequent occurrence(frequentness) and changeable (translatability). So, We need Improvement of visual image affordance through the measurement of stay time. Firstly, five factors are extracted by factor analysis on twenty questions based on visual image factors; Color accessability and Satistaction(factor1), brightness and color harmony(factor2), feeling on harmonization of color and stay time(factor3), simplex & complex of space(factor4), feeling on scale(factor5) Secondly, the following result are derived through a distribution chart on an exhibition room of K-museum. As shown above, this study based on various analyzed aspects proposes the directions of a color image plan to improve stay time in exhibition space of children museums with a hope to support educational goals of experience education-focused children museums.

• 패션비즈니스
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• 제22권4호
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 복식문화연구
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• 제30권6호
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• pp.861-879
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• 2022

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard's four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre-due to the development of photography technology and the photographer's artistry-appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photo-graphs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

• 복식문화연구
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• 제19권6호
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• pp.1302-1319
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• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

• 한국실내디자인학회논문집
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• 제26권6호
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• pp.3-12
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• 2017

As the quality of life has improved today, there is a growing desire among consumers for new space and interest in spending their valuable time in 'the third space' has tended to increase. Cafes have been integrated with sales and exhibition space as the representative third space. For example, it's cafe type automobile exhibition centers. The purpose of this study is to examine the characteristics of 'the third space' in cafe type automobile exhibition centers and suggest a plan for effective spatial characteristics. It checked the necessity of the third space' in automobile exhibition centers by analyzing automobile consumption trends of the 21st century according to industry change and restructures a checklist by grasping cafe type automobile exhibition centers and the concept and characteristics of 'the third space' based on the precedent studies. A questionnaire is made through the checklist drawn and a survey is conducted targeting users of the target areas of cases. The target areas of cases are 4 cafe type automobile exhibition centers opened in Korea since 2014. The analytical results of the target areas of cases that reflected the characteristics of 'the third space' are as follow: First, cafe type automobile exhibition centers must be built to make customers enter the space and at the same time, receive information on automobiles and space naturally. Second, in order to increase satisfaction with the space and brands, there is the necessity to arouse their interest through various experiences including test driving cars directly. Third, revisit intention can be found to be more influenced by spatial design than brand satisfaction. Fourth, partitions or interior for dividing the space need to be improved. In the next studies, specific research on plans about creating design to improve corporate image and brands and induce customers to revisit cafe type automobile exhibition centers by applying the characteristics of 'the third place' to them is required.