전시전문인력양성 발전방안 연구

장은경(Eun Kyung Jang) 한국디자인문화학회 2010 한국디자인문화학회지 Vol.16 No.3

국내 산업구조는 급속한 경제발전을 이루면서 고도의 지식집약적 서비스산업으로 변화하고 있다. 따라서 변화에 대응 할 수 있는 핵심요소인 전문인력의 양성이 필요한 시점이다. 또한 G20정상회의를 계기로 전시산업이 국가경쟁력강화차원의 신성장동력으로 국가적 주요 이슈가 되고 있다. 이는 고부가가치 산업으로 각광받고 있는 전시산업의 전문화되고 차별화된 전문인력양성의 필요성을 시사하고 있다. 본 연구의 목적은 국내·외 전시와 관련한 인력양성현황을 고찰하고, 전시관련 교육프로그램의 비교·분석을 통해 국내 전시산업 현장의 필요에 부응할 수 있는 전시산업 전문인력 양성을 위한 교육의 방향 제시에 있다. 연구의 주된 범위로는 전시전문인력에 대한 정의와 분류, 국내외 전시교육프로그램의 특성 분석 및 시사점 도출을 통해 국내 실정에 맞는 전시교육프로그램 제안들이 포함되어진다. 본 연구는 국내 전시전문 인력양성 교육운영에 있어 산·학·관의 연계를 기본으로 4가지의 교육과정을 제시하였다. 세부적으로 불특정다수를 대상으로 하는 심화과정, 기업의 경영자 및 임원급을 대상으로 하는 전시최고위과정, 현장인력의 재교육차원의 산업체 위탁과정, 현장의 기술력과 전문지식을 겸비할 수 있는 전문대학원 과정으로 구성하였다. 따라서 전시산업에 필요한 전문인력을 양성하기 위해서는 다양한 학문적 소양을 갖춘 인력을 대상으로 산업계의 요구를 적극 반영한 특화된 전문 교육 시스템과 함께 전문인력양성 정책의 수립과 지속적인 운영관리가 요구된다. 따라서 전시산업에서 요구 하는 인력 수급을 해소하고 국제적 경쟁력을 갖춘 전문인력이 양성되어 전시산업 발전의 밑거름이 될 것이라 사료된다. The Korean industrial structure has changed to the knowledge-intensive service industry as it has rapidly accomplished the rapid economic development. Therefore, it`s time that fostering professionals, the core elements that can respond to the changes is necessary. Recently, the exhibition industry has been the main national issue as power of the new growth taking the opportunity of G20 Seoul Summit. It implies the necessity to foster specialized and differentiated professionals in the electronics industry which has come into the spotlight as the high valued industry. This study aims to consider the present status of training of human power related to domestic and foreign exhibitions, and show the direction of education for expert human power necessary for exhibition industries to meet the requirements of domestic exhibition industry fields through comparative analyses of exhibition-related educational programs. The main scope of the study includes suggestions of educational programs for exhibition apposite to domestic actual circumstances through definition and classification of expert human power for exhibition, analyses of characteristics of domestic and foreign educational programs for exhibition. It shows 4 educational courses on the basis of cooperation of academy-industry-government in operating training programs for domestic expert human power for exhibition. In more detail, they consist of an intensifying course for unspecified individuals, an executive course for managers and executives of companies, a commission course of industry for reeducation for field human power and an expert graduate course for having technical power in the field and professional knowledge. If fostering professionals will be promoted by establishing this educational programs, the supply and demand of human power necessary for the exhibition industry will be solved and the professionals with international competitiveness will be fostered and then they can be supplied to the sites.

박물관 해설 현황 및 전문해설사 양성 교육에 대한 소고 : 국립중앙박물관 전시해설을 중심으로

김희정 국립중앙박물관 2019 박물관 교육 Vol.3 No.-

국립중앙박물관은 관람객에게 더 나은 편의를 제공하고자 2006년 고객지원팀을 발족하면서 문화 서비스 가운데 하나로 전시해설을 제공하고 있다. 중앙박물관의 전시해설은 전문해설사, 청년멘토, 성인 자원봉사자로 나뉘며 이 중 전문해설사는 오직 해설 업무를 위해 고용된 사람이므로 전문성은 기본이며, 본인의 활동에 대한 책임과 박물관 이미지 형성에 큰 영향을 끼칠 수 있다고 볼 수 있다. 따라서 본고는 박물관 문화 서비스의 한 축을 담당하는 ‘해설’을 기본 개념에서부터 되짚어보고 선행 연구 자료 및 국립중앙박물관 전문해설 현황을 총정리하여 해설 현장에서 발생하는 문제점을 파악하였다. 그리고 실무자의 입장에서 필요한 해결방안을 제시하였다. The instruction programs for the exhibitions of the National Museum of Korea (hereinafter “the Museum”) are divided into two groups: professional docents and volunteers. Since the Museum first opened to the public in the Yongsan area, the professional docent programs have been operated without any substantial changes. However, the characteristics and purposes of the visits have changed to such an extent that IT or Al technology for docent programs have increasingly been developed. Thus, in what way should the “the docent programs of the Museum” be changed in the future? They shall not only provide a simple explanation of the exhibited object but also contain the historical backgrounds and values it holds in the contemporary period. Also, they shall include docent training programs that can deliver the goals of the exhibitions and create positive images thereof at the planning stage of the exhibitions. The well-delivered contents of the exhibitions can serve as the last piece of the puzzle to complete the exhibitions. However, the most serious problem is a lack of the mentoring program or system for docents even in the National Museum of Korea. As the first representative museum of Korea, it is necessary to suggest “a standard model” of the exhibition descriptions and establish “a professional docent training program.” In particular, as “empathy with the visitors” becomes an important element, empathy education with respect to “communication” is more strongly required. Lastly, the exhibition description of the Museum shall prepare for the method in which the digital guide and interactions can co-exist. This is because it is where the online and offline big data that can develop the existing artifacts and digital guides and the leadership of docents that can induce empathy from the visitors are integrated, and the exhibition description of the Museum that is capable of delivering the “warmth of the Museum” must be completed.

우리나라 무역전시 전문인력 양성방안에 관한 연구

홍선의(Seon-Eui Hong) 한국관세학회 2008 관세학회지 Vol.9 No.4

The Trade Show(Exhibition Industry) has supplied not only expansion of trade infrastructure and raised national competitiveness but also created the momentum necessary for the development of exhibition-related companies into a high value-added service industry. The Exhibition Industry has already become pivotal to our building of an advanced country. It's been recognized as a strategic component with institutional foundation laying the groundwork for further development. This study suggest to the future of professional training. First, I have studied trends and characteristic of the exhibition industry in korea Second, by studying and analyzing the status of professional training within related university departments. Third, I suggest Professional Training Model for Trade Show by international trade department of university.

변화하는 문화환경과 미술관의 공공성 문제

조선령(Cho Seon-ryeong) 현대미술사학회 2007 현대미술사연구 Vol.22 No.-

This essay suggests a way of understanding the concept of the public interest of the Art museum under the changing cultural situations. The concept of Art museum as public institution, tracing back to the inauguration of the Louvre where the nationalized collection from Aristocrats and royal family was opened to the public without entry fee, has diverse meanings, such as the preservation of Art works for the future generations, the reinforcement of public Accessibility, the educational effort for the visitors to learn About the value of high Art, and etc. With the changing cultural situations for recent thirty years, new rules of the Art museum and new meanings of its public interest have been emerging. Nowadays, the Art museum is no longer regarded as the institution for collecting and researching Art works, but as the place for entertainment where visitors enjoy diverse cultural programs. and the meaning of the public interest of the Art museum is largely focused on popularity. While Western Art museums have Already undergone many variations, Korean counterparts just begin to change. Facing different requirements to be fulfilled in one breath, Art museums in Korea have experienced errors and difficulties. This essay seeks a way to define the public interest of the Art museum by relying on two theories. One is cultural economics, and the other is politics. These theories ask on what ground supporting art by the government could be justified, and present the Answers. First, According to cultural economists, Art has non-user benefit, that is, the value which has some effects on those who don’t participate in Artistic Activities directly and causes the reluctance of the private investment. In result, demand Always exceeds supply in the supposed free market. So supporting Art by the government could be justified. Second, According to the theory of the liberalist perfectionism, the government should make efforts to help its people develop their Autonomy. Art is one of the effective means to meet the task because it doesn’t force people but invite them to enhance the quality of their lives. The public values of Art explained by these theories could be identified as the contents of the public interest which the Art museum should support. Based on these theories, the public interest of the Art museum could be understood as the intersected field of popularity and professionalism. The former without the latter leads to populism, and the latter without the former leads to elitism. After criticizing the blockbuster exhibitions which are recently all the fashion in Korea by the same principle, this essay wants to designate the conditions of the successful museum exhibition in the light of the public interest by presenting two examples from MoMa. The first sample is the exhibition “Manet and the execution of Maximilian”(2006-2007), and the second one is “Machine Art”(1934). By linking the inner issues of Art to the outer ones, and by making the museum the place for social discussions. two exhibitions increase the public values of the art museum.

COVID-19이후 뮤지엄의 온라인 전시유형분류와 향후 대응방향성에 관한 연구

오선애 ( Oh Sun-ae ) 대한전시디자인학회 2021 전시디자인연구 Vol.18 No.1

21세기에는 초고속인터넷을 기반으로 초연결 온라인 서비스가 발전함으로써 뮤지엄의 디지털화 시대로 변화를 가져온 가장 큰 계기였다면 COVID-19이후에는 팬데믹에 의해 세계 뮤지엄 휴관으로 비대면 소통을 불가피하게 선택하여 온라인 즉, Facebook, 소셜네트워크, 트위터, 유투브 등을 통해서 적극적으로 관람객과의 소통을 시도함으로써 오프라인 전시에서 찾아보기 힘들었던 새로운 가능성 및 뮤지엄 개념의 확장성 등 뮤지엄 패러다임의 전환점이 되는 계기가 되었다. 2020년 4월 세계뮤지엄협회(ICOM)의 설문조사 결과, 94.7%의 박물관은 휴관을 강행하였고 그 기간 동안 관람자와의 지속적 소통을 위해 대부분 온라인을 활용하였다. 이에 해외 온라인 전시 사례들을 고찰 및 분석한 후 유형별 분류를 통해 도출한 결론은 다음과 같다. 첫째, 뮤지엄의 오프·온라인 전시를 병행하여 활용하는 대안으로써 360도 VR 전시관람 및 학예사의 전문가적 설명을 동반하는 유튜브 동영상을 통해 구체적 정보를 전달받을 수 있는 장점을 가진다. 둘째, AR, VR, MR을 통해서 소장하고 있는 전시물에 대한 다양한 접근으로서 새로운 콘텐츠 개발 즉, 아카이브측면 대안이다. 사례 중의 ‘모나리자 유리벽 너머’, ‘모딜리아니 파리의 스튜디오’ 등과 같이 기존의 작품 감상의 차원을 넘어선 새로운 시점의 신소재 콘텐츠를 개발하여 다채로운 경험을 제공한다. 셋째, 관람자의 참여를 유도하는 대안이며 전시물에 대한 관람자 참여버전이 만든 Getty Museum의 ‘챌린지(Challenge)’에서 찾아 볼 수 있다. 이에 따라 온라인 전시는 지속적 진화하는 과정 중에 있으며 본 연구는 COVID-19이후 물리적 제한이 따르는 오프라인보다 확장된 온라인을 통해 다양한 시점에서 접근 가능한 전시를 유형별 분석함으로써 향후 대응 및 발전 방향에 대한 기초적 연구가 되고자 한다. The hyper-connected online services based on high-speed internet served as the greatest momenta that accelerated the era of digitalized museums in the 21st century, the COVID-19 pandemic not only made it inevitable to select untact communication due to the closure of museums around the world, but also served as the transition point that changed the paradigm into actively attempting to communicate with the audience online through Facebook, social network, social media and YouTube, and into expanding new possibilities and museum concepts that were almost never seen in offline exhibitions. According to a survey conducted by International Council of Museums(ICOM) in April 2020, 94.7% of the museums were shut down and most of them utilized online approaches for continuous communication purposes. The overseas online exhibitions cases were examined and analyzed, and were classified per type, and the conclusions drawn were as follows. Initially, there is a response that allows museums to simultaneously operate offline/online exhibitions as an assistive watching process. This response is advantageous in that it provides detailed information through YouTube videos accompanied by 360-degree watching and curators’ professional explanations. Secondly, there is an archive response. This response enables new content development based on diverse approaches to the owned exhibits through AR, VR and MR. Of the cases, ‘Mona Lisa: Beyond the Glass’ and ‘Modigliani Studio’ provided new experiences by going beyond the pre-existing artwork appreciation dimensions and developing new-material contents from a new perspective. Thirdly, there is a response that induces the audience to participate. This response creates a version that allows the audience to participate in the digital exhibit-related process, and can be seen in the challenges operated in the Getty Museum. As described, online exhibitions are in the process of being evolved, and this study aims to serve as the basic study for future response and development direction by analyzing each type of exhibition accessible from diverse perspectives through online museum exhibitions that were expanded in number after COVID-19.

뉴욕건축연맹 전시회(1886-1938)에 반영된 근대 건축 프로페셔널리즘의 변화

최원준,김진균 대한건축학회 2003 대한건축학회논문집 Vol.19 No.11

The process of professionalization-an overlooked aspect in the modernization of architecture-comprises not only the establishment of an inner discipline but also its acceptance by the society at large. In the architectural exhibitions of the modern era we find an active field of publicity where architects strived to gain professional legitimacy and social status by projecting to its lay visitors an appropriate image of the discipline in the new social condition, and nowhere were these activities more perceptible than in the annual exhibitions of the Architectural League of New York. Initiated as an architectural sketch club in 1881, the League soon opened its membership to mural painters and sculptors, and constructed an image of architecture based on its close collaboration with the allied arts. Various phases of its exhibition over the span of five decades articulate the gradual transformation in architectural professionalism from the model of Beaux-Arts artists to that of commercial designers, while the ultimate establishment of the discipline as modern art was witnessed at a show organized by an agent external to the profession, the Museum of Modern Art, New York.

전시전문가 양성 활성화 방안 연구-전시전문 자격증 제도 도입을 중심으로-

장은경 한국디자인트렌드학회 2010 한국디자인포럼 Vol.29 No.-

최근 전시산업은 종합적인 전략서비스 산업으로 발전하고 있지만, 국내 전시산업은 선진국에 비하여 여전히 경쟁력이 미흡한 상태이다. 향후 전시의 성공적인 개최 및 운영을 위해서는 전문성을 갖춘 인력과 이를 제도적으로 인증해 줄 수 있는 자격증 제도의 도입이 필요하다. 본 연구에서는 전문가 양성에 필요한 자격증 제도 도입을 통하여 다음과 같이 전문가 양성 활성화 방안을 모색해 보고자 한다. 첫째, 전시전문 자격제도의 필요성은 산업계 종사자를 대상으로 설문 및 전화조사를 실시하였다. 주요 설문 내용은 자격증의 필요성, 운영방식 및 주체에 관한 응답, 취득 후 업계의 활용방안으로 구성하였다. 또한, 조사 결과를 바탕으로 산업계의 요구를 반영한 시사점 및 기대효과를 도출함으로써 전시전문 자격제도의 필요성에 대하여 기술하였다. 둘째, 국내 상황에 맞는 전시전문자격증을 제안하기 위하여 유사 전문자격 사례조사를 실시하였다. 국내·외 CEM자격증 및 컨벤션기획사를 중심으로 문헌 및 인터넷 조사를 실시하여 국내·외 자격증을 비교하여 현재 국내에서 실행되고 있는 유사 자격증의 문제점을 분석하였다. 셋째, 이상의 분석결과를 토대로 전시전문자격증 개설을 위한 선결과제와, 이를 반영한 로드맵 및 추진(안)을 단계별로 제시하여 실질적으로 전시전문 자격증 도입을 위한 기반을 마련하였다. 향후 전시전문 자격제도 도입의 정착과 활성화를 위해서는 유사자격증 제도의 장·단점을 비교 분석하고, 외국의 자격 제도를 연구하여 전시전문 자격증 제도의 로드맵 수립 및 활성화를 위한 끊임없는 연구와 노력이 병행되어야 할 것이다. Recently, though exhibition industry is developing into total strategic service industry, exhibition industry in Korea still has insufficient competitiveness compared with than in developed countries. For successful hosting and operation of exhibition for the future, it is needed to develop human resources equipped with professionalism and to introduce certificate system which can certify them systematically. The purpose of this study is to find a way to vitalize training of professional exhibitionmanagers through the introduction of certificate system which is needed to train professionals as follows. First, questionnaires and telephone survey were conducted targeting practitioners in this industry in order to examine the importance of certificate system for exhibition management. Questionnaires were composed of questions asking the importance of certificate, answers on operating method and operating body and application in the industry after acquiring the certificate. Also, the necessity of certificate system for exhibition management was described by deducing implications and expected effects reflecting the needs of industry based on the results of survey. Second, in order to suggest certificate of exhibition management which is suitable to the country`s situation, case study on similar professional certificates was conducted. By researching the literatures and conducting Internet research centering domestic and foreign CEM certificates and convention agencies and comparing domestic and foreign certificates, problems of similar certificates currently implemented in the country were analyzed. Third, based on such analytic results, fundaments for introducing certificate of professional exhibition management practically were set by suggesting the first consideration for opening certificate of professional exhibition management, and roadmap and promoting plans by each stage. In order to settle and vitalize introduction of certificate system for professional exhibition management for the future, both continuous research and effort should beput forth for establishment and vitalization of roadmap of certificate system for professional exhibition management by comparing and analyzing advantages and disadvantages of similar certificate systems and by studying foreign certificate systems.

지식경영 관점에서 본 전시기획사의 역할에 관한 연구

정숙화 ( Sookhwa Jung ) 관광경영학회 2020 관광경영연구 Vol.98 No.-

This study aims to shed new light on the activities of PEOs(Professional Exhibition Organizers) that plan and operate exhibitions from the perspective of knowledge management(KM). The activities of PEOs are defined as the process of KM, and as a framework of analysis, they are recognized as the main steps of knowledge management: ‘knowledge acquisition’, ‘knowledge creation’, ‘knowledge transfer’, ‘knowledge storage’, ‘knowledge application’ were used. Exhibition is a knowledge platform where experts gather together to share knowledge, and PEOs that plan and organize these platforms play an important role in building an environment where information and knowledge are easily shared and spread. PEOs grasp the purpose of the exhibition participants and visitors, and creates various knowledge activities so that the purpose of participation can be achieved. PEOs select appropriate venues for the people concerned to attend, plan programs, operate events to effectively share and spread necessary information and knowledge, and create various knowledge activities such as information management and network management after the event. This study is meaningful in that it confirms the status of PEOs as facilitators of knowledge creation.

Architects' Professional Alliance with the Furniture Design Industry in Interwar America - As Reflected in Public Exhibitions -

최원준 한국가구학회 2010 한국가구학회지 Vol.21 No.3

The professional alliance between disciplines of architecture and furniture design in the interwar years as displayed in the prominent architectural exhibitions of the era is interesting in the context of professionalization of American architecture. The way furniture design gradually became part of the architectural shows not only reflected but provided the practical field in which the architectural institution sought, under the new social order since the mid 1910s, a new professional cast—departing from the former milieu in the realm of high-art by the Beaux-Arts Movement. Exhibitions held by the Architectural League of New York in the 1920s revealed that the early impetus for reformation toward efficiency had been subsumed by the system of Beaux-Arts. By contrast, “The Architect and the Industrial Arts” show of the Metropolitan Museum of Art, in which the most prominent architects of the era exercised their professional expertise in the design of “Moderne Style” interior furnishings, clearly shows how architects, in the milieu of expanding commercial market, sought to align their profession as industrial designers.

Architects' Professional Alliance with the Furniture Design Industry in Interwar America - As Reflected in Public Exhibitions -

Choi, Won-Joon Korea Furniture Society 2010 한국가구학회지 Vol.21 No.3

The professional alliance between disciplines of architecture and furniture design in the interwar years as displayed in the prominent architectural exhibitions of the era is interesting in the context of professionalization of American architecture. The way furniture design gradually became part of the architectural shows not only reflected but provided the practical field in which the architectural institution sought, under the new social order since the mid 1910s, a new professional cast-departing from the former milieu in the realm of high-art by the Beaux-Arts Movement. Exhibitions held by the Architectural League of New York in the 1920s revealed that the early impetus for reformation toward efficiency had been subsumed by the system of Beaux-Arts. By contrast, "The Architect and the Industrial Arts" show of the Metropolitan Museum of Art, in which the most prominent architects of the era exercised their professional expertise in the design of "Moderne Style" interior furnishings, clearly shows how architects, in the milieu of expanding commercial market, sought to align their profession as industrial designers.