2000년대 이후 ‘디자이너 중심’ 예술 및 문화 행사 포스터 시리즈 디자인 연구:행위자­네트워크 이론의 관점에서 = A Study of ‘Designer-centered’ Poster Series Design in Arts and Cultural Events Since the 2000s: An Actor-Network Theory Perspective

다국어 초록 (Multilingual Abstract)

Background: This study employs Bruno Latour’s Actor-Network Theory (ANT) as its theoretical framework to examine the formation and significance of “designer-centered” poster series in arts and cultural events. It reconceptualizes arts and cultural event posters not merely as promotional media, but as visual assemblages formed through networks of relationships among human and non-human actors, with designers functioning as key actors within these networks. In this study, a “designer-centered” poster series refers to a type of poster series in which the identity of the series is shaped primarily by the designer’s interpretation and formal judgment, rather than by a fixed visual system.
Methods: The study surveys the development of arts and cultural event poster series produced in Korea and abroad from the mid-twentieth century to the 2020s, with a particular focus on cases since the 2000s. Through this investigation, poster series were categorized into two types: “system-centered” design and “designer-centered” design. The “designer-centered” poster series were then analyzed through the lens of Actor-Network Theory (ANT), drawing on its key concepts of actor, translation, network, and assemblage. Based on these concepts, an analytical framework consisting of event context, actor networks, visual translation, circulation within environments, and temporal accumulation was developed and applied to the selected cases.
Results: The findings reveal that designers function as key actors who translate event planning, technical conditions, genre characteristics, and audience responses into visual language, thereby organizing and reconfiguring networks. Furthermore, “designer-centered” arts and cultural event poster series emerge as processual practices in which designers’ sensibilities and interpretations accumulate within changing social and cultural conditions, rather than through the repetition of fixed identity systems. Their continuity is established through the repetition and variation of design sensibilities rather than the maintenance of formal rules, contributing to the long-term recognition and formation of event identity among audiences.
Conclusion: By analyzing “designer-centered” poster series through the lens of Actor-Network Theory (ANT), this study proposes an analytical framework that considers both creative agency and the networks of relationships among human and non-human actors in visual design research. In doing so, it reinterprets poster series not as isolated design outcomes, but as relational and processual practices of visual culture.