With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and...
With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.
With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.
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문제 정의
독립 큐레이터의 시초로 알려진 하랄드 제만의 경우를 살펴보자. 하랄드 제만은 1969년 베른의 쿤스트할레 디렉터를 사임하고 독립을 선언했 으며, 1969년《태도가 형식이 될 때》, 1972년《카셀 도큐멘타》등을 기획했고, 1999년과 2001년 베니스 비엔날레의 아트 디렉터를 맡기도 했다.
여기서 큐레이터가 배출되는 방식을 살펴보자. 먼저 자격시험 제도의 경우, 프랑스는 1991년부터 프랑스 문화성 산하에 전담 부서를 두고 박물관 담당 큐레이터 , 문화재 목록 작성 담당 큐레이터, 역사 건축물 담당 큐레이터, 고고학 담당 큐레이터, 고문서 담당 큐레이터, 문화재 도서관 담당 큐레이터 등으로 나뉘어 자격시험을 치른다.
제안 방법
여기서 큐레이터가 배출되는 방식을 살펴보자. 먼저 자격시험 제도의 경우, 프랑스는 1991년부터 프랑스 문화성 산하에 전담 부서를 두고 박물관 담당 큐레이터 , 문화재 목록 작성 담당 큐레이터, 역사 건축물 담당 큐레이터, 고고학 담당 큐레이터, 고문서 담당 큐레이터, 문화재 도서관 담당 큐레이터 등으로 나뉘어 자격시험을 치른다. 일본은 학예사 제도를 두고 있는데, 큐레이터가 되기 위해서는 박물관학, 교육원리 , 사회교육개론, 시청각 교육과 같은 과목을 공부해야 하며 일정 기간 동안 실습 과정을 거치도록 되어 있다.
대상 데이터
비평가가 자신의 권력을 과시하는 이 장면은 오랫동안 내 기억 속에 남아 있다. 실제로 바스키아는 르네가 주선한 뉴욕 뉴웨이브 전시회에 참가하게 되었고, 하루아침에 스타가 되었다. 비평가와 전시 기획자의 권력을 실감하게 하는 장면이 아닐 수 없다.
후속연구
국제적인 감각과 외국어 실력을 겸비한 학예사의 경우는 국내 • 외 네트워크를 이용하여 세계 여러 미술인들 혹은 미술기관들과 교류하고 이를 바탕으로 전문성과 국제 경쟁력을 가질 수 있다. 미술관 차원에서뿐만 아니라 학예사도 전시를 통해 쌓아온 인맥을 통해 국제 비엔날레와 같은 국제전시를 기획할 수 있게 될 것이다. 그러나 학예사들이 뚜렷한 기획의 입장을 갖고 있지 않고 그때 그때 경우에 따라 컨셉을 잡는다면 그들에게 '긍정적인 권력 효과를 기대하기 힘들 것이다.
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