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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.12
- 수록면
- 121 - 147 (27page)
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초록· 키워드
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Exhibitions as a means of communication have not been seriously considered among theoreticians because of their temporal and momentary characteristics. Most theoreticians have developed their arguments or discourses concerning individual artists or artworks surrounding aesthetic, social, and political discourses presented in the exhibition space. However, they have not considered exhibitions in which the objects are installed independently. Since 1990, Michael Baxandall, Carol Duncan, and Tony Bennett argue that exhibitions, no matter what the title or subject, cannot exist in a neutral space, but inevitably are related to aesthetic, social, political, and cultural discourses and to the curators intention for a particular exhibition.
Objects displayed in an exhibition space can be read differently according to the viewers’ attitudes and conditions, and the condition of the exhibition space, including exhibition design and texts or documentation in the gallery space. Therefore, exhibitions in museum environments have textual quality. Artworks in a museum are posed between the invisible (meanings and realities of artworks) and the visible (artworks in the exhibiton space).
This study is based on the premise that exhibitions represent historical, ideological, political, and aesthetic discourses, and asks the following questions: What was the physical context of these objects, images, and artifacts when they were displayed and institutionalized as exhibitions? How did those installations affect their meanings? What aesthetic, cultural, and political discourses intersected with these exhibitions? What sorts of viewers or ‘subjects’ do different types of installation designs create? What kinds of museums are constituted by particular installation practices? How do these installations shape the viewer’s experience of the cultural ritual of a museum visit?
The 17th century ‘cabinet of curiosities.’ which was considered the first form of exhibition space, displayed various objects and artifacts according to visual similitude. Objects and artworks in exhibition spaces in the 18th century were exhibited based on the principle of morphological features in order to make visible the inner organic structure between the objects. Similar objects that could be classified were exhibited in the form of
series.
Opening private collections of museums to the general public is a modern concept. Modern museums developed with the collapse of monarchy and the establishment of democratic and autonomic states. For the various public viewers, modern museums prepared text panels, catalogue, and guidebooks. Additionally, artworks were exhibited according to the category of the artists’ schools, nations, and regions in order to represent visual art history in the exhibition space of museums.
In the early 20th century, the exhibition design came to be developed in various ways. Fredrick Kiesler and Herbert Bayer’s 〈International Exhibition of New Theater Technique〉 was focused on the question of a situation in relation to the objects and the viewers in the exhibition space. In this exhibition, the viewers were not situated in the space of the idealized and atemporal space, but were situated in the context of the specific time and space in which the artworks were experienced by viewers.
Kiesler and Bayer’s method of exhibition were denied by Alfred Barr in the Museum of Modern Art in New Yolk. Barr’s exhibition practices were developed when modernism came to be institutionalized. Barr’s exhibitions during the 1930s represented the universal and modern self in an autonomic and democratic society and in an aura of modern genius artists. Barr’s exhibition design, which was free from various contexts and focused on the aesthetic ‘quality’ of the artworks, was one of the most significant devices in justifying modernist aesthetics in the Museum of Modern Art.
Barr’s exhibition practices of the 1930s in creating an aesthetic aura of artworks was questioned by artists of Conceptualism and Installation in the 1970s. They viewed that exhibitions in museums represented ideological, historical, economic, and political discourses. The central points in Conceptualism and Installation-objects, viewers, and situation-succeeded Kiesler and Bayer’s exhibition design. ‘Exhibitions’ came to be considered a creative area for artists, as did the artworks.
Consequendy, exhibition space is not a neutral and ritual space where the viewers experience only aesthetic quality, but is a site where viewers can read the objects and artworks in various contexts. Since exhibitions in museums cannot be free from sociocultural and political discourses, the very nature of exhibiting essentially poses a challecge in the contested terrain. The struggle is not only over what is to be represented, but also over who will control the means of representing. Additionally, this struggle is about how the objects are displayed in the space of an exhibition.
Objects displayed in an exhibition space can be read differently according to the viewers’ attitudes and conditions, and the condition of the exhibition space, including exhibition design and texts or documentation in the gallery space. Therefore, exhibitions in museum environments have textual quality. Artworks in a museum are posed between the invisible (meanings and realities of artworks) and the visible (artworks in the exhibiton space).
This study is based on the premise that exhibitions represent historical, ideological, political, and aesthetic discourses, and asks the following questions: What was the physical context of these objects, images, and artifacts when they were displayed and institutionalized as exhibitions? How did those installations affect their meanings? What aesthetic, cultural, and political discourses intersected with these exhibitions? What sorts of viewers or ‘subjects’ do different types of installation designs create? What kinds of museums are constituted by particular installation practices? How do these installations shape the viewer’s experience of the cultural ritual of a museum visit?
The 17th century ‘cabinet of curiosities.’ which was considered the first form of exhibition space, displayed various objects and artifacts according to visual similitude. Objects and artworks in exhibition spaces in the 18th century were exhibited based on the principle of morphological features in order to make visible the inner organic structure between the objects. Similar objects that could be classified were exhibited in the form of
series.
Opening private collections of museums to the general public is a modern concept. Modern museums developed with the collapse of monarchy and the establishment of democratic and autonomic states. For the various public viewers, modern museums prepared text panels, catalogue, and guidebooks. Additionally, artworks were exhibited according to the category of the artists’ schools, nations, and regions in order to represent visual art history in the exhibition space of museums.
In the early 20th century, the exhibition design came to be developed in various ways. Fredrick Kiesler and Herbert Bayer’s 〈International Exhibition of New Theater Technique〉 was focused on the question of a situation in relation to the objects and the viewers in the exhibition space. In this exhibition, the viewers were not situated in the space of the idealized and atemporal space, but were situated in the context of the specific time and space in which the artworks were experienced by viewers.
Kiesler and Bayer’s method of exhibition were denied by Alfred Barr in the Museum of Modern Art in New Yolk. Barr’s exhibition practices were developed when modernism came to be institutionalized. Barr’s exhibitions during the 1930s represented the universal and modern self in an autonomic and democratic society and in an aura of modern genius artists. Barr’s exhibition design, which was free from various contexts and focused on the aesthetic ‘quality’ of the artworks, was one of the most significant devices in justifying modernist aesthetics in the Museum of Modern Art.
Barr’s exhibition practices of the 1930s in creating an aesthetic aura of artworks was questioned by artists of Conceptualism and Installation in the 1970s. They viewed that exhibitions in museums represented ideological, historical, economic, and political discourses. The central points in Conceptualism and Installation-objects, viewers, and situation-succeeded Kiesler and Bayer’s exhibition design. ‘Exhibitions’ came to be considered a creative area for artists, as did the artworks.
Consequendy, exhibition space is not a neutral and ritual space where the viewers experience only aesthetic quality, but is a site where viewers can read the objects and artworks in various contexts. Since exhibitions in museums cannot be free from sociocultural and political discourses, the very nature of exhibiting essentially poses a challecge in the contested terrain. The struggle is not only over what is to be represented, but also over who will control the means of representing. Additionally, this struggle is about how the objects are displayed in the space of an exhibition.
목차
1. 서론
2. 전시의 기원
3. 근대적 개념의 전시
4. 20세기의 전시
5. 결론
참고문헌
Abstract
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