모더니즘 미학과 바흐친 크로노토프의 변증을 통한 전시연출 표현

Abstract

Visitors in the exhibition space of museums collect the types and concepts of the information on exhibition, which remain their experience with these data utilized in thinking. Various sensors and perceptions are formed in the process of thinking and storing and a priority is given to the clustering using similarity to facilitate the storage of data with regard to complex forms by sight, the most fundamental sense. In the same way, with the start of the humanistic museum, the arrangement based on visual similarity was attempted to presenting the artifacts in the exhibition space. After the French Revolution, was the starting point of changing the museums from the privately-owned space to the public culture-space. At this time, relational arrangement was made based on the chronological order, country, artist, and genre from a historical perspective for the ease of transmission of information with regard to the visitors who was uneducated. The new meaning methods of the display were developed through the interaction of the main subject who experiences the objects rather than simply looks at them in the context of time and space with the emphasis on the importance of communication relationship between visitors and the artifacts on the foundation of the mass media in the 20th century. As a result, the decontextualization of the aesthetics of Modernism is in the dialectical relationship as opposed to the chronotope-relationship, but it is expressed in the form of the exhibition display of the dual-mixed type in the areas of the natural history and archeological history with the visual expansion and the aesthetic value juncture clearly delivered through the case analysis of this study.