아트뮤지엄 공간에서 개최된 사진 전시의 체험 연출 특성 연구

초록

(Background and Purpose) Photography exhibitions held in contemporary art museum spaces have expanded beyond the conventional exhibition format in which works are simply displayed and viewed, and have increasingly developed into experience-oriented exhibitions that induce visitors' sensory responses, emotional resonance, narrative understanding, and spatial immersion. Because photography is a flat image-based medium, the nature of the viewing experience is shaped not only by the content of the works themselves but also by exhibition design elements such as arrangement, lighting, circulation, captions, and atmospheric composition. In this respect, photography exhibitions need to be analyzed from the perspective of experiential staging. Accordingly, this study aims to identify the experiential staging characteristics of photography exhibitions held in art museum spaces and to systematize them into an analytical framework applicable to case analysis. (Method) To achieve this goal, the study first reviewed the institutional and media-related characteristics of art museums and photography exhibitions, the concept of experiential staging, Pine and Gilmore's Experience Economy theory (4Es), and relevant prior studies. On the basis of this review, the 4Es framework was adopted as the overarching analytical framework, and twelve detailed experiential staging characteristics were derived by reflecting the specific qualities of photography exhibitions. These characteristics were then applied to six case studies, including three exhibitions in Korea and three international exhibitions. To ensure comparability, the cases were classified into two types: archive- and photojournalism-based large-scale planned exhibitions, and artist-centered photography exhibitions. All cases were analyzed by applying the same twelve evaluation criteria and a five-point Likert scale. (Results) The findings indicate that, in photography exhibitions held in art museum spaces, esthetic experience emerged most strongly overall, while escapist, educational, and entertainment experiences functioned as complementary dimensions. More specifically, image gaze, spatial aesthetics, atmospheric quality, narrative context, and non-daily transition were identified as the most prominent characteristics across the cases, whereas active participation appeared relatively weak. In addition, archive- and photojournalism-based planned exhibitions tended to emphasize informational expansion and narrative context, while artist-centered photography exhibitions showed stronger tendencies toward image gaze, atmospheric immersion, and non-ordinary experiential transition. (Conclusions) These results suggest that photography exhibitions held in art museum spaces function not merely as formats for displaying works, but as experiential exhibition strategies that organize the relationship among artwork, space, and viewer. This study contributes by subdivides the 4Es framework according to the context of photography exhibitions and applies a typological comparative approach to case analysis. The experiential staging characteristics and analytical framework proposed in this study may therefore provide a useful foundation for future exhibition planning, spatial staging, and evaluative analysis of photography exhibitions.

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