공립미술관의 법적 정의에 대한 재고찰

김지훈 한국법제연구원 2021 법제연구 Vol.- No.60

Museums and Art Museums Act was enacted in Nov. 30th, 1991, that was basically rooted in Museums Act passed in 1984 and substituted it. For the first time the newly enacted law manifested the legal conception of art museum but also public municipal art museum. According to Art Museums Act of 1991, public municipal art museum is established and run by local government. Museums Act defined the public municipal museum is the museum local authority founded. Museums and Art Museum Act is differentiated from its predecessor for stressing the managerial conception on public municipal art museum. After its legislation, the definition of public municipal art museum has never revised. Its legal conception changed only one time, when Museums Act was abolished and Museums and Art Museums Support Act adopted. In contrast, the definition of art museum has been modified twice until 2020, although they were not dramatic. In this study, I pose a question considering the appropriateness of the legal definition of public municipal art museums. The Korean society has experienced a variety of changes socially, economically, and politically after the enactment of the Art Museums Act. In accordance with Museums and Art Museums Support Act, public municipal art museum is conceptualized by 4 key words; art museum, local autonomous body, foundation, and management. Based upon the historical transition of art museum and local autonomy, and the reality of its establishment and management, I examine the extent how far its legal definition is suitable to embrace the public municipal art museums in practice. 1991년 11월 30일 「박물관 및 미술관 진흥법」이 제정된 이후 미술관에 대한 공식적인 법적 개념이 처음으로 제시되었다. 해당 법률에 의하면 공립미술관은 지방자치단체가 설립·운영하는 미술관으로서 공공미술관의 일종이다. 이후 「박물관 및 미술관 진흥법」은 수차례 개정되며 박물관과 미술관에 대한 개념도 조금씩 수정되었으나 공립미술관의 정의는 제정 이후 단 한 차례도 변경되지 않았다. 본 연구는 공립미술관의 법적 정의의 적절성에 의문을 제기하고 있다. 「박물관 및 미술관 진흥법」이 제정된 이후 한국 사회는 사회적·경제적·정치적으로 다양한 변화를 경험하여 왔다. 이러한 변화 사항을 현재의 공립미술관에 대한 법적 개념은 충분히 반영하지 못하고 있다고 판단된다. 「박물관 및 미술관 진흥법」에 의하면 공립미술관의 법적 개념의 핵심어는 ‘미술관·지방자치단체·설립·운영’이다. 미술관의 역사적 변천과 지방자치, 현실에서 이루어지고 있는 미술관 설립과 운영 실태를 바탕으로 공립미술관의 법적 정의의 적합성을 살펴본다. 그 결과 “지방자치단체가 소유한 미술관”으로서 공립미술관의 개념 수정을 제안하고자 한다.

박물관 및 미술관 진흥법 개정 효과와 과제

채연선 ( Yonsun Chae ) 중앙대학교 예술문화연구원 2014 예술문화융합연구 Vol.2 No.-

The Museums Act was enacted as the first basic law on museums in 1984, but problems were raised concerning its lacking effectiveness as a organic law. Replacing it, the Museum and Art Gallery Support Act(hereinafter referred to as “the Act”) was enacted on November 30, 1991 and came into force on June 1, 1992. The Act has been revised 32 times in total so far. Going through those revisions, regulations on museum establishment and operation were eased and the number of museums has increased rapidly across the nation. The Act thus attained the goal of museum “promotion” in terms of quantity. There have been concerns raised, however, that the Act was enacted and have been revised without careful consideration to qualitative improvement of museums because it has been heavily concentrated on the quantitative expansion of them. Specifically, the Act has put art galleries in parallel with museums in its regulations since the enactment of it and thus become a factor inhibiting the work and policy efficiency of museums because of errors to the statistical data of museums, etc. The relaxed regulation of museum registration and the reinforced authority of local government resulted in the chaotic establishment of public museums. In addition, the undifferentiated museum manpower training system, which is only focused on curator training, makes it difficult to educate and place people specialized in various fields of museum. The study proposed a number of solutions to the problems raised above including enacting and revising the Framework Act on Museums to clearly define and put the position of art galleries as a subordinate concept of museums, making it compulsory to register a public museum, and introducing a professional qualification system divided according to the roles in museums.

‘문학관 운영 방법론’ 교과목 개발에 관한 연구

박근희 한국문화융합학회 2019 문화와 융합 Vol.41 No.2

This study proposes ‘Literary Museum Management Methodology,’ which is necessary curriculum for cultivating the ‘Literary Museum Curator’ and presenting comprehensive lecture contents. For this purpose, characteristics of a literary museum are reviewed and its difference from a general museum examined. This is to explain the necessity of putting the Literary Museum Curator in a literary museum in accordance with the ‘Literature Promotion Act’, rather than putting a ‘Curator’ based on the ‘Museum Art Promotion Act.’ Consequently, for the management of a literary museum, the necessity of a professional Literary Museum Curator, who majors in Korean literature and has ‘Cultural Contents Development Ability,’ ‘Storytelling Ability,’ ‘Data Preservation and Use Ability,’ and ‘Administrative Ability,’ is mentioned. Furthermore, the curriculum for Literary Museum Management Methodology is designed such that it will help the Literary Museum Curator learn these abilities. It is meaningful that the development of the curriculum, based on knowledge about a literary museum, includes practical and applied fields and, at the same time, can develop professional manpower, the Literary Museum Curator. In order to place the Literary Museum Curator in a literary museum, the relevant laws and ordinances must be modified. Therefore, above all, the need for a Literary Museum Curator should be publicized. Public hearings for the enactment of relevant laws and regulations should also be held. All of these things must be put into practice first in the academia of Korean language and literature. I hope that this paper can be the priming water that complements the legislations in the relevant government branches.

오사카시립주택박물관 기모노 체험에 나타난 관람객의 연기적 양상 연구

최정수,김영호 한국박물관학회 2020 博物館學報 Vol.- No.38

Exhibitions in traditional museums have been evaluated by the quality of the artifacts in their collections and the passive attitude of visitors to acknowledge them. Today’s museum exhibition, however, is showing a trend in which visitors acknowledge that they are actively participating and forming a meaning. This reflects the view of New Museology, which visitors do the role as cultural consumers among the four major components of museum exhibitions: exhibition spaces, exhibits, planners, and visitors. This study is a study of visitors as the main body of the exhibition, and it examines the elements of directing the exhibition space that affect visitors’ experiences and analyzes the acting aspects of visitors in the exhibition space. The Osaka Municipal Housing Museum, which was selected as the subject of research, is a place that attracts public attention by planning a kimono experience by restoring the Edo period of the 1830s. The exhibition space, which reproduced Edo period, encouraged visitors to try creative gestures and acts at the Japanese historical and cultural sites, thereby realizing their own imaginative character experiences. This study reveals that the kimono experience of the Osaka City Housing Museum was a successful model of educational activities with historical, cultural, and artistic values in the vivid field of knowledge and information, forming an interactive human relationship. It is hoped that the study of the creative acting aspects of visitors will help us understand the relationship between the production of the museum’s exhibition and the audience, and implement production of the museum’s exhibition. 전통적 박물관의 전시는 소장된 유물의 질과 그것을 인정하는 관람객의 수동적인 태도에 의해 평가되어 왔다. 그러나 오늘의 박물관 전시는 관람객이 능동적으로 참여하고 의미를 구성하는 주체임을 인정하는 추세로 전개되고 있다. 이는 박물관 전시의 4대 구성요소인 전시공간, 전시물, 기획자, 관람객 중에 문화 소비자로서 관람객을 주요 연구 대상으로 다루고 있는 뉴뮤지올로지의 관점을 반영한다. 본 연구는 전시의 주체로서 부상하고 있는 관람객에 대한 연구이며, 관람객의 체험에 영향을 미치는 전시공간 연출요소들에 관해 살펴보고 전시공간 속에서 관람객들의 연기적 양상에 대해 분석하고 있다. 연구의 대상으로 삼은 오사카시립주택박물관은 1830년대의 에도시대를 전시장 내부에 복원하고 기모노 체험을 기획하여 대중적 관심을 끌고 있는 곳이다. 실물모형으로 복원해 놓은 옛날 기와, 나무로 만든 집, 생활용품, 나막신을 벗어놓고 들어가는 방 등의 구조물과 낮과 밤의 조명 그리고 풀벌레, 닭울음소리 음향효과의 전시공간은 무대와 같은 환경으로 조성되었다. 에도시대로 연출된 전시공간은 관람객이 일본역사 문화의 현장에서 창의적인 제스처와 연기를 시도하고 이를 통해 상상적 인물 체험을 스스로 구현할 수 있게 유도했다. 본 연구는 오사카시립주택박물관의 기모노 체험이 상호작용적인 인간 사이의 관계를 형성하고 지식과 정보의 생생한 현장에서 역사적, 문화적, 예술적 가치와 교육적인 활동으로 성공적인 모델이었음을 밝힌다. 관람객의 창조적인 연기적 양상에 대한 연구가 박물관 전시의 연출과 관객 사이의 관계를 이해하고 박물관 전시연출의 실행에 도움을 줄 수 있기를 바란다.

조선총독부박물관의 한국도자 수집 방법의 시기별 변화와 그 의미

전남언(Jun, Nam Un) 한국미술사교육학회 2024 美術史學 Vol.- No.47

The Joseon Government-General Museum(朝鮮總督府博物館) opened on December 1, 1915, at the site of the Joseon Mulsan Gongjinhoe(朝鮮物産共進會) which was held in Gyeongbokgung Palace in the same year to commemorate the 5th anniversary of the Joseon Government-General. Among Korean ceramics collected by the museum are many that are so important in the current study of ceramic history that tracing the origin of them make up an important part of the study. Seeing that there is a lack of research on how Korean ceramics were collected at the Joseon Government-General Museum in the first half of the 20th century, this paper focused on the method of collecting Korean ceramics at the museum and examined changes by period and their meanings. The museum collected Korean ceramics through purchase, donation, and handover by law. Since the museum was a public affiliated with the Government-General, not an independent organization, changes in its colonial policy were immediately reflected in the museums operation and collection methods. In the 1st period(1915-1931) was a time when Joseon historical remains research were conducted across the country by the Government-General, and the collection of ceramics was conducted for the purpose of research and data through surveys of pottery sites and ruins. During this period, the collection was mainly carried out through purchases from Gyeongseong Art Club Sehwain, antique shops, and private sellers. And there were donations from the Governor-General Terauchi Masatake(寺內正毅) and the Mitsui(三井) Company in 1916. These donations showed that the collection was carried out in an organic relationship among politicians, private companies and the Joseon Government-General. In the 2nd period (1932-1945), the Joseon Government-General strengthened the cultural property management rules beyond the previous period by introducing the Joseon Treasure Historic Natural Monument Preservation Decree. Unlike the decree’s purported purpose of protecting remains and relics, ceramics collected by individuals are funneled into museums through the Lost and Found Act. At this time the Joseon Government-General Museum was able to expand the scope of the collection by securing ceramics excavated from various regions at low cost by their finders without conducting a separate historical survey as stipulated by the decree. These collections, however, show a decline in the educational role of the museum’s collection while the museum was becoming a storehouse of the ceramics. The objects found by non-professionals without any expertise were collected without the records of collecting at the time, and incentives were given to finder-reporters to bolster the decree, which encouraged, however, general populace to become indiscriminate excavators. As a result, it could be seen that the laws that should have been implemented to protect the remains and relics of the Korean Peninsula were used for the actual purpose of Japanese colonial rule.

영국의 인간유해 수집에서 반환까지

장예나(Jang Yena) 이주사학회 2017 Homo Migrans Vol.17 No.-

2000년 7월 4일에 오스트레일리아의 존 하워드(John Howard) 총리와 영국의 토니 블레어(Tony Blair) 총리가 런던에서 만나 오스트레일리아 원주민 공동체에게 인간유해를 반환할 것이라는 공동 선언을 했다. 이후 2004년 영국의 문화미디어스포츠부의 주도 아래 인체조직법이 제정되었다. 인체조직법은 과거 영국의 식민지였던 오스트레일리아에 식민지 과거를 직접 보상하고자한데서 비롯된 것은 아니었다. 하지만 이 법을 근거로 2007년에 런던의 자연사박물관에서 소장하고 있던 17명의 오스트레일리아 태즈메이니아 원주민의 유해가 반환되었고, 인간유해 수집과 반환에 관한 현실이 문제로 대두되었다. 그럼에도, 영제국시기에 제국과 식민의 상징인 박물관에 수집 및 보관되었던 수많은 오스트레일리아 태즈메이니아 원주민의 유해는 오늘날 포스트 콜로니얼 시대에도 영국의 많은 유명 박물관, 갤러리, 각종 과학과 의학 연구기관에 보관되어 있다. 이 논문에서는 영제국의 식민지였던 오스트레일리아 태즈메이니아 원주민의 유해가 어떠한 이유와 경로로 과거 영제국 박물관의 유물이 되었고 오늘날 포스트 콜로니얼 시대에는 유해 반환이 어떻게 진행되고 있는지를 식민지 과거사 청산 문제와 함께 살펴보았다. John Howard(Prime Minister of Australia) and Tony Blair(Prime Minister of United Kingdom) met on July 4, 2000 in London. They concluded the joint declaration about Australia aborigine’s remains repatriation. After then, ‘Human Tissue Act’ legislated under Department for Culture, Media and Sport of United Kingdom in 2004 would be resolved the problem on the repatriation of the Tasmania aborigines’ remains. But, this act was not originally for settling liquidation of the past which Tasmania aborigines have suffered. The ‘2004 Human Tissue Act’ added more details on the repatriation of the Tasmania aborigine’s remains which was preserved in the Museum of the Britain. The 17 Tasmania aborigine’s remains which was preserved in Natural History Museum of London were repatriated in 2007 with application of the ‘2004 Human Tissue Act’. Although, a lot of Australia Tasmania aborigine’s remains which had been collected from and kept in British Empire has been preserved in United Kingdom’s well-known museums, galleries, various scientific fields and medical research institution so far. This study was examined overall progress from the British’s collection of Australia Tasmania aborigine’s remains in 18-19th century(British Empire era) to the Australia Tasmania aborigine’s repatriation request of their ancestors’ remains attaching with liquidation of the colonial past.

글로벌지식협력단지 소장품 수집․활용 활성화를 위한 고려 사항과 항구적 안전망 확보방안 연구

윤태석,김원희 한국박물관학회 2021 博物館學報 Vol.- No.41

Since its opening in 2018, the Global Knowledge Exchange & Development Center(GKED Center) has carried out exhibitions, education, and international cooperation missions in the form of a museum in terms of structure and activity. In particular, it showed the same characteristics as the general museums stands for: collection and preservation management, the development of exhibition contents, the utilization of materials operating exhibition planning and exhibition-linked experience programs. Among them, it can be said that the collection and utilization of data are the most important activities of the museum. Therefore, the cooperative complex is obligated to collect data that conforms to its identity, research, investigation, and exhibition and education (experience) of conservative values such as history, content, scarcity, and aesthetics. Nevertheless, there are considerable restrictions on various activities such as data collection and utilization without the unstable consignment management system and legal and policy protection of the National Museum of Korea. In this study, data collected before and after the opening of the cooperative complex, collection methods, and utilization status were analyzed, and activation considerations were presented by dividing them into specialized strategies for collection, direction, and scope. Finally, as a basic measure to ensure this permanently, it was completed by presenting a plan to realize the National Museum, establishing a system and policy safety net, and realizing a regular operating system. 구조나 활동 면에서 박물관의 형태를 갖추고 있는 글로벌지식협력단지(이하, 협력단지)는 2018년 개관 이래 전시와 교육, 국제협력 등의 임무를 수행해 왔다. 특히 자료수집․보존 관리, 전시콘텐츠 개발, 전시기획 및 전시연계 체험프로그램 운영을 통한 자료의 활용은 일반 박물관과 같은 방향을 보였다. 이 중 자료수집과 활용은 박물관의 가장 중요한 활동이라 할 수 있다. 따라서 협력단지 역시, 정체성에 부합한 자료를 수집하고 이에 내포된 역사성과 내용, 희소성, 심미성 등 보존적 가치를 연구․조사하여, 전시와 교육(체험) 등의 영역에서 폭넓게 활용해야 할 의무가 있다. 그런데도 불안정한 위탁관리 체계와 국립 박물관의 법적, 정책적 보호를 받지 못한 채 자료의 수집과 활용을 비롯한 제반 활동에서 적잖은 제약을 받고 있다. 본 연구에서는 협력단지가 개관 전후 수집한 자료와 수집 방법 및 활용현황을 분석하고 활성화를 위해 고려해야 할 요소를, 소장품 특성화 전략, 수집 방향 및 범위 설정, 활용 방안으로 구분하여 제시하였다. 끝으로 이를 항구적으로 담보할 수 있는 기초적인 방안으로 국립 박물관화, 제도와 정책적 안전망 구축, 항구적인 운영체계 실현 방안을 제언하는 것으로 마무리하였다.

저작권법 제35조의4에 대한 연구: 안방 도서관과 문화시설에서의 고아저작물 이용

최진원(Choe, Jinwon) 한국정보법학회 2021 정보법학 Vol.25 No.1

2020년 개정 저작권법은 문화시설의 고아저작물 이용 편의를 도모하는 제35조의4를 신설하였다. 이는 EU 고아저작물 지침의 영향을 크게 받은 것인데, 문화시설은 고아저작물 이용을 위해 기존의 법정허락(제50조) 절차를 거칠 필요가 없으며, 사전에 수수료를 납부하거나 보상금을 공탁하지도 않는다. 단지 저작권자가 나타나 이용 중단을 요구하면 그 때까지의 이용에 대한 보상금을 ‘사후적으로’ 지급하면 된다. 기존 제도의 한계로 지적되어온 ‘상당한 노력’과 수수료의 부담을 경감시켜 안방 도서관·박물관·미술관 시대에 도움이 될 것으로 보인다. COVID19로 문화시설 접근성이 크게 떨어진 시점이기에, 개정법은 당장 의미있는 역할을 수행할 수 있을 것으로 기대된다. 하지만 EU 고아저작물 지침이 시행된 국가들의 사례를 보면, 아직 가시적인 성과가 나타나지 못하고 있다. 우리나라에서도 시행 초기 이 조문을 활용한 사례는 전혀 보이지 않으며 문화시설들은 신설 조문에 대한 준비가 부족하다. 이에 본고에서는 보다 과감하게 문화시설의 절차적 부담을 덜어주어 활용도를 높일 방안을 모색하고, 사후 보상금은 현실화하는 방안을 제언하였다. The revised Copyright Act in the year 2020 legislated an Article 35(4) for the convenient use of orphan works in cultural institutes. The Google books project in USA and its consequent class action and settlement ignited a serious argument about orphan works. This case affected EU Directive 2012/28/EU. The article 35(4) is modelled on EU Directive 2012/28/EU. By this article, cultural institutes do not need to ask a existing legal permission, and neither need to pay a usage fee in advance nor deposit compensation. Orphan works can be used till a copyright holder presents themselves and asks to discontinue the use of their works. A expost-facto compensation will be paid considering the period of use. It is difficult that people use cultural institutes due to COVID19, and this situation makes libraries and museums be interested in the public transmission. People are expecting the article 35(4) to save a lot of effort and money derived from the previous system and to start the era of at-home library as well as at-home museum. But there is no visible result yet in the countries which have started EU’s Copyright act, and also Korean cultural institutes are underprepared for this newly legislated article. This causes concerns that the article 35(4) would be dead letter. This paper researched and examined the use of orphan works in cultural institutes, related domestic/overseas system and operation situations, and presented some suggestions for the establishment of the newly legislated article through a survey and working-level talks by FGI.

동시대 공공미술 프로젝트 실천 현황을 통해 본 학교공공미술 교육 발전 방향 모색 ‘서울은 미술관’, ‘만아츠 만액츠’, ‘APAP’를 중심으로

장현주(Hyonjoo JANG) 한국조형교육학회 2022 造形敎育 Vol.- No.84

공공미술이 국내에 소개된 이후 여러 지역에서 공공미술 프로젝트가 다양한 방식으로 전개되고 있고 관련 연구도 꾸준히 이루어지고 있다. 그러나 학교에서의 공공미술교육은 ‘거리로 나온 미술작품’ 감상에 머물러 있으며 동시대 공공미술의 개념을 반영하지 못하고 있다. 본 연구에서는 학교공공미술교육을 강화하기 위해 국내에서 개최되고 있는 지역 공공미술 프로젝트 중 세 개의 프로젝트(서울은 미술관, 만아츠 만액츠, APAP)를 선정하여 관련 자료 분석 및 관계자 인터뷰를 통해 각프로젝트가 추구하는 방향과 전개 과정, 학교교육과의 연계 실태 등을 고찰하였다. 또한 지역 공공미술 프로젝트와 학교교육 과의 연계를 추진했던 과정과 교사 대상 공공미술 연수 사례를 제시하여 지역 연계 공공미술교육의 실천 가능성과 구체적인 방안을 모색하고자 하였다. 본 연구를 통해 학교미술교육과 동시대 공공미술 프로젝트의 실질적인 연계가 이루어지고 지역사회 연계 공공미술교육이 활성화될 수 있기를 기대한다. Since public art was introduced in Korea, public art projects have been developed in various ways in various regions, and theoretical research has been steadily conducted. However, public art education in schools remains at the level of 'art works on the street' and does not reflect contemporary public art. In this study, three projects (Seoul is Museum, 10000 ARTS 10000 ACTS, APAP) were selected among local public art projects being held in Korea to strengthen school public art education. Through data analysis and interviews, the direction and development process pursued by each project, and the actual state of connection with school education were considered. In addition, cases of promoting the link between local public art projects and schools were presented, and examples of public art training for teachers were presented to suggest the practical possibilities and specific measures of public art education in connection with the region. Through this study, it is hoped that public art education in schools linked to the local community can be vitalized.

약탈문화재의 압류면제에 관한 헌법적 검토

최용전 ( Choi Yong-jeon ) 제주대학교 법과정책연구원 2018 法과 政策 Vol.24 No.2

Recently, a study was carried out to legislate the Immunity(exemption) of temporary seizure of Korean Cultural Heritage Overseas for the revitalization of the exhibition, and a bill to amend the “Museum and Art Gallery Support Act” was introduced to the National Assembly to institutionalize the seizure immunity(exemption) system. The international position on the seizure immunity system has is also generally changing positively, and the 1972 European Convention on State Immunity and the 2004 United Nations Convention on Jurisdictional Immunities of State and Their Property have been concluded. And Many countries are participating in the Convention or engaging in multilateral treaty to promote the display of cultural properties. The Constitution of Korea prescribes the principle of cultural state and guarantees the right of cultural equality as fundamental rights. However, the cultural right, the right for enjoyment of culture, and the right for enjoyment of cultural properties guaranteed by the Framework Act on Culture and the Cultural Heritage Protection Act can be interpreted as statutory rights of citizens and local residents rather than as fundamental rights in the Constitution. Therefore, the Immunity seizure for the domestic exhibition of Korean cultural heritage overseas can be seen as positive in terms of the principle of cultural state and guarantee of the people’s rights. However, looted cultural properties taken out by illegal looting can be subject to restitution but can not be subject to immunity seizure. The immunity seizure system can make mistakes in acknowledging the ownership of the occupied state, and there is room for misapplication. In order to revitalize domestic exhibitions of Korean cultural heritage overseas, it is possible to allow immunity of seizure in terms of ‘common heritage of mankind’, but it is possible to make clear the constitutional basis as ‘national cultural heritage’. It is necessary to take a careful approach to immunity seizure of looted cultural properties which is supposed to be unconstitutional in Korean Constitution which presupposes the principle of cultural state and anti-imperialist ideals and guarantees property rights. The immunity seizure shall be determined by carefully examining the route of export of the cultural heritage. Passively, cultural properties that are obviously illegal to flow out, or cultural property in dispute with ownership are excluded from immunity seizure, and cultural property exported by law such as diplomacy, trade, or donation should be exempted from seizure. In other words, it is necessary to clarify the requirements of the immunity seizure cultural properties, and to list the immunity seizure cultural properties. A more careful design is required in order to go through procedural steps such as deliberation by the deliberation committee and consultation of cultural property experts.