박물관 및 미술관 진흥법상 박물관 및 미술관의 법적 성격에 대한 검토* - 비영리성을 중심으로 -

박경신 한국예술경영학회 2023 예술경영연구 Vol.- No.65

In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.

What Should We Preserve? What Should We Change?

Eiji Mizushima 한국박물관학회 2010 博物館學報 Vol.- No.18·19

Advancing globalization and the development of new communication technologies and transφ때on methods have transforrned the daily lives of the people, even their inner 띠nds. In other words, not only our material culture but our spiritual culture has been transforrned. At the time of the birth of the first museums in ]apan, they put top priority on collecting, protecting and preserving cultural artifacts scattered by the late nineteenth century anti-Buddhist movement, but eventually a museum building boom was triggered by the flourishing of regional cultures. However since the late nineteen-seventies, in the face of a growing demand for the perfection of the human mind, we tumed to emphasizing the operation of museums open to the public rather than closed museums, as we faced a demand that museums and art galleries become places for life-long learning. This means priority on the educational functions of museums. Today it is museum management that is the most irnportant issue. πl?s paper describes the revision to the Museum Law in ]apan, which has amended in 2008. 까le points in the revised Museum Law, background to the revision, museum registration system and ]apanese current situations are described.

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.

뮤지엄 평가 현황을 통한 제도 도입방안 연구

윤태석,이미영 한국조형교육학회 2010 造形敎育 Vol.0 No.36

현대사회는 복잡하고 다변화된 양상을 보이고 있으며, 21세기로 접어들면서 국제화?세계화로 변화한 시대상황은 국가 간 경쟁뿐 만 아니라 동종 분야에서까지 생존을 위한 무한경쟁을 요구하고 있다. 공공서비스를 제공하며 항구적 비영리기관인 뮤지엄도 다양한 분야의 문화예술교육기관이 속속 등장하면서 한정된 자원의 수요가 많아지자 관의 존속과 운영여건의 개선을 위한 자체 재원 확보 등 경쟁력 확보가 중요해졌으며 이를 통해 뮤지엄의 일반적 기능인 자료의 수집, 보존, 연구, 전시, 교육과 함께 지역과 국가의 중추적 문화기관으로서의 역할을 다하고자 노력하고 있다. The importance of museums as a non-profit institute for cultural education is increasing all over the world. Reflecting such international trend, interest on museums in Korea is also growing. Due to the change of cultural environment internationally, the function of museums has been extended into a life-long institute for cultural education. Moreover, the previous role of museums to merely collect and display materials is transformed into the role to enhance the identity of a nation or a local community. Ultimately museums as a tourism resource make economic contributions and become increasingly important as a central axis for developing into the culturally advanced nation. As a result of, the number of museums in Korea radically increased over 700 including national, public, private and university museums. Currently professional museums specialized in various fields are in preparation for construction. Here, the degree of activation varies by individual museum in the sectors of display, research and education which are the core business sectors of a museum. To improve such condition, significant efforts are made to improve and vitalize museum management including various cultural events held by the museum and reinforcement of the customer service. However, compared with the dramatic increase in quantity, the museum management which is a qualitative aspect substantially differs by each institute. In particular, some museums organize special exhibitions thanks to the Lottery Fund Project of the Korean Museum Association or receive budget to support their professional manpower. Here, the system to evaluate procedures and the result of such funded projects differ in each sector and the evaluation system is not structured systemically. Accordingly the parameter to estimate the degree of activation is inarticulate so that various solutions should be examined to solve the problem. Thus, the aim of this study was to suggest necessity to introduce an evaluation system of mu

「프랑스 박물관 법」법제 연구 -아펠라시옹 “뮈제 드 프랑스”를 중심으로-

박재연,황종욱 한국박물관학회 2022 博物館學報 Vol.- No.42

The enactment of ‘Musées de France’ Law in 2002 made it possible for France to establish a comprehensive legal framework governing both national, public and private museums. This legislation aims to protect the public interest in the operation of these institutions through close cooperation with the state and local governments by granting the appellation and other benefits to certain museums meeting the certification requirements. The provisions recognizing the autonomy of certified museums in terms of securing financial resources while safeguarding the principle of ‘inalienability’ of the collection by stipulating the condition of acquisition and management of the items materialize this aim. In addition, the legislation, reflecting the long-held value of decentralization in cultural policy, clarifies the role of autonomous regional governments and central government supporting them. From these analyses one can conclude that ‘Musées de France’ Law is not just a legislation on entitlement of the museums but a tool that extend the public support formerly given to museums under the State’s direct management and control to other museums in the form of partnership. 2002년 ‘뮈제 드 프랑스’ 법 제정을 통하여 프랑스는 국공립박물관과 사립박물관을 총체적으로 관리하는 법체계를 구축하였다. ‘뮈제 드 프랑스’ 법은 박물관이 인증 조건을 만족하는 경우 명칭과 다양한 혜택을 부여하는 대신, 국가(Etat) 및 지방정부와의 긴밀한 협력을 통하여 이들 기관의 운영의 공공성을 담보하는 것을 목적으로 한다. 이는 소장품의 취득과 관리에 관한 내용을 세밀하게 법으로 정함으로써, 컬렉션 확보를 위한 재원확보 등에 있어 자율성을 인정하면서도 컬렉션의 ‘불가분성’의 원칙을 관철하려는 조항들을 통해 구현된다. 또한 해당 입법은 프랑스가 역사적으로 문화정책에 있어 추구해 온 지방분권의 가치를 반영하고 있어, 지방정부의 자율성과 이를 뒷받침하는 중앙정부의 역할이 보다 선명하게 규정되고 있다. 이를 통하여 ‘뮈제 드 프랑스’ 법은 단순한 명칭부여를 넘어, 국가의 직접 운영과 통제 하에 있던 박물관들에 부여되던 공적 지원을 파트너십의 형태로 연장하는 도구로 기능한다.

The Role of Intellectual Property in Safeguarding Intangible Cultural Heritage in Museums

Caroline Joelle Nwabueze 국립민속박물관 2013 International Journal of Intangible Heritage Vol.8 No.-

The current rate of cultural and technological globalisation has been recognised as an international threat to the cultural diversity of many nations. The insubstantial nature of intangible cultural heritage has made it more vulnerable to the force of globalisation than other aspects of cultural diversity, which could lead to the disappearance of ICH. The pressure applied to world heritage led UNESCO to draft a Convention regarding the safeguarding of ICH in 2003. The preamble of the Convention emphasised the importance of the maintenance and re-creation of intangible cultural heritage, which would thereby help to enrich cultural diversity. This led the International Conference on Museums and Intangible Heritage held in Seoul in August 2012 to commit itself to the safeguarding of intangible cultural heritage in museums. However, such integration of ICH in museum activities raises numerous intellectual property (IP) concerns in relation to the use and ownership of ICH resources. Yet, on the other hand, IP used as a tool to enhance creativity could contribute significantly to museums as cultural institutions involved in the collection, conservation and display of ICH. The present paper seeks to address the sustainability of ICH safeguarding in museums under IP laws. It first reviews the integration of ICH in museums as suggested by the International Conference on Museums and ICH. Second, and as consequence of that point, an examination is made of the related risks of misuse and incompatibility associated with ICH exposure in museums in the field of IP rights. Finally, the paper suggests some effective mechanisms in the field of intellectual property law that could secure permanently the preservation of ICH in museums.

한국 박물관에서의 포용(inclusion)의 의미

국성하(Kook, SungHa) 한국박물관교육학회 2020 박물관교육연구 Vol.- No.24

우리나라에서 박물관교육은 포용성 확대의 방법으로 기능했다. 누구를 교육의 대상으로 삼을 것인가(포용), 누가 교육의 대상에서 제외되었나(배제)의 관점에서 교육을 실행하기 시작한다. 소외계층교육, 다문화교육 등이 박물관·미술관을 통해서 이루어졌고, 이는 우리나라의 포용성 또는 다문화성의 시초가 된다. 또한 법적, 제도적, 정책적 장치들에서 그 방법이 나타나 있다. 국내에서는 「문화기본법」, 「문화다양성 보호와 증진에 관한 법률」등을 제정·시행하였고, 「문화다양성 보호 및 증진 계획」, 「박물관·미술관 진흥 중장기 계획」 등을 성안했으며, 「무지개다리 사업」 등 다양한 포용적 사업이 운영되었다. 박물관교육이 보편화되기 전에는 박물관교육이 곧 포용으로 생각되었지만, 박물관교육이 보편화되면서는 박물관에서 배제되는 계층이 없는 것이 포용으로 생각되기에 이르렀다. Museum education was a way of increasing inclusion in Korea. Museum educator started museum education from these questions; who should be the education participants(inclusion), who were the left over(exclusion). Education for the neglected classes, multi-cultural education carried out from museums, and these are the bases of museum inclusion or multi-culturalism. The ways of inclusion are in the various laws, institutions, and policies, such as 「Framework Act on Culture」, 「Enforcement decree of the Act on the Protection and Promotion of Cultural Diversity」etc. Before the generalization of museum education one regarded the museum education as inclusion, after the generalization inclusion regarded as no left over in museums.

해외 문화재 등의 국내 전시에 대한 법적 규제 ― 문화행정법의 새로운 과제 ―

성봉근,추민희,박혜련,진정환 한국공법학회 2017 공법연구 Vol.46 No.1

In the view of the constitutional ideology that pursues the cultural state, legislative deficiencies arise in the field of cultural administrative law which embodies this. Even if we try to bring in cultural assets, museum materials, and artworks, which are located in the foreign countries, in Korea, it is not ready for the legislation on the Culture Administrative Law. That is significant problem. Recently, the countries that have a lot of cultural assets, such as Japan, France, and Iran etc, have presented us with legal conditions for legal protection of these items as conditions for renting for exhibitions in our country. Although the principles of a cultural state are declared in the Constitution, there is a lack of legislation that can harmonize the Cultural Rights in the field of cultural administrative law that embodies these constitutions. Therefore, it is very difficult for the Korean people to have access to exhibitions in Korea for diverse and abundant overseas cultural assets, overseas art objects, and overseas museum materials. How can we find solution for these issues legitimately? Legislation for the prevention of foreclosure of cultural properties is intended to ensure that even if exhibited cultural assets are not seized, it is a “Legal Instrument” that can promote exhibition and exchange. This does not deny the legitimacy of restitution, such as plundering, deception, and forcibly exported cultural properties. However, the return of it can be very long time because political, diplomatic and economic problems are complex entangled. Therefore, there is a public duty in the cultural country that provides an opportunity to enjoy the culture through the exhibition separately from the resolution of the dispute. The way of ‘Exhibition after return’ takes a long time to resolve the dispute and is costly. It is very unclear whether the objective of exhibiting cultural assets will be achieved. Therefore, to be able to take the way of ‘return after the exhibition’ is to resolve the conflicting values harmoniously. For this purpose, there is a need to make temporary protected exhibit of cultural assets from seizure possible so that they can pursue harmoniously while respecting conflicting values such as justice for return of it and cultural rights. Return of ownership is a permanent task, but the exhibition of cultural properties is a tentative task. Not only is it logically compatible, it is not necessarily against the legal sense. Therefore, I would like to create and present the legislation that is lacking in the specific cultural administrative law field. The Ministry of Culture, Sports and Tourism shall establish discretionary rules for the protection of these items and propose legislation on procedures, deadlines, and details. I also tried to provide a legal theoretical basis for the field of cultural administrative law. In particular, the ‘Steering State’ and the ‘the Principle of the Distance’ that should be applied to the Cultural State. It is proposed as a way of approaching the cultural realm, in which the cultural autonomy should be respected and exceptionally intervened by that principle. 문화국가를 추구하는 헌법적 이념에 비추어 이를 구체화하는 문화행정법 분야에서 입법의 흠결이 발생하고 있다. 해외에 소재해 있는 문화재, 박물관자료, 미술품 등을 국내에 들여와서 전시를 하고자 하여도 문화행정법에 대한 입법이 되어 있지 않아 문제가 되고 있다. 최근 일본, 프랑스 , 이란 등 분쟁 대상이 되는 문화재를 많이 소유하고 있는 나라들이 우리에게 이들 물품에 대한 법적 보호를 위한 입법이 되어 있는지를 우리 국내에서의 전시를 위한 대여조건으로 제시해 오고 있다. 문화국가의 원리가 헌법에 선언되어 있지만, 이러한 헌법을 구체화하는 문화행정법 분야에서 문화향유권을 조화롭게 보장할 수 있는 입법이 흠결되어 있다. 따라서 우리 국민들은 다양하고 풍부한 해외 문화재, 해외 미술품, 해외 박물관 자료 등에 대하여 국내에서 전시를 접할 기회가 매우 어려운 상황에 있다. 이러한 문제를 어떻게 입법적으로 해결할 것인가? 문화재 압류방지를 위한 입법은 문화재를 전시하더라도 압류당하지 않도록 보장하겠다는 취지에서 이루어진 것으로서, 전시 및 교류를 활성화시킬 수 있는 ‘법적인 장치’(Legal Instrument)이다. 이는 약탈되거나 절취 및 강제로 반출된 문화재 등에 대한 반환(Restitution)의 정당성을 부정하는 것이 아니다. 다만, 그 반환은 정치적이고 외교적이며 경제적인 문제들이 복잡하게 얽혀져 있어서 시간이 매우 오래 소요될 수 있다. 따라서 분쟁의 해결과 별도로 전시를 통한 문화향유의 기회를 제공해 주는 공적인 과제(Aufgabe)가 문화국가에게 있다. ‘선반환 후전시’(先返還 後展示)는 분쟁해결을 위한 시간이 오래 소요되고 비용도 많이 요구되며. 문화재 전시 기회의 목적을 달성할지가 매우 불분명하다. 따라서 ‘선전시 후반환’(先展示 後返還)이라는 방식을 취할 수 있도록 하는 것이 충돌하는 가치들을 조화롭게 해결하는 것이다. 이를 위하여 충돌하는 정의와 문화재 향유권 등 상충되는 가치들을 모두 존중하면서도 조화롭게 추구할 수 있도록 국민들에게 분쟁의 소지가 있는 문화재들을 잠정적으로 전시의 기회를 제공하는 입법을 할 필요성이 있다. 소유권 반환은 영구적인 과제이지만, 문화재 전시는 잠정적인 과제이기 때문이다. 논리적으로 양립이 가능할 뿐만 아니라, 법감정에도 반드시 반한다고 할 수 없다. 따라서 이에 대한 구체적인 문화행정법 분야에서 흠결된 입법의 모델을 만들어서 제시해 보고자 한다. 문화체육관광부장관의 이들 물품의 보호결정에 대한 재량규정을 신설하고 이에 대한 절차 및 기한, 그리고 세부적인 내용들에 대한 입법을 제시하고자 한다. 또한 문화행정법 분야에 대한 법이론적 기반을 제공하고자 하였다. 특히 국가가 문화영역에 대한 접근방식으로서 종래의 규제국가에서 탈피하여 문화의 자율성을 존중하고 예외적으로 개입하여야 한다는 ‘제어국가의 국가관’과 이에 적용하여야 할 ‘거리의 원칙’을 제시하였다.

박물관․미술관 학예사 자격제도 운영현황을 통한 문제점 연구 - 준학예사 자격시험 운용과 자격제도 적용을 중심으로 -

윤태석 한국조형교육학회 2007 造形敎育 Vol.0 No.30

Currently the number of museums and art museums in Korea reach almost 500 instructions. The reason for such growth in the number of museums is perceived attributable to elevated cultural recognition and higher interests on the cultural enjoyment come from the improved quality of people's life. Museums and art museums are presently placed in a time point to correspond more actively to public cultural service. Experiential learning and education programs can be referred to as a medium to expand its functions, as you see, the expansion of the functions of museums and art museums is through professionals, Curators. However the plight of the museums and art museums are yet inferior and the support from policy-making authorities are insufficient, which does not allow certified curators go straight into jobs, therefore curator certification systems are faced limitations in a certain part. This thesis seek to examine curator certification system focusing on the problems emerged in the implementation of quasi-curator certification examination and the application of curator certification system. Staying unsatisfied not being able to present clear alternatives by way of micro-level study, I hope that this unfinished study lay foundation and actively used in seeking various alternatives and development plan in the future.

북한의 문화재법에 따른 박물관 유물의 보존 복원

장경희(Jang, Kyung-hee) 한국학중앙연구원 2020 장서각 Vol.0 No.43

본고는 북한의 문화재 관련 법과 박물관 제도가 시기에 따라 변화됨에 따라 소장품의 보존 관리 대책이 어떻게 변하는지를 밝히고자 하였다. 북한의 문화재 관련 법과 박물관 제도는 5시기로 변화된다. 1기는 1945년부터 1950년까지이다. 1945년 12월 평양박물관을 개관하였으며, 1946년에 〈보물보존령〉을 제정한 후 향산, 청진, 함흥, 신의주, 사리원, 해주에는 역사박물관을, 평양에 조선미술박물관을 설립하였다. 2기는 1950년대부터 1960년대까지이다. 6·25전쟁으로 유물의 90%가 사라져 버리자 북한 당국은 유적의 고고학적 발굴로 유물을 확충하고자 노력했다. 그런 다음 북한 전역에 총 13곳에 역사박물관을 세웠다. 3기는 1970년대부터 1980년대까지이다. 소련이 붕괴되자 북한은 폐쇄적인 주체사상을 내세웠다. 정치권력자의 정통성을 강화시키고자 혁명박물관을 각지에 세웠다. 4기는 김정일 집권기로 1990년대부터 2010년까지이다. 1993년 김일성의 사후 김정일은 1994년 〈문화유물법〉을 제정하여 법적으로 체계화 시키고자 하였다. 하지만 극심한 경제난으로 문화재를 보존 관리할 시스템이 작동되기 어려웠다. 훼손된 유물의 수리나 보수, 모사나 복제를 위한 재료나 시설이 부족하고 여건이 안 되었다. 5기는 김정은 집권기로 2011년 이후 현재까지이다. 김정일의 사후 2015년 김정은은 〈문화유산법〉을 제정하였다. 이전 법에는 없던 무형문화재까지 포함시키고, 유네스코 문화유산 등재를 위해 노력하였다. 이를 통해 대외적으로 국제사회와 교류하면서 대내적으로 체제의 안정을 도모하고자 했다. 이처럼 북한은 시기마다 법적 제도적 개선을 통해 박물관과 소장품의 관리방안을 체계화하였다. 그러나 경제적 어려움으로 문화재를 관리하기에 어려움이 많았다. 북한의 문화재 또한 우리 민족의 것이므로, 그들이 문화재를 잘 보존할 수 있도록 박물관의 보존시설이나 문화재 보존환경에 관심을 갖고 지원해주어야 한다. This study aims to explore the changes of the measures on the conservation and management according to the changes of the law on the cultural heritage and the system of the museums in North Korea. The changes of the law on the cultural heritage and the system of the museums are categorized into five periods. The first period is between 1945 and 1950. In 1946, North Korea legislated the “The Decree for Conservation of the Treasures,” and established the historical museums in Hyangsan, Cheongjin, Hamheung, Sineuiju, Sariwon and Haeju and the art museum of Joseon in Pyongyang. The second period is between the 1950 and the 1960s. As the 90 % of the artifacts disappeared due to the Korean War, North Korea made effort to expand the scope of the cultural heritage by excavations. Then, it established a total of 13 historic museums throughout North Korea. The third period is between the 1970s to the 1980s. After the demise of the Soviet Union, North Korea insisted the exclusive Juche Idea (the official state ideology of North Korea). To strengthen the authenticity of the political power, it established the museums for the Revolution through the country. The fourth period is between the 1990s and 2010. After the death of Kim Il-sung in 1993, Kim Jong-il systemized the conservation of the cultural heritage by the legislation of “The Act on the Cultural Heritage” in 1994; however, it was difficult to properly operate the system to manage the cultural heritage due to harsh economic difficulties. At the time, the materials and facilities to repair, mend, duplicate and copy of the damaged cultural heritage lacked and the conditions was poor. The fifth period is between 2011 to the date. After the death of Kim Jong-il, Kim Jong-un enacted the Act on Cultural Heritage in 2015. This Act includes intangible cultural heritage that has been excluded, and the government made effort to make it designated as the UNESCO World Heritage. Through such effort, the government aimed to promote the stability of the system by the exchanges with the international society at home and abroad. Thus, North Korea has systemized the management measures for the museums and their collections through the improvement of the legal systems according the period; however, it was in a difficult situation to manage the cultural heritage due to the financial difficulties. Since the cultural heritage in North Korea is also the heritage of the Korean people, the interest and supports for its conservation of the museum facilities and the cultural heritage environment are required.