현상학적 연출이 반영된 설치작품에서 나타나는 공간지각 특성에 관한 연구 - 올라퍼 엘리아슨, 제임스 터렐, 도쿠진 요시오카 작품을 중심으로 -

초록

(Background and Purpose) In recent years, exhibit spaces have focused on spectators who can extend the boundaries of space beyond the physical concept space through interaction between the works and spectators. This type of display especially encourages viewers to directly intervene in the works through the human body, that is, the perception element, centered on the installation and influenced by Merleau-Ponty's theory of phenomenological space. This provides various experiential possibilities. This concept is not limited to the physical space of the existing white cube, but it includes a combination of natural non-material elements and scientific technologies to create an exhibition in which the boundaries of space are blurred. The purpose of this study is to analyze the characteristics of spatial perception in interaction with visitors by selecting exhibition works of representative artists based on Merleau-Ponty's phenomenology. In addition, through this research, we attempt to grasp the spatial perception factor of a phenomenological presentation of the exhibition space. (Method) First, theoretical review enables an understanding of Merleau-Ponty's phenomenological space concept and spatial perception factors. Then, we analyze the elements of exhibition presentations and spatial perception that have appeared in the works of installation artists using previous research and constructing the framework of analysis according to the commonly recognized spatial perception elements of space, time, and the physical senses. Using this framework of analysis, the spatial expression method, spatial component, and viewing method according to spatial perception elements were analyzed. Finally, the common points and differences between spatial perception elements in three artists' works were analyzed and conclusions were drawn. (Results) As a result of this analysis, we concluded that all the works of the three artists were directly involved in the work of the space, which enhanced the viewers’ experience of the space through interaction. In particular, using mainly non-material elements, an environment is created in which the work itself plays a role as space, and the boundaries of space are obscured to maximize the experience of phenomenological space through perception. Such an exhibition space induces new experiences through sensations and the experience of transcendental and amusing spaces that transcend the physical element. However, there were differences among the artists in the criteria and the methods used to achieve this effect. This indicates that the artists’ intentions were different from phenomenological perception and the experience of the space. (Conclusions) In the future, it will be possible to produce a variety of experiential exhibition forms through interaction between spectators and objects from a phenomenological point of view that transcends the physical limitations of the existing exhibition spaces and artist-oriented works. This suggests that in the future, exhibition spaces can present the space paradigm in a way that adds new value through perception.

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