‘참여’와 ‘소통’을 위한 미술관교육에 대한 질적 연구

Abstract

본 연구는 현대미술의 흐름을 반영한 미술관교육의 내용과 진행방향을 질적 연구를 통해 추적·분석하였다. 연구사례로는 현대미술관교육의 특징이 잘 나타나고 있는 강익중 작가와 함께 진행한 어린이아트프로젝트를 선정하였다. 거주지역과 사회계층이 광범위한 330여명의 자원봉사자와 5만 명의 어린이들이 참여하여 현대미술작가와 함께 현대미술작품을 완성하는 프로그램이었다. 작품이 완성되기까지의 모든 과정과 결과물을 현재까지 지속적으로 전시함으로써 그 모두를 현재의 관람객들과 공유하고 있는 사례이다. 이에 연구자는 다양한 참여와 소통의 형태를 발견하기에 적절하고 독특한 사례라고 판단하였다. 연구자는 현장에서 기획운영자 및 관찰자로 모든 연구 진행과정에 참여하였다. 자료의 체계적 분석을 통한 미술관교육으로서 어린이아트프로젝트의 구조와 방법을 발견하기 위하여, 유네스코교육보고서 ‘예술교육의 놀라운 효과’에서 제안하는 ‘양질의 예술교육프로그램에서 나타나는 구조와 방법 10가지’를 분석의 도구로 사용하였다. 연구는 세 차원에서 진행되었는데 그 내용은 다음과 같다. 첫째, 어린이아트프로젝트의 진행 과정을 통해 미술관교육으로서의 구조와 방법을 파악하였다. 둘째, 어린이아트프로젝트의 진행과정에 참여한 미술관관계자·현대미술작가의 생각과 변화를 통해 미술관교육 실천에서의 미술관과 작가의 역할을 제안하였다. 셋째, 참여자들의 프로젝트에 대한 생각과 관람객들이 감상을 통해 현대미술의 흐름을 반영한 미술관교육의 실천에서 어린이아트프로젝트가 주는 의미와 가능성을 파악하였다. 어린이아트프로젝트를 분석한 결과, 구조와 방법 그리고 성과와 의미를 통해 현대미술작가와 함께하는 미술관교육의 새로운 실천 가능성에 대해 전망할 수 있었다. 특히 다양한 ‘참여’를 창출할 수 있는 방법, 미술관교육 파트너로서 작가의 역할, 교육의 결과를 공유함으로써 미술이 공감대를 넓히게 되는 ‘소통’으로서의 미술관교육에 대한 의미를 발견할 수 있었다. 프로젝트의 구조와 방법은 다음과 같다. 첫째, 미술관과 작가가 함께하는 프로젝트 방식의 교육프로그램으로 창조적인 개인과 기관의 활동적인 파트너십이 잘 보여 지는 구조이다. 또한 진행과정에서 지역의 자원과 콘텐츠를 적극적으로 활용하였다. 작가·미술관·지역사회가 함께하는 미술관교육의 실천이다. 둘째, 어린이아트프로젝트의 결과물을 소장품으로 등록하고 지속적으로 관리하는 노력을 통해 미술관과 작가가 기획 및 실행의 책임을 공유하고 있다. 셋째, 학교·기관 및 지역사회가 미술관교육프로그램을 통해 미술관으로 접근할 수 있는 유연하고 개방적인 구조를 가짐으로써 다양한 계층의 참여활동이 이루어졌다. 넷째, 현대미술작가의 작업방식을 참여자들이 경험할 수 있도록 분절시켜 제안한 창작과정은 생각의 시각화에 대한 새로운 접근과 창의적인 예술언어의 결합이 만들어 낸 특수한 예술유형의 개발이다. 작가와 참여자들이 함께 벽화를 제작하는 새로운 방식의 제안이기도 하다. 다섯째, 어린이아트프로젝트는 누구나 쉽고 편하게 접근할 수 있도록 한 총괄적인 자세를 지닌 프로그램이다. 발견된 다섯 가지의 구조와 방법은 어린이아트프로젝트가 양질의 예술교육이었음을 입증하고 있다. 더불어 이러한 프로젝트의 구조와 방법은 미술관교육현장에서 진행 될 작가와 함께 하는 교육프로그램 실행에 다양한 참여를 이루어낼 수 있는 유용한 가이드가 될 수 있다. 어린이아트프로젝트의 성과와 의미는 다음과 같다. 첫째, 어린이아트프로젝트는 과정과 결과물 공유를 통해 참여자들과 관람객들에게 미술관과 친숙해 질 수 있는 공간을 제공하고 있다. 둘째, 어린이아트프로젝트는 ‘참여’에 대한 확산 및 ‘역할’에 대한 제안을 하였다. 프로젝트에는 5만 명의 어린이와 330여명의 자원봉사자가 참여하였다. 참여의 과정과 방법에서 미술관교육 참여자들의 성향을 반영하여 편안하고 쉽게 접근할 수 있는 방법을 제안함으로써 참여확산의 실천을 보여준 것이다. 그리고 경험을 공유하고 함께 행동하는 협동생산자로서 현대미술작가의 역할에 대한 실천을 보여주었다. 미술관교육 파트너로서 작가가 수행할 수 있는 ‘소통자’로서의 역할에 대한 명확한 모델이 제안된 것이다. 셋째, 교육결과물의 감상을 통해 관람객들은 현대미술의 보편성을 이해하고, 미술관교육에 참여하고 싶은 동기를 부여받고 있다. 결과물의 공유가 미술관교육 교사로서 훌륭하게 역할하고 있는 것이다. 현대미술관의 교육은 ‘예술을 위한 교육’이라기보다는 ‘예술을 통한 교육’으로 ‘참여’를 통해 다양한 표현법으로 자신을 표현해 보고, 감상하면서 ‘소통’해 보는 교육이다. 이러한 의미에서 작가와 함께한 어린이아트프로젝트는 ‘참여’의 확산을 통한 ‘공감’으로 이루어진 ‘소통’이다.| The purpose of this research is to analyze the contents and directions of the educational programs in the contemporary art museums, while reflecting the contemporaneity of the art world. In order for a qualitative research, the Children’s Art Project with artist Kang Ik-Joong was taken as an example that reveals many aspects of educational programs in the contemporary art museums. This project called 330 volunteers and 50,000 children, whose participation was contributed to the completion of an artwork with the artist. It was a significant example that the process of making an artwork and its result were shared with the audience, through a form of exhibition that progressed over time. Such program was a unique and pertinent case that various types of participation and forms of communication were exchanged. The researcher of this paper was involved in every process of this program both as a project manager and an observer. The 10 structures and methods that a high quality art education show, suggested by UNESCO’s Education Report, “Amazing impacts of Arts Education,” was utilized as an analyzing tool, in order for a systematic evaluation that discerns the structures and methods manifested in the Children’s Art Project as a museum education. The research was developed largely in three parts. Firstly, the study analyzes the structures and methods of Children’s Art Project as a museum education. Secondly, it suggests a new role of museums and artists, learning from the change made by the art museum officials and the artist who took part in the Children’s Art Project. Lastly, through thoughts and appreciations of the participants and audience of the project, the research seeks to find the meanings and possibilities of the Children’s Art Project as the practice of museum education that reflects the contemporary art. As a result of analyzing the Children’s Art Project - its structures and methods as well as the outcome and its meaning - brings optimistic possibilities of the museum education with a contemporary artist. Especially, sharing the strategies of inducing various kinds of “participations” and the results of the pedagogical programs, the role of an artist becomes a partner of museum education, whose endeavors are re-thought as the “communication” that expands sympathy towards the arts. The structures and methods of the Children’s Art Project are as followings; First, the project was an educational collaboration between the museum and the artist, which showed an active partnership between the creative individual and an institution. It was a fulfillment of museum education that drew reciprocity among the artist, the museum and the regional society. Second, for the purpose of sustainability, the outcome of the Children’s Art Project was registered as a permanent collection and managed by the efforts of both museum and artist, which requires mutual commitments of organization and operation. Third, through the educational program of the museum, schools and other institutions of the regional society could come close to the museum, via flexible and open structures that the project had, encouraging participations from various social spectrum. Fourth, the practice of an artist was compartmentalized so that the participants could experience the process of making an artwork. It was a development of a special art form that combined a novel approach on the visualization of an idea and the creative art language. It was a new kind of proposal for a wall painting, in collaboration with an artist and the participants. Fifth, Children’s Art Project was a program that had an overall attitude of easy accessibility to all. The five aforementioned structures and methods were discovered, proving the Children’s Art Project as a high quality art education. Furthermore, the structures and methods of the project can become a useful guide for an operation of educational program that induces participations in the museum’s pedagogical environment. The outcome and meaning of the Children’s Art Project are as followings; The purpose of this research is to analyze the contents and directions of the educational programs in the contemporary art museums, while reflecting the contemporaneity of the art world. In order for a qualitative research, the Children’s Art Project with artist Kang Ik-Joong was taken as an example that reveals many aspects of educational programs in the contemporary art museums. This project called 330 volunteers and 50,000 children, whose participation was contributed to the completion of an artwork with the artist. It was a significant example that the process of making an artwork and its result were shared with the audience, through a form of exhibition that progressed over time. Such program was a unique and pertinent case that various types of participation and forms of communication were exchanged. The researcher of this paper was involved in every process of this program both as a project manager and an observer. The 10 structures and methods that a high quality art education show, suggested by UNESCO’s Education Report, “Amazing impacts of Arts Education,” was utilized as an analyzing tool, in order for a systematic evaluation that discerns the structures and methods manifested in the Children’s Art Project as a museum education. The research was developed largely in three parts. Firstly, the study analyzes the structures and methods of Children’s Art Project as a museum education. Secondly, it suggests a new role of museums and artists, learning from the change made by the art museum officials and the artist who took part in the Children’s Art Project. Lastly, through thoughts and appreciations of the participants and audience of the project, the research seeks to find the meanings and possibilities of the Children’s Art Project as the practice of museum education that reflects the contemporary art. As a result of analyzing the Children’s Art Project - its structures and methods as well as the outcome and its meaning - brings optimistic possibilities of the museum education with a contemporary artist. Especially, sharing the strategies of inducing various kinds of “participations” and the results of the pedagogical programs, the role of an artist becomes a partner of museum education, whose endeavors are re-thought as the “communication” that expands sympathy towards the arts. The structures and methods of the Children’s Art Project are as followings; Firstly, the Children’s Art Project offered a space that participants and audience could become familiar with the museum, by sharing the processes and the result of the artwork. Secondly, the Children’s Art Project proposed a dissemination of “participation” and its “role.” 50,000 children and 330 volunteers participated in this project. It showed how a dissemination of participation could operate in an art museum, by applying the tendency of participants so that they could easily access to the program in the museum. A clear model was proposed for what an artist can do as a “communicator” and as a partner of an art museum education. Thirdly, by appreciating the result of education, the audience understood the commonality of contemporary art, and got motivated to take part in the museum education. Art education in a contemporary art museum is an “education through art,” rather than an “education for art.” Through “participation,” one can express oneself via various means, as well as “communicate” via appreciating their results. In this sense, the Children’s Art Project with artist Kang Ik-Joong was a “communication” earned by “sympathy,” through dissemination of “participation.”