예술의 조건으로서의 전시: 제롬 글리센슈타인(Jérôme Glicenstein)의 전시 개념에 대한 이론적 재구성

This study examines the limitations of existing exhibition theories that have understood exhibitions primarily as a mode of presentation or as the outcome of curatorial practice. Centering on the exhibition concept proposed by Jérôme Glicenstein, it theoretically investigates how exhibitions operate as conditions under which the meaning and value of art are constituted. To this end, the exhibition is analyzed through four dimensions—fiction, language/dispositif, event/game, and the site of art—and these are not treated as parallel attributes but as a sequentially articulated structure in which meaning and value emerge through a process of interrelated operations. Employing qualitative literature research, the study reconstructs the argumentative structure of Glicenstein’s major writings and clarifies the conceptual relations among these dimensions. The analysis demonstrates that the exhibition does not merely explain or mediate artworks; rather, it functions as a conditional structure that pre-organizes what can be recognized as art. The meaning and value of artworks are socially constituted through the process of passing through the exhibition, which should therefore be understood not as an external environment of art but as a performative field that shapes art’s mode of existence. Accordingly, this study redefines the exhibition as a condition of art and expands exhibition studies beyond case analysis or institutional history toward a theoretical framework that connects art ontology with curatorial practice.