제1장 서론·················································································1 1. 연구의 배경 및 목적····························································· 1 2. 연구의 범위 및 방법····························································· 5 1) 연구의 범위······································································· 5 2) 연구방법············································································ 6 3. 연구의 주요 내용··································································· 7 제2장 부산-후쿠오카 간 대안적 공간의 연계 방안을 위한 이 론적 자원들 ····································································9 1. 본 연구에서의 대안적 공간에 대한 조작적 정의·············· 9 2. 대안적 공간 간의 연계가 가지는 의미····························· 15 1) 네트워크를 통한 암묵지의 축적··································· 17 2) 문화적 세렌디피티(Serendipity)의 증대···················· 18 3) 제3의 공간으로서의 역할 활성화································ 20 3. 부산-후쿠오카 간 대안적 공간 교류의 개괄적 현황······ 21 제3장 후쿠오카 지역의 대안적 공간의 현황 및 특성····27 1. 아트 스페이스 테트라························································· 27 2. 콘야2023 ··············································································· 30 3. 리노베이션 뮤지엄 레이센소·············································· 34 4. FUCA ···················································································· 37 5. IAF SHOP* ·········································································· 41 6. 스튜디오 쿠라······································································· 43 7. 라이즈업 케야······································································· 47 8. 갤러리 소프·········································································· 50 9. 오퍼레이션 테이블······························································· 53 10. 인포샵 다이도카이 모지코················································ 56 11. 시사점·················································································· 59 제4장 후쿠오카 지역 대안적 공간 관계자들에 대한 Q-test를 통한 현안 인식 조사 ··················································65 1. 조사의 설계·········································································· 67 1) Q 방법론의 특성···························································· 67 2) 연구대상 (P-sample) ···················································· 68 3) Q 항목의 구성 (Q-sample) ········································· 70 4) Q 항목의 분류 (Q-sorting) ········································· 72 2. 부산-후쿠오카 간 대안적 공간 연계에 있어서 현안 인식에 관한 유형화 ··········································································· 74 1) 제1유형: 인재육성과 정보의 플랫폼 필요·················· 74 2) 제2유형: 상시적 접촉 가능성 확보····························· 77 3) 제3유형: 장기적 비전의 결여······································· 80 4) 요약·················································································· 83 제5장 대안적 공간의 연계 방안을 위한 정책과제 및 제언··85 1. 부산-후쿠오카 간의대안적 공간 연계를위한 쟁점 및방향성··· 85 2. 정책과제 및 제언································································· 87 1) 대안적 공간의 지원을 위한 지원 방침의 정립·········· 88 2) 기존의 대안적 공간들의 활성화와 상시적 교류 공간의 구성··· 91 3) 대안적 공간 운영 및 교류 관련 인재 양성과 활용·· 95 4) 이동의 편의를 보장하기 위한 지원 방안의 검토······ 98 5) 아카이브 플랫폼 작업을 통한 부산-후쿠오카 대안적 공 간 연계에 대한 발신기능 구축 ····································· 99 제6장 결론············································································103 Abstract ···················································································108 참고문헌 ················································································109 부록 ·························································································116

<표 Ⅱ-1> 부산의 주요 공공기관 국제문화교류 사업 현황··· 23 <표 Ⅱ-2> 부산회춘프로젝트 참여 공간 및 단체···················· 25 <표 Ⅲ-1> 아트스페이스 테트라 주요 정보····························· 29 <표 Ⅲ-2> 콘야2023의 입주멤버 현황 (2016년 9월) ············· 32 <표 Ⅲ-3> 콘야2023 주요 정보················································· 33 <표 Ⅲ-4> 레이센소 입주멤버 현황 (2016년 9월) ·················· 35 <표 Ⅲ-5> 레이센소의 주요 정보·············································· 37 <표 Ⅲ-6> FUCA 주요 정보······················································ 40 <표 Ⅲ-7> IAF SHOP* 주요 정보············································ 43 <표 Ⅲ-8> 스튜디오 쿠라 주요 정보········································ 46 <표 Ⅲ-9> 라이즈업 케야 주요 정보········································ 49 <표 Ⅲ-10> 갤러리 소프 주요 정보·········································· 52 <표 Ⅲ-11> 오퍼레이션 테이블 주요 정보······························· 55 <표 Ⅲ-12> 다이도카이 모지코 주요 정보······························· 59 <표 Ⅲ-13> 후쿠오카 지역 대안적 공간들 현황 종합············ 60 <표 Ⅳ-1> 조사 대상자 (P-sample) ········································· 68 <표 Ⅳ-2> Q-항목 내용······························································ 71 <표 Ⅳ-3> Q분류 분포도···························································· 73 <표 Ⅳ-4> 도출된 유형별 Eigen value ··································· 74 <표 Ⅳ-5> 제1유형의 Q항목과 표준점수·································· 75 <표 Ⅳ-6> 제2유형의 Q항목과 표준점수·································· 77 <표 Ⅳ-7> 제3유형의 Q항목과 표준점수·································· 80 <표 Ⅴ-1> 부산-후쿠오카 지역 간의 운항 국제편 현황········ 99

<그림 Ⅲ-1> 아트 스페이스 테트라 전경, 2층 공간, 1층 공간·· 29 <그림 Ⅲ-2> 콘야2023 출입구, 갤러리, 401호, 501호 레지던스, 1층 카페 Kasa, 옥상공간···································· 33 <그림 Ⅲ-3> 레이센소 전경, 입구, 현재 공실인 공간, B14‧15 갤러 리, B15-2 요리아이 독서실, A11 프리스페이스·· 37 <그림 Ⅲ-4> FUCA 입구, FUCA BASE 이벤트홀, Enton Works 입구, 스튜디오, FUCAΔLAB, 레지던스 작업실·· 40 <그림 Ⅲ-5> IAF SHOP* 입구, 내부 갤러리 겸 다목적 공간, 수 요 스나쿠 포스터 ·················································· 43 <그림 Ⅲ-6> 스튜디오 쿠라 전경, 간판, 창고갤러리, 어린이 미술 교실, 농촌예술체험, 2016이토시마예농 알림··· 46 <그림 Ⅲ-7> 라이즈업 케야 전경, 내부전경1, 내부전경2, 로프트 공간, 게스트하우스1, 게스트하우스2 ················· 49 <그림 Ⅲ-8> 갤러리 소프 전경, 간판, 내부공간-토크, 내부공간- 전시, 카페, 연극용 공간······································ 52 <그림 Ⅲ-9> 오퍼레이션 테이블 전경, 갤러리, 레지던스 공간·· 55 <그림 Ⅲ-10> 다이도카이 모지코 시장진입로, 전경, 내부공간·· 59 <그림 Ⅴ-1> NO LIMIT 도쿄 자치구 패스포트······················ 98 <그림 Ⅴ-2> 맵 상의 이미지화 가상도··································· 100