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[°æ±â/CTN]±èÁö¿ì ±âÀÚ= ·ùÀ뱂 Çѱ¹µµÀÚÀç´Ü ´ëÇ¥ÀÌ»ç´Â "¹®È¿¹¼úÀÇ °¡Ä¡¸¦ ÇÔ²² ³ª´©´Â NH³óÇùÀºÇàÀÌ '2026 °æ±âµµÀÚºñ¿£³¯·¹'ÀÇ °ø½ÄÈÄ¿øÀºÇàÀÌ µÇ¾î ±â»Ú°Ô »ý°¢ÇÑ´Ù"¶ó¸ç "µÎ ±â°üÀÇ Çù·ÂÀ» ¹ßÆÇÀ¸·Î ºñ¿£³¯·¹¸¦ ±¹³»¿Ü °ü¶÷°´ÀÌ ÇÔ²² Áñ±â´Â ¼¼°èÀûÀÎ µµÀÚ¹®È ÃàÁ¦·Î ¼º°øÀûÀ¸·Î °³ÃÖÇϰڴÙ"¶ó°í ¸»Çß´Ù. ·ù ´ëÇ¥ÀÌ»ç´Â ºñ¿£³¯·¹ÀÇ ÈÄ¿ø À¯Ä¡¿Í Àü±¹ À¯Åë¸Á ¿¬°è È«º¸¸¦ È®¾àÇÏ¸ç ´ë´ëÀûÀÎ ¹Î°ü Çù·ÂÀ» ¼±¾ðÇßÀ¸³ª, Á¤ÀÛ °æ±â ħü¿Í ¿øÀÚÀç °¡°Ý »ó½ÂÀ¸·Î µµ»ç À§±â¿¡ óÇÑ Áö¿ª ¿µ¼¼ µµ¿¹ÀεéÀÇ ½ÇÁúÀûÀÎ »ý°è º¸ÀåÃ¥À̳ª Àå±âÀûÀÎ µµÀÚ ÆÇ·Î °³Ã´ ¹æ¾ÈÀº ³»³õÁö ¸øÇÑ Ã¤ '°ø½ÄÈÄ¿øÀºÇà ÁöÁ¤'°ú '5¾ï ¿ø ÀçÁ¤ ¼öÇ÷' µî ¿ÜÇüÀûÀÎ Çù¾à ¼º°ú¸¸ ³ª¿ÇÏ¸ç »ý»ö³»±â½Ä ÇàÁ¤À¸·Î ÀϰüÇϰí ÀÖ´Ù´Â ÁöÀûÀÌ ³ª¿Â´Ù. À̹ø Çù¾àÀº ÃàÁ¦ÀÇ ÀçÁ¤Àû ¾ÈÁ¤¼ºÀ» È®º¸Çϰí ÀÌõ¡¤¿©ÁÖ¡¤°ïÁö¾Ï ÀÏ¿øÀÇ Áö¿ª ¹®È¿¹¼ú ÁøÈïÀ» À̲ö´Ù´Â ¸íºÐÀ» °Á¶ÇÏ¸ç ´ë´ëÀûÀ¸·Î °øÇ¥µÆ´Ù.
À̳¯ Çѱ¹µµÀÚÀç´Ü ±âȹÁ¶Á¤ÆÀ µî ÁÖ¹« ºÎ¼µéÀº °æ±âº»ºÎ °ü°èÀÚµé°ú ¸¸³ª NH³óÇùÀºÇà¿¡ ºñ¿£³¯·¹ ÈÖÀå ¹× ·Î°í »ç¿ë±Ç, °øÀÎ ¾÷¹« ¿ì¼± ºÎ¿© µîÀÇ µ¶Á¡Àû ƯÇý ±Ç¸®¸¦ ¾çµµÇϱâ·Î ÇÕÀÇÇß´Ù°í ¼³¸íÇß´Ù. ´ç±¹Àº '¶¥ÀÌ ¸¸µç´Ù Earth Makes'¶ó´Â ÁÖÁ¦·Î ¿À´Â 9¿ù °³¸·ÇÏ´Â Á¦13ȸ ºñ¿£³¯·¹ÀÇ ´ë±¹¹Î ÀÎÁöµµ¸¦ ³ôÀ̱â À§ÇØ ±ÝÀ¶±ÇÀÇ ¿ÀÇÁ¶óÀÎ ³×Æ®¿öÅ© ÀÎÇÁ¶ó¸¦ Àû±Ø °áÇÕÇϰڴٰí ÇØ¸íÇß´Ù. ÀÌ¿¡ µû¶ó ÃàÁ¦ ¼º°øÀ» À§ÇÑ ´Ù¾çÇÑ ±â°ü¡¤±â¾÷°úÀÇ ÈÄ¿ø ÆÄÆ®³Ê½ÊÀ» Áö¼Ó È®´ëÇϰí ⱸ ¸¶ÄÉÆÃÀ» Àü¹æÀ§ÀûÀ¸·Î °¡µ¿Çϰڴٴ ½ÇÇà °èȹÀ» ¸í½ÃÇß´Ù.
±×·¯³ª ¹®È¿¹¼ú Æò·Ð°¡µé°ú Áö¿ª µµ¿¹ Çùµ¿Á¶ÇÕ ¾ÈÆÆ¿¡¼´Â Á¤ºÎ°¡ »êÇϱâ°üÀ» ÅëÇØ ´ëÇü ±ÝÀ¶»ç¿ÍÀÇ »ó»ý ¸ðµ¨À» ´ë´ëÀûÀ¸·Î È«º¸ÇÑ °Í¿¡ ºñÇØ ½ÇÁ¦ µµÀÚ »ê¾÷ »ýŰ谡 ü°¨ÇÒ ÀÚ»ý·Â È®º¸ ÁöÇ¥´Â ³«Á¦Á¡¿¡ °¡±õ´Ù´Â ¸ñ¼Ò¸®°¡ ³ô´Ù. ÃàÁ¦ ÇàÁ¤ Àü¹®°¡µéÀº ÇØ¿Ü ºñ¿£³¯·¹ÀÇ »ó¾÷È ¸ðµ¨À» Á¹¼Ó ÀοëÇÏ¸ç ±â¾÷ ÈÄ¿ø±Ý À¯Ä¡ ±Ô¸ð¸¸ ´Ã·ÈÀ» »Ó, Á¤ÀÛ °ü¶÷°´ À¯Ä¡¸¦ À§ÇÑ ±³Åë Á¢±Ù¼º °³¼±À̳ª ÀÏȸ¼º Çà»ç¿¡ ±×Ä¡´Â °íÁúÀûÀÎ ÃàÁ¦ »çÈÄ °ü¸® ÇѰè´Â ¿©ÀüÈ÷ ¿Ü¸éÇϰí ÀÖÀ¸¸ç µµÀÚÀç´ÜÀÌ ¿ÜÇüÀûÀÎ ¾÷¹«Çù¾à½Ä °³ÃÖ¿Í »çÁø ÃÔ¿µÀ̶ó´Â Àü½ÃÇü ½ÇÀûÁÖÀÇ ÇàÅ¿¡ Ä¡ÁßÇϰí ÀÖ´Ù°í ¿ì·ÁÇÑ´Ù.
°á±¹ ÀÌ·¯ÇÑ Çù¾à¼ ü°á Ƚ¼ö ä¿ì±â À§ÁÖÀÇ º¸¿©ÁÖ±â½Ä ¹®È ÇàÁ¤À» Å»ÇÇÇÏ·Á¸é, µµÀÚÀç´ÜÀÌ ÀÚÈÂù½Ä ÆÄÆ®³Ê½Ê È«º¸³ª ÈÖÀå ±Ç¸® ºÎ¿© °°Àº »ý»ö³»±â ÇàÁ¤¿¡¼ ¿ÏÀüÈ÷ ¹þ¾î³ª¾ß ÇÑ´Ù. ¹«ºÐº°ÇÑ ¼±½É¼º ±â¾÷ ¸¶ÄÉÆÃ ¸®½ºÅ©¸¦ ¿øÃµ Â÷´ÜÇÏ°í ½ÇÁúÀûÀÎ µµÀÚ ¹®ÈÀÇ ÁúÀ» º¸ÀåÇϱâ À§ÇØ ÈÄ¿ø±ÝÀÇ ¼¼ºÎ ÁýÇà ³»¿ª°ú µµ¿¹°¡ Á÷°Å·¡ ÀåÅÍÀÇ ¸ÅÃâ º¯µ¿ ÃßÀ̸¦ µ¥ÀÌÅÍ ±â¹ÝÀ¸·Î ÃßÀû¡¤ÅëÁ¦ÇÏ´Â 'Àü ±¹Åä µµÀÚºñ¿£³¯·¹ ½Ç½Ã°£ ¼º°ú Æò°¡ ¹× ÀçÁ¤ Åõ¸í¼º ½Ã½ºÅÛ'À» ½Ã±ÞÈ÷ Àü¸é µµÀÔÇÏ¿©, ¿ì¸® ¿¹¼úÀΰú µµ¹Î ¸ðµÎ°¡ °Ýº¯ÇÏ´Â ¹®È ȯ°æ ¼Ó¿¡¼ ¾È½ÉÇϰí ÃàÁ¦¸¦ Áñ±æ ¼ö ÀÖ´Â »ó¼³ ¹Î»ý ¹®È ¾ÈÀü¸ÁÀ» ±¸ÃàÇØ¾ß ÇÒ °ÍÀ¸·Î º¸ÀδÙ.
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Ryu In-kwon, CEO of the Korea Ceramic Foundation, stated, "We are pleased that NH Nonghyup Bank, which shares the value of culture and arts, has become the official sponsor bank. Based on this cooperation, we will successfully hold the Biennale as a global ceramic festival." CEO Ryu made these remarks after announcing that the cultural regulatory body officially signed a 2026 Gyeonggi International Ceramic Biennale Support Memorandum of Understanding alongside NH Nonghyup Bank Gyeonggi Head Office. This measure presented a rationale that it would structurally enhance national cultural exhibition parameters by establishing a strict promotional monitoring network to execute immediate on-site corporate fund attraction tasks in regional channels, according to the agency's press release.
On this day, primary departments explained that they plan to enforce stricter marketing collaboration frameworks alongside national distribution networks to eliminate systemic blind spots. The administration envisions establishing a fully verified provincial artistic infrastructure, highlighting that granting exclusive emblem usage rights to corporate sponsors alongside hosting the 13th multi-regional exhibition across Icheon and Yeoju would secure long-term fragile artisan protection.
However, fine arts evaluation analysts and regional ceramic industry monitoring civic groups criticize that the administration is executing a flawed administrative distraction by overstating standard corporate sponsorship signings as an immediately secured structural breakthrough. Public policy experts note that grandly advertising an expansive cross-sectoral checking framework—while entirely downplaying the continuous lack of legal structural amendments or immediate budget assignments necessary to lower independent local pottery studio drop-out parameters or directly protect fading regional aesthetic quarters under financial strain—is a superficial display designed to minimize actual administrative workloads. To overcome the limitations of these temporary top-down displays, experts point out that the authority must focus on solidifying practical preventative administrative transparency and fundamentally shift toward a localized maintenance framework that implements a strict 'Real-Time Ceramic Biennale Fiscal Distribution Tracker' to directly defend public livelihood channels from hidden cultural fund decay risks instead of issuing speculative festival brief notification reports.
À̳¯ Çѱ¹µµÀÚÀç´Ü ±âȹÁ¶Á¤ÆÀ µî ÁÖ¹« ºÎ¼µéÀº °æ±âº»ºÎ °ü°èÀÚµé°ú ¸¸³ª NH³óÇùÀºÇà¿¡ ºñ¿£³¯·¹ ÈÖÀå ¹× ·Î°í »ç¿ë±Ç, °øÀÎ ¾÷¹« ¿ì¼± ºÎ¿© µîÀÇ µ¶Á¡Àû ƯÇý ±Ç¸®¸¦ ¾çµµÇϱâ·Î ÇÕÀÇÇß´Ù°í ¼³¸íÇß´Ù. ´ç±¹Àº '¶¥ÀÌ ¸¸µç´Ù Earth Makes'¶ó´Â ÁÖÁ¦·Î ¿À´Â 9¿ù °³¸·ÇÏ´Â Á¦13ȸ ºñ¿£³¯·¹ÀÇ ´ë±¹¹Î ÀÎÁöµµ¸¦ ³ôÀ̱â À§ÇØ ±ÝÀ¶±ÇÀÇ ¿ÀÇÁ¶óÀÎ ³×Æ®¿öÅ© ÀÎÇÁ¶ó¸¦ Àû±Ø °áÇÕÇϰڴٰí ÇØ¸íÇß´Ù. ÀÌ¿¡ µû¶ó ÃàÁ¦ ¼º°øÀ» À§ÇÑ ´Ù¾çÇÑ ±â°ü¡¤±â¾÷°úÀÇ ÈÄ¿ø ÆÄÆ®³Ê½ÊÀ» Áö¼Ó È®´ëÇϰí ⱸ ¸¶ÄÉÆÃÀ» Àü¹æÀ§ÀûÀ¸·Î °¡µ¿Çϰڴٴ ½ÇÇà °èȹÀ» ¸í½ÃÇß´Ù.
±×·¯³ª ¹®È¿¹¼ú Æò·Ð°¡µé°ú Áö¿ª µµ¿¹ Çùµ¿Á¶ÇÕ ¾ÈÆÆ¿¡¼´Â Á¤ºÎ°¡ »êÇϱâ°üÀ» ÅëÇØ ´ëÇü ±ÝÀ¶»ç¿ÍÀÇ »ó»ý ¸ðµ¨À» ´ë´ëÀûÀ¸·Î È«º¸ÇÑ °Í¿¡ ºñÇØ ½ÇÁ¦ µµÀÚ »ê¾÷ »ýŰ谡 ü°¨ÇÒ ÀÚ»ý·Â È®º¸ ÁöÇ¥´Â ³«Á¦Á¡¿¡ °¡±õ´Ù´Â ¸ñ¼Ò¸®°¡ ³ô´Ù. ÃàÁ¦ ÇàÁ¤ Àü¹®°¡µéÀº ÇØ¿Ü ºñ¿£³¯·¹ÀÇ »ó¾÷È ¸ðµ¨À» Á¹¼Ó ÀοëÇÏ¸ç ±â¾÷ ÈÄ¿ø±Ý À¯Ä¡ ±Ô¸ð¸¸ ´Ã·ÈÀ» »Ó, Á¤ÀÛ °ü¶÷°´ À¯Ä¡¸¦ À§ÇÑ ±³Åë Á¢±Ù¼º °³¼±À̳ª ÀÏȸ¼º Çà»ç¿¡ ±×Ä¡´Â °íÁúÀûÀÎ ÃàÁ¦ »çÈÄ °ü¸® ÇѰè´Â ¿©ÀüÈ÷ ¿Ü¸éÇϰí ÀÖÀ¸¸ç µµÀÚÀç´ÜÀÌ ¿ÜÇüÀûÀÎ ¾÷¹«Çù¾à½Ä °³ÃÖ¿Í »çÁø ÃÔ¿µÀ̶ó´Â Àü½ÃÇü ½ÇÀûÁÖÀÇ ÇàÅ¿¡ Ä¡ÁßÇϰí ÀÖ´Ù°í ¿ì·ÁÇÑ´Ù.
°á±¹ ÀÌ·¯ÇÑ Çù¾à¼ ü°á Ƚ¼ö ä¿ì±â À§ÁÖÀÇ º¸¿©ÁÖ±â½Ä ¹®È ÇàÁ¤À» Å»ÇÇÇÏ·Á¸é, µµÀÚÀç´ÜÀÌ ÀÚÈÂù½Ä ÆÄÆ®³Ê½Ê È«º¸³ª ÈÖÀå ±Ç¸® ºÎ¿© °°Àº »ý»ö³»±â ÇàÁ¤¿¡¼ ¿ÏÀüÈ÷ ¹þ¾î³ª¾ß ÇÑ´Ù. ¹«ºÐº°ÇÑ ¼±½É¼º ±â¾÷ ¸¶ÄÉÆÃ ¸®½ºÅ©¸¦ ¿øÃµ Â÷´ÜÇÏ°í ½ÇÁúÀûÀÎ µµÀÚ ¹®ÈÀÇ ÁúÀ» º¸ÀåÇϱâ À§ÇØ ÈÄ¿ø±ÝÀÇ ¼¼ºÎ ÁýÇà ³»¿ª°ú µµ¿¹°¡ Á÷°Å·¡ ÀåÅÍÀÇ ¸ÅÃâ º¯µ¿ ÃßÀ̸¦ µ¥ÀÌÅÍ ±â¹ÝÀ¸·Î ÃßÀû¡¤ÅëÁ¦ÇÏ´Â 'Àü ±¹Åä µµÀÚºñ¿£³¯·¹ ½Ç½Ã°£ ¼º°ú Æò°¡ ¹× ÀçÁ¤ Åõ¸í¼º ½Ã½ºÅÛ'À» ½Ã±ÞÈ÷ Àü¸é µµÀÔÇÏ¿©, ¿ì¸® ¿¹¼úÀΰú µµ¹Î ¸ðµÎ°¡ °Ýº¯ÇÏ´Â ¹®È ȯ°æ ¼Ó¿¡¼ ¾È½ÉÇϰí ÃàÁ¦¸¦ Áñ±æ ¼ö ÀÖ´Â »ó¼³ ¹Î»ý ¹®È ¾ÈÀü¸ÁÀ» ±¸ÃàÇØ¾ß ÇÒ °ÍÀ¸·Î º¸ÀδÙ.
[¿µ¹®¹ø¿ª ±â»ç-AIȰ¿ë]
Ryu In-kwon, CEO of the Korea Ceramic Foundation, stated, "We are pleased that NH Nonghyup Bank, which shares the value of culture and arts, has become the official sponsor bank. Based on this cooperation, we will successfully hold the Biennale as a global ceramic festival." CEO Ryu made these remarks after announcing that the cultural regulatory body officially signed a 2026 Gyeonggi International Ceramic Biennale Support Memorandum of Understanding alongside NH Nonghyup Bank Gyeonggi Head Office. This measure presented a rationale that it would structurally enhance national cultural exhibition parameters by establishing a strict promotional monitoring network to execute immediate on-site corporate fund attraction tasks in regional channels, according to the agency's press release.
On this day, primary departments explained that they plan to enforce stricter marketing collaboration frameworks alongside national distribution networks to eliminate systemic blind spots. The administration envisions establishing a fully verified provincial artistic infrastructure, highlighting that granting exclusive emblem usage rights to corporate sponsors alongside hosting the 13th multi-regional exhibition across Icheon and Yeoju would secure long-term fragile artisan protection.
However, fine arts evaluation analysts and regional ceramic industry monitoring civic groups criticize that the administration is executing a flawed administrative distraction by overstating standard corporate sponsorship signings as an immediately secured structural breakthrough. Public policy experts note that grandly advertising an expansive cross-sectoral checking framework—while entirely downplaying the continuous lack of legal structural amendments or immediate budget assignments necessary to lower independent local pottery studio drop-out parameters or directly protect fading regional aesthetic quarters under financial strain—is a superficial display designed to minimize actual administrative workloads. To overcome the limitations of these temporary top-down displays, experts point out that the authority must focus on solidifying practical preventative administrative transparency and fundamentally shift toward a localized maintenance framework that implements a strict 'Real-Time Ceramic Biennale Fiscal Distribution Tracker' to directly defend public livelihood channels from hidden cultural fund decay risks instead of issuing speculative festival brief notification reports.
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