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One of the most striking phenomena in the recent Korean art world is the rapid increase in the number of art fairs. Not only in Seoul, but across the country—in Busan, Daegu, Ulsan, Jeju, Cheongju, and elsewhere—art fairs of differing scales and characters are being held throughout the year. In April of this year alone, as many as four or five art fairs took place almost simultaneously.
2026.04.14
Non-profit art spaces in Korean contemporary art began to emerge in the late 1990s. Spaces such as Alternative Space Loop (1999– ), Project Space Sarubia (1999- ), Art Space Pool (1999–Jan 2021), and Insa Art Space (2000–Jun 2025) functioned as platforms for experimental practices and emerging artists that were not accommodated within institutional art, forming a structure that explored new possibilities for artistic production both outside and within institutional frameworks.
2026.03.31
The Damien Hirst exhibition held at the National Museum of Modern and Contemporary Art carries a meaning that goes beyond that of a typical exhibition of a famous overseas artist. It is an event that introduces a single artist, but at the same time it serves as an occasion to reconsider how the system of contemporary art operates today and what role a national museum should play within that structure
2026.03.17
The National Museum of Modern and Contemporary Art, Korea (MMCA), in partnership with the SBS Foundation, has announced the shortlisted artists for the “Korea Artist Prize 2026”
2026.02.24
The year 2026 marks the 20th anniversary of the passing of Nam June Paik (1932–2006). Long before the emergence of the World Wide Web, Paik envisioned a globally networked society. In 1974, he began conceptualizing Electronic Superhighway, anticipating the cultural and social transformations that digital networks would bring. As early as 1964, he introduced Robot K-456, bringing the relationship between humans and machines into the realm of artistic experimentation.
2026.01.27
President Lee Jae-myung recently emphasized that “in the international society of the 21st century, culture is at the core of national prestige and national power,” adding that “even an additional supplementary budget should be arranged if necessary to restore and strengthen the foundations of culture and the arts.”
2026.01.20
In contemporary art, galleries, art fairs, and auctions are no longer merely channels of distribution. They are the structures through which works enter the market, gain visibility, acquire prices, and determine the position of artists. Under the conditions of the post-contemporary, the importance of these structures becomes even more pronounced.
2026.04.21
The museum is the most stable institution in contemporary art and one of its most powerful mechanisms of selection. In contemporary art, the museum has functioned not simply as a space for collecting and exhibiting works, but as a key institution that determines what is recognized as contemporary art, which forms and languages acquire public visibility, and which exhibitions are granted institutional legitimacy.
2026.04.07
The discussion thus far converges on a single question. Where does the future of Korean contemporary art begin? Can that future be explained solely through more exhibitions, faster international expansion, larger market scales, and increasingly elaborate discursive rhetoric?
2026.03.24
When discussing the conditions of the post-contemporary, the first thing to guard against is the misunderstanding that it refers to a new style or a fashionable label. As discussed in the previous essays, the issue at stake is not the declaration of a new
2026.03.10
The current crisis of contemporary art cannot be explained by stagnation in production or exhaustion of imagination. Countless exhibitions and projects continue to be organized, and new formal strategies and critical concerns consistently emerge.
2026.02.24
Contemporary art is frequently discussed today through the language of crisis. This crisis is often framed as a loss of meaning: the claim that contemporary art has nothing new to say, that critique has become repetitive
2026.02.10
