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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
The third Korean art market boom, which took place from the late 1990s to 2007, was unlike anything that had come before it. It was a time of exponential expansion in all aspects of the Korean art market.
2023.09.07
In this evolving environment, the Korean art market experienced its second golden era, transitioning from the late 1980s to the early 1990s. As the nation underwent a pronounced economic expansion and greater integration into the global sphere, the art scene also thrived.
2023.09.03
The Korean art market has experienced significant peaks and troughs approximately every ten years since the 1970s. This article explores the first wave.
2023.08.31
From 1990 to the present, the collections acquired by the MMCA have reflected the social trends of the times. By looking back at the history of the MMCA’s collections, we can see the identity of the museum and the history it hopes to write in the future.
2023.06.19
An art museum’s collection reflects the values of its contemporary society. The collection of the National Museum of Modern and Contemporary Art, Korea (MMCA) is a manifestation of the institution’s core values and their adaptation to the shifting tides of society.
2023.06.12
Hyundai Motor Company has been supporting the works of numerous artists through different art institutions with the aim of providing a variety of experiences to a larger audience.
2023.03.20
