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On April 30, 2026, all five members of the international jury for《In Minor Keys》, the 61st International Art Exhibition of the Venice Biennale, resigned just nine days before the exhibition’s opening. Led by jury president Solange Oliveira Farkas, the jury members Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi released a brief statement of resignation through e-flux.
2026.05.12
Over the past few years, the landscape of the Asian art market has been rapidly reshaped. Seoul has drawn increasing attention from the international art world through Frieze Seoul, Kiaf Seoul, and Seoul Art Week, while Hong Kong, despite political changes and the impact of China’s economic slowdown, continues to maintain its position as a powerful transactional hub.
2026.04.28
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
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
The term “The Conditions of the Post-Contemporary” is not intended to declare the arrival of a new era. Rather, it functions as an analytical concept designed to bring the operative principles that contemporary art has established for itself back into the realm of critical reflection.
2026.01.27
This text is not written to introduce or defend Korean contemporary art. Nor is it intended to declare a new movement or to predict future artistic forms. The point of departure for this series is a more fundamental question: Under what conditions has contemporary art operated, and are those conditions still valid today?
2026.01.13
If modernism grounded art in formal innovation and historical progress, and postmodernism dismantled that narrative by foregrounding difference and the relativization of meaning, contemporary art today no longer functions as a framework capable of articulating new aesthetic principles or a coherent historical direction.
2025.12.30
Today’s art market operates on a vast speculative structure camouflaged by the language of “investment.” Artworks are no longer read as products of emotion or thought; instead, they are interpreted as indicators of price volatility.
2025.12.09
Today’s contemporary art scene has been rewritten in the language of capital. Artworks have become units of transaction rather than outcomes of thought, and the artist’s creative act is adjusted somewhere between private desire and market demand. The spiritual value of art—the inner form where human perception meets reflection—is gradually losing its ground.
2025.11.11
