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In recent years, Korean contemporary art has no longer remained on the periphery of the global art world. Korean artists are continuously invited to major biennials and international museums, and in terms of both form and subject matter, Korean contemporary art has increasingly demonstrated the ability to respond to global artistic standards.
2026.01.06
The partnership between Frieze Seoul and Kiaf SEOUL has been extended for an additional five years. Approved with near-unanimous support at an extraordinary general meeting of the Galleries Association of Korea, the decision represents more than a simple contract renewal. It signals how the association—which oversees and operates Kiaf—currently understands and positions the structure of the art fair within Korea’s art ecosystem.
2025.12.23
Bradford’s work is often packaged under the label of “social abstraction.” Yet this term directly contradicts the foundations of abstraction itself and functions more as a sanitized institutional rhetoric that half-erases its ethical and political implications.
2025.12.02
In Korean contemporary art, the dominance of external theories is not simply a matter of imitation or personal preference. It results from a long-accumulated structure shaped by art education, institutional frameworks, and evaluation systems within the art market and public institutions.
2025.11.18
In contemporary Koren art, one fact stands out: despite countless exhibitions and projects held every week, very few artists have an official website that documents their practice in a structured and lasting way.
2025.10.28
K-Culture continues to expand across the globe. At〈Music Bank in Lisbon〉, held in Portugal, artists such as IVE, Taemin, and RIIZE performed before a crowd of 20,000. It was not a one-time event but part of a broader system of performance production and fan-based engagement operating within the European market.
2025.10.14
“Who bought that piece?” This question often wields more power than the artwork’s intrinsic aesthetics or philosophy. In today’s art world, the collector is not merely a purchaser but a powerful actor who structures value and inscribes narrative.
2025.07.29
In the 21st century, late capitalism has evolved beyond an economy of production and consumption into a system where symbols and signs dominate value. Jean Baudrillard called this the “political economy of the sign,” where the symbolic meaning of things supersedes their material substance. In such a system, commodities are no longer just physical objects—they are bundles of signs, socially coded and ideologically charged.
2025.07.15
Fine art has always touched the deepest strata of the human spirit. It is not simply the skill of creating aesthetic objects, but the act of a living human being attempting to understand themselves. While humans have evolved by using tools, it is in writing poetry and painting images that they crossed from utility into the realm of the mind. Art was born at this very threshold, and it has defined civilization ever since.
2025.07.01
Public support was once the final bastion of art. It served as the only mechanism through which art could defend itself from the logic of the market—a space where the essence of artistic creation could be protected from the accelerating demands of capital.
2025.06.17
In today’s global art market, auctions and art fairs are no longer simply distribution channels or temporary festivities. Auctions reduce art to quantifiable numbers, while art fairs promote the rapid reproduction and immediate consumption of market-friendly works. Empowered by capital, these two forces now dictate not only the market’s direction but also the survival conditions of artists themselves.
2025.06.03
The Korean contemporary art scene today is enveloped in a profound silence—the absence of art criticism. Exhibitions abound, artworks circulate rapidly through the market, and artists are consumed at speed, but there is scarcely a voice that interprets, questions, or inscribes meaning into these movements.
2025.05.20
