Art spaces are more than venues for exhibiting works of art. They serve as vital intermediaries that discover new artists, generate critical discourse, and connect audiences, markets, and institutions. Changes in these spaces, therefore, are not simply matters of individual organizations adopting different modes of operation. They are important indicators of how the contemporary art ecosystem has evolved and the direction in which it is moving.
2026.07.21
In Korean society, internationalization and globalization emerged as major national agendas between the late 1980s and the mid-1990s. The 1988 Seoul Olympics was a symbolic event through which Korea began to present itself to the international community in a more visible and active way. In the 1990s, Korea rapidly entered the global order through democratization, market liberalization, cultural exchange, and participation in international organizations.
2026.07.07
One of the most significant stories in the global art world recently has been Pace Gallery’s large-scale staff reductions and restructuring of its artist roster. Across the international art community, the news was widely interpreted as a sign of crisis within the mega-gallery model.
2026.06.23
Recently, major media outlets including The New York Times, the international contemporary art platform Ocula, and ARTnews have extensively reported on the large-scale restructuring of Pace Gallery, one of the world’s leading mega-galleries. In particular, remarks by Pace CEO Marc Glimcher describing the current gallery model as not merely “broken” but effectively “unfixable” have sent ripples throughout the global art world.
2026.06.09
Fine art engages with society, the market, and institutions, but its mode of existence cannot be reduced to commodity production or the provision of services. An artist is not someone who produces works in order to satisfy the demands of a specific customer, and an artwork is not a product made to provide functional utility
2026.05.26
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
What we commonly refer to as "art" (예술 in Korean) consists of "craft" (藝) and "technique" (術). The English word "art" originates from the Greek word "ars," meaning technique (techne). Before the 17th century, practical arts such as architecture, crafts, and design were all referred to as "art." However, as painting and sculpture separated from architecture, they came to be called fine art.
2024.10.08
Korean experimental art is driven by artists seeking to experiment and innovate and is comprised of attempts to overcome conventional art forms and experiences. In these attempts, artists have pushed the boundaries of convention and created original works, helping shape a culture that values artistic freedom and diversity.
2023.09.18
While there are countless artists who have contributed to the development of the experimental art movement, we will highlight a few of them in the hope that their work will help more people to better understand the landscape of experimental art in Korea.
2023.09.11
This article will provide a brief introduction to the prominent groups such as Korean Avant-Garde Association” (A.G., 1969–1975), “Space & Time” (S.T., 1969–1981), and “The Fourth Group” (1970).
2023.09.04
While various groups have contributed to the advancement of experimental art through their activities, this article will provide a brief introduction to the prominent groups such as “Mudongin (Zero Group),” “Origin Society,” and ” Sinjeon dongin (New Exhibition Group).”
2023.08.28
Understanding the international influences on Korean experimental art is vital, as it will illuminate the unique position Korean experimental art occupies on the international art stage.
2023.08.21
