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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
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
In the previous essay, “The Age of Role Reversal,” we examined how essence is obscured by the non-essential. This chapter turns to the loss of value—a deeper layer of that same inversion. Here, “value” does not refer to market price. It signifies the belief in authenticity, autonomy, and inner necessity that once made art possible as art—a shared yet invisible agreement that sustained the meaning of artistic creation.
2025.10.21
Today, contemporary art appears more dazzling than ever. Art fairs around the world draw hundreds of thousands of visitors, and record-breaking prices are set at auctions. In Korea as well, Frieze Seoul has become a focal point for the Asian art market, while regional fairs such as Art Busan and Art Gwangju continue to expand. Social media feeds are flooded with exhibition snapshots, and blockbuster shows draw long lines of eager visitors.
2025.09.23
In capitalist society, art can no longer remain solely in an independent and autonomous realm. Today, artworks are reduced to prices within the market’s evaluative systems; their lifespan is extended or erased depending on their investment potential.
2025.08.12
