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.

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.

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.

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.

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.

In recent years, Busan has emerged as a popular destination for international visitors. With its port and maritime tourism infrastructure, film and music festivals, and the growing wave of K-culture, the number of global tourists has steadily increased. Against this backdrop, Busan has sought to move beyond being a tourist destination to establish itself as a world-class city of culture and the arts.