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Since the early 2020s, the global art world has undergone a rapid reconfiguration. At the heart of this transformation is an unprecedented focus on Black artists. From major museum exhibitions to art fair demand and collector interest, the entire ecosystem reflects this shift. Yet this isn't merely a passing trend. Rather, it is the visible outcome of two converging cultural forces: Postcolonialism and Political Correctness (PC).
2025.07.22
The solo exhibition of Australian hyperrealist sculptor Ron Mueck, currently being held at the National Museum of Modern and Contemporary Art (MMCA) in Seoul, is drawing more than 5,000 visitors per day and is expected to surpass 500,000 visitors within two months.
2025.07.08
On May 29, 2025, the Seoul Museum of Photography (Photography Seoul Museum of Art) opens its doors in Chang-dong, Dobong-gu, Seoul. As the first public art museum in Korea dedicated entirely to the photographic medium, this institution is not merely another museum opening—it is a historic milestone.
2025.05.27
Art Busan 2025 concluded its four-day run on May 11 at BEXCO in Haeundae, Busan. Now in its 14th edition, the fair brought together 109 galleries from 17 countries in an effort to reinforce Busan’s position as a hub of contemporary art in East Asia. However, the outcome reflected more of the current art market realities than a major shift.
2025.05.13
On April 24, 2025, the Ministry of Culture, Sports and Tourism hosted "Art Policy Talk at 3PM" at Art Korea Lab in Seoul under the theme of "Art in the Age of AI." Despite its promising topic, the event ultimately fell short of presenting a deep critical engagement or offering concrete alternatives.
2025.04.29
According to the recently released 2024 Artist Status Survey, 75.7% of artists earn less than 12 million KRW annually, while 31% report having no income at all. The average household income of artists is over 20 million KRW lower than the national average, with severe income disparities particularly evident in photography, literature, and fine arts.
2025.03.11
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
