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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
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.
2025.09.16
The previous two essays examined the anachronism of Korean contemporary art. The first identified the problem of explaining the present through the languages of the past. The second examined the structure through which past models of success continue to be repeated as strategies for the future.
2026.06.30
The anachronism of Korean contemporary art is not simply a matter of outdated institutions or obsolete sensibilities. The more fundamental problem lies in the way methods that once proved effective continue to be repeated today as strategies for the future. A failed past can be criticized relatively easily. A successful past, however, tends to survive for a long time. It becomes inertia within institutions, a standard within policy, an object of imitation within the market, and a source of justification within discourse.
2026.06.16
Anachronism generally refers to a temporal dislocation. It describes a condition in which objects, languages, institutions, or sensibilities from different historical periods appear out of sync within the same moment. Yet under the post-contemporary condition, anachronism does not simply mean something old, outdated, or behind the times.
2026.06.02
One of the most powerful languages in contemporary art today is “critique.” Exhibitions question society, institutions dismantle power, and the curatorial produces discourse that moves across boundaries. Museums and biennales function as platforms for interpreting politics and society, history and identity.
2026.05.19
In contemporary art, the market determines the price of artworks. Galleries introduce artists, art fairs concentrate visibility and transactions, and auctions publicly confirm prices in the secondary market. As discussed in Part 7, these mechanisms together constitute the distribution system of today’s art market, revealing how prices are discovered, reiterated, and ultimately fixed.
2026.05.05
In contemporary art, galleries, art fairs, and auctions are no longer merely channels of distribution. They are the structures through which works enter the market, gain visibility, acquire prices, and determine the position of artists. Under the conditions of the post-contemporary, the importance of these structures becomes even more pronounced.
2026.04.21
