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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
Over the past few years, the landscape of the Asian art market has been rapidly reshaped. Seoul has drawn increasing attention from the international art world through Frieze Seoul, Kiaf Seoul, and Seoul Art Week, while Hong Kong, despite political changes and the impact of China’s economic slowdown, continues to maintain its position as a powerful transactional hub.
2026.04.28
One of the most striking phenomena in the recent Korean art world is the rapid increase in the number of art fairs. Not only in Seoul, but across the country—in Busan, Daegu, Ulsan, Jeju, Cheongju, and elsewhere—art fairs of differing scales and characters are being held throughout the year. In April of this year alone, as many as four or five art fairs took place almost simultaneously.
2026.04.14
Non-profit art spaces in Korean contemporary art began to emerge in the late 1990s. Spaces such as Alternative Space Loop (1999– ), Project Space Sarubia (1999- ), Art Space Pool (1999–Jan 2021), and Insa Art Space (2000–Jun 2025) functioned as platforms for experimental practices and emerging artists that were not accommodated within institutional art, forming a structure that explored new possibilities for artistic production both outside and within institutional frameworks.
2026.03.31
The Damien Hirst exhibition held at the National Museum of Modern and Contemporary Art carries a meaning that goes beyond that of a typical exhibition of a famous overseas artist. It is an event that introduces a single artist, but at the same time it serves as an occasion to reconsider how the system of contemporary art operates today and what role a national museum should play within that structure
2026.03.17
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
The museum is the most stable institution in contemporary art and one of its most powerful mechanisms of selection. In contemporary art, the museum has functioned not simply as a space for collecting and exhibiting works, but as a key institution that determines what is recognized as contemporary art, which forms and languages acquire public visibility, and which exhibitions are granted institutional legitimacy.
2026.04.07
The discussion thus far converges on a single question. Where does the future of Korean contemporary art begin? Can that future be explained solely through more exhibitions, faster international expansion, larger market scales, and increasingly elaborate discursive rhetoric?
2026.03.24
