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President Lee Jae-myung recently emphasized that “in the international society of the 21st century, culture is at the core of national prestige and national power,” adding that “even an additional supplementary budget should be arranged if necessary to restore and strengthen the foundations of culture and the arts.”
2026.01.20
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
In today’s global art market, auctions and art fairs are no longer simply distribution channels or temporary festivities. Auctions reduce art to quantifiable numbers, while art fairs promote the rapid reproduction and immediate consumption of market-friendly works. Empowered by capital, these two forces now dictate not only the market’s direction but also the survival conditions of artists themselves.
2025.06.03
The Korean contemporary art scene today is enveloped in a profound silence—the absence of art criticism. Exhibitions abound, artworks circulate rapidly through the market, and artists are consumed at speed, but there is scarcely a voice that interprets, questions, or inscribes meaning into these movements.
2025.05.20
At some point, the phrase “good artwork” quietly disappeared from the art market’s vocabulary. In its place came expressions like “rising artist,” “sold-out exhibition,” and “best-selling series.” The value of an artwork is no longer judged by the emotions it evokes or the meaning it holds.
2025.04.29
In contemporary life, we often speak of “value,” yet rarely do we pause to examine what we mean by it. Under capitalism, value is almost instinctively reduced to a single measure: price. Art is no exception. The inherent meaning of a work—its inner necessity and expressive urgency—has gradually been pushed aside, while marketability and investment potential increasingly dictate how art is evaluated and consumed.
2025.04.15
At the dawn of the 21st century, the art world is undergoing a profound transformation, shaped by the rapidly evolving forces of capitalism, technological revolutions, and globalization. This transformation is not merely a sign of the times but a seismic shift that shakes the very foundation upon which art exists.
2025.03.25
Korean contemporary art is gaining increasing attention worldwide. Major international museums and biennales are showcasing works by Korean artists, and global art markets are demonstrating a growing interest in Korean contemporary art.
2025.03.18
