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
The Anachronism series began by examining how Korean art has continued to understand and organize itself under changing conditions through languages, institutions, and models of success inherited from the past. It considered the recurring tendency to reproduce earlier
2026.07.28
A fundamental problem in Korean art history remains insufficiently resolved: the criteria by which its historical periods are distinguished. When did Korea’s modern period in art begin? What does hyeondae misul—the category conventionally called “modern art” or “contemporary art” in Korean—actually signify, and where does it begin? And from what
2026.07.14
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
