The Korean art scene is experiencing what can truly be called a "blockbuster boom." One after another, exhibitions of internationally renowned artists—Van Gogh, Hopper, Munch, Basquiat—are being held in Korea, resembling the global tours of pop stars. The 《Immortal Painter Van Gogh》 exhibition attracted 350,000 visitors within just two months, while 《Vienna 1900: Dreaming Artists》 has become so popular that securing a ticket is nearly impossible.

On the surface, this might suggest a surge in public interest in art. However, does this trend genuinely contribute to the advancement of Korean art, or is it merely a commercially driven spectacle?

Imported Blockbuster Exhibitions – A Growth Engine for Korean Art?

Since the 《David Hockney》 exhibition drew over 300,000 visitors in 2019, blockbuster exhibitions featuring internationally recognized artists have become a standard formula for success. Exhibition planners import artworks from globally renowned artists such as Basquiat, Cattelan, Hopper, and Munch, while museums repeatedly host these exhibitions to secure stable revenue. However, this pattern is pushing Korean art to the margins.

These large-scale blockbuster exhibitions limit opportunities for Korean contemporary artists and experimental art, depriving them of a chance to grow organically within their own ecosystem. Instead of exploring the diverse spectrum of contemporary art or supporting emerging artists, museums prioritize exhibitions featuring well-known foreign names. This is not just a matter of curatorial direction—it is a crucial issue that will shape the future of Korean art.


 
From Art to Merchandise – The Transformation of Exhibitions into Consumer Events

These blockbuster exhibitions are no longer about art appreciation; they have become carefully orchestrated commercial events. The focus is not on engaging with the artworks but rather on social validation—being able to say, "I saw Van Gogh" or "I attended the Basquiat exhibition." Exhibition visits are increasingly centered around social media check-ins and photo-sharing, rather than deep appreciation or intellectual engagement.

Exhibition planners, fixated on maximizing ticket sales, create visually immersive spaces with dramatic lighting and grandiose designs, ensuring that the exhibitions are highly Instagrammable. This approach reduces art to a mere commodity, and museums are gradually losing their educational and critical functions.


 
A Lesson from Japan – The Blockbuster Boom of the Bubble Economy

Korea’s current blockbuster boom closely mirrors Japan’s experience in the 1980s and early 1990s, during its economic expansion known as the "bubble economy." During this period, Japan witnessed a surge in large-scale art imports and blockbuster exhibitions, fueled by corporate and private investment in art as a financial asset.

This trend peaked in 1990 when Van Gogh’s Portrait of Dr. Gachet was sold for a record-breaking $82.5 million. However, when Japan’s economic bubble burst, the art market collapsed, and many high-priced acquisitions were either resold overseas at significant losses or lost their value entirely.

This historical precedent illustrates the risks of commercializing blockbuster exhibitions. Prioritizing the consumption of internationally validated artworks over the organic development of local art culture may bring short-term financial benefits, but it can ultimately lead to an imbalance and stagnation in the art ecosystem.
 


Exhibiting Artists from the Past – When Art Becomes a Mere ‘Event’

Another major issue with Korea’s blockbuster exhibitions is the recurring focus on artists from the past, rather than engaging with contemporary artistic discourse.

Exhibitions of 19th-century Impressionists or early-to-mid 20th-century modernists continue to dominate the scene, acting as a guaranteed box-office success. However, this suggests that Korean art institutions are not fostering new discussions or engaging with contemporary artistic developments but are instead recycling the legacies of historically established Western artists.

Van Gogh, Basquiat, and Munch are undeniably significant figures in art history. However, the key question is: "Why are we exhibiting these artists now?" Instead of exploring their relevance to today’s world, Korea’s blockbuster exhibitions rely solely on their fame and popularity. This approach treats art not as an intellectual pursuit but as a repackaged commercial product, perpetually being resold for mass consumption.


 
Art Should Be an Object of Contemplation, Not Just a Fleeting Trend

Blockbuster exhibitions can contribute to raising public interest in art. However, if they continue in their current form—where art is consumed as a temporary trend and dictated by imported commercial spectacles—Korean art will struggle to develop its own voice.

Museums and exhibition planners must reconsider their curatorial priorities. Museums should not function as mere entertainment venues chasing attendance figures—they should serve as platforms for critical discourse and artistic exploration. The overreliance on imported blockbuster exhibitions is gradually depleting the foundation of Korea’s art scene, preventing it from growing independently.

Art is not just an immersive experience or an Instagram-friendly attraction. It is a medium for deep thought, historical reflection, and cultural discourse. Instead of simply fueling consumer trends, Korea’s art institutions must invest in fostering a self-sustaining, dynamic artistic ecosystem that can contribute meaningfully to the global art scene.

Now is the time to shift the focus from imported commercial blockbusters to a more balanced, introspective, and forward-thinking approach to art exhibition planning.

Jay Jongho Kim graduated from the Department of Art Theory at Hongik University and earned his master's degree in Art Planning from the same university. From 1996 to 2006, he worked as a curator at Gallery Seomi, planning director at CAIS Gallery, head of the curatorial research team at Art Center Nabi, director at Gallery Hyundai, and curator at Gana New York. From 2008 to 2017, he served as the executive director of Doosan Gallery Seoul & New York and Doosan Residency New York, introducing Korean contemporary artists to the local scene in New York. After returning to Korea in 2017, he worked as an art consultant, conducting art education, collection consulting, and various art projects. In 2021, he founded A Project Company and is currently running the platforms K-ARTNOW.COM and K-ARTIST.COM, which aim to promote Korean contemporary art on the global stage.