Journalist

Yoon Ju-hye
  • Tongyeong, Seoul Launch Spring Classical Season With Major Music Festivals
    Tongyeong, Seoul Launch Spring Classical Season With Major Music Festivals South Korea’s spring classical music season is opening with a run of major festivals, led by the Tongyeong International Music Festival and followed by the Seoul Arts Center Symphony Festival and the Seoul Spring Chamber Music Festival. Industry officials said Thursday that the three events will offer a wide range of programs, from large-scale orchestral concerts to chamber music. The Tongyeong International Music Festival runs March 27 to April 5 at Tongyeong Concert Hall under the theme “Face the Depth,” presenting 26 performances. British contemporary music composer George Benjamin will serve as composer-in-residence, with five of his major works to be performed. Violinist Augustin Hadelich will appear in a recital, as a soloist and in a chamber project. Countertenor Jakub Jozef Orlinski will present works spanning Baroque and Classical music as well as Polish art songs. Both resident artists are set to appear together on April 3 in “Tongyeong Festival Orchestra II.” The festival will also feature contemporary works and premieres, including Unsuk Chin’s “Graffiti,” with leading performers from Korea and abroad, including pianist Seong-Jin Cho. The Seoul Arts Center Symphony Festival will be held April 1-23 at the Seoul Arts Center Concert Hall under the theme “Connecting The Notes.” Nineteen symphony orchestras from across the country and one overseas ensemble will present 20 performances. Conductors include Jaap van Zweden with the Seoul Philharmonic Orchestra and Roberto Abbado with the National Symphony Orchestra. Women conductors Holly Choi, Yeoja Kyung and Park Seung-yu are also on the roster. Vincent Ong, a prizewinner at the Chopin Competition, and other emerging musicians will appear as soloists. Programs will pair core repertoire by Beethoven, Brahms and Tchaikovsky with large-scale 20th-century works by Shostakovich and Stravinsky. On April 7, the Verbier Festival Chamber Orchestra is scheduled to perform, highlighting the festival’s international reach. The Seoul Spring Chamber Music Festival runs April 21 to May 3 under the theme “Mozart and Prodigies,” with 13 performances at venues including the Seoul Arts Center and Sejong Center for the Performing Arts. Marking the 270th anniversary of Mozart’s birth, the festival will focus on his late masterpieces while also highlighting works by other prodigy composers such as Saint-Saens, Debussy and Beethoven. A total of 82 musicians will take part. Performers include young artists such as violinist Kim Yeon-a and cellist Kim Jeong-a, alongside festival mainstays including pianist Kim Young-ho, violist Kim Sang-jin and pianist Lim Hyo-sun. 2026-03-26 12:03:23
  • New Book Traces Tech Revolutions From the Industrial Age to the AI Era
    New Book Traces Tech Revolutions From the Industrial Age to the AI Era Sapiens’ Last Voyage in the Age of the AI Revolution=By Kim Do-yeol, Cheongnyeon Seogwan. The book reviews major technological upheavals from the 18th-century first Industrial Revolution to today’s AI revolution, tracing in chronological order the fear and resistance people have repeatedly shown when confronted with new technology. Organized in four parts, it frames the central question facing humanity in the AI era — “how” to respond — through a narrative history. Kim argues that today’s anxiety about AI is not new. He points to 1825, when the arrival of the steam locomotive helped open the way to mass production and fueled conflict and backlash, including the collapse of some craft labor and the Luddite movement. He writes that those who opened new eras did not ignore technology or follow it blindly; they sought to understand it and use it proactively to ride out sweeping change. The book says the AI era is no different, urging readers to face fear without being ruled by it. * This article has been translated by AI. 2026-03-26 11:21:23
  • South Korea to Hold Forum on Adding Hangul Signboard at Gwanghwamun Gate
    South Korea to Hold Forum on Adding Hangul Signboard at Gwanghwamun Gate The Ministry of Culture, Sports and Tourism said Thursday it will hold a public forum March 31 to hear views on whether to add a Hangul signboard at Gwanghwamun Gate. The “Gwanghwamun Signboard Forum” is scheduled for 2 p.m. at a sixth-floor conference room of the National Museum of Korean Contemporary History. At a Cabinet meeting on Jan. 20, Culture Minister Choi Hwi-young proposed keeping the existing signboard in Chinese characters while adding a Hangul version, aiming to respect the gate’s historical character while reflecting a modern symbol. The ministry said the forum will organize key issues and begin fuller discussion, and any interested member of the public may attend. Presentations will be given by Lee Geon-beom, head of the Hangul Culture Solidarity, and Choi Jong-deok, former director of the National Research Institute of Cultural Heritage. The discussion will be moderated by Yang Hyun-mi, a professor in cultural arts management at Sangmyung University. Panelists include Kim Kwon-jung, a curator at the National Museum of Korean Contemporary History; Kim Ju-won, president of the Hangul Society; Lee Kang-min, a professor of architecture at the Korea National University of Arts; Hong Seok-ju, a professor of architecture at Seoil University; and Kim Hyung-woo, head of the Korean Peninsula Culture and Tourism Research Institute. The ministry said it will continue gathering opinions after the forum. It plans to open an online message board on its website in early April and to conduct expert consultations and a public survey as it reviews the policy in detail. “Gwanghwamun is a place where history and the future coexist, and a leading space that symbolizes the Republic of Korea, so we need to think together about what is appropriate for it,” Choi said. “The government will listen broadly with an open attitude and, through sufficient deliberation and opinion-gathering, prepare an option the public can support.” * This article has been translated by AI. 2026-03-26 09:24:17
  • South Korea ranks fourth in global gaming market
    South Korea ranks fourth in global gaming market SEOUL, March 25 (AJP) - South Korea's gaming industry ranks fourth in the global market, remaining one of the fastest-growing tech sectors, with developers vying to attract users through increasingly engaging online and mobile games. With the global gaming market estimated at $220.07 billion, South Korea accounted for 7.2 percent, ranking fourth behind China, the U.S, and Japan, according to a joint report released by the Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency (KOCCA) on Wednesday. The cumulative revenue of the domestic game industry stood at 23.85 trillion won in 2024, up 3.9 percent from a year earlier. Exports also rose by 1.3 percent to US$8.50 billion, with China taking the largest share at 29.7 percent, followed by Southeast Asia at 20.6 percent, North America at 19.5 percent, and Japan at 8.3 percent. Mobile games accounted for more than half of total revenue at 59 percent, followed by PC games at 25.2 percent, console games at 5 percent, and arcade games at 1.2 percent. "The report offers insight to closely assess the industry and develop future strategies," said KOCCA's acting President Yu Hyeons-seok, adding that the agency will continue to provide "systematic, data-based support" so that the country's gaming industry can continue to prosper while staying competitive globally." 2026-03-25 16:55:39
  • South Korea Game Industry Revenue Tops 23.85 Trillion Won, Ranks No. 4 Globally
    South Korea Game Industry Revenue Tops 23.85 Trillion Won, Ranks No. 4 Globally South Korea’s game industry continued to grow in 2024, with revenue topping 23.85 trillion won, according to a government-backed report released Tuesday.   The Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency said in the “2025 Korea Game White Paper” that 2024 domestic game-industry revenue totaled 23.8515 trillion won, up 3.9% from a year earlier. Exports came to $8.50346 billion (about 11.5985 trillion won), a 1.3% increase year over year, the report said. By segment, 2024 sales were led by mobile games at 14.0710 trillion won (59.0%), followed by PC games at 6.0094 trillion won (25.2%), console games at 1.1836 trillion won (5.0%) and arcade games at 275.9 billion won (1.2%). Mobile games accounted for more than half of total revenue. The global game market in 2024 was estimated at about $220.071 billion, up 0.7% from the previous year. South Korea’s share was 7.2%, holding fourth place behind China, the United States and Japan, the report said.  By destination, exports were concentrated in China (29.7%), Southeast Asia (20.6%), North America (19.5%) and Japan (8.3%). The shares for North America and China rose from a year earlier, up 4.7 and 4.2 percentage points, respectively. Imports fell 3.2% to $245.574 million (about 334.9 billion won). KOCCA Acting President Yu Hyeon-seok said the white paper “will serve as a central milestone” for closely assessing the industry’s current state and designing future strategies. He said KOCCA would continue providing “systematic, data-based support” to help Korean games strengthen competitiveness in global markets. The “2025 Korea Game White Paper” is available for free download on KOCCA’s website.* This article has been translated by AI. 2026-03-25 15:24:15
  • 2026 Seoul International Buddhism Expo to Open April 2 at COEX With ‘Emptiness’ Theme
    2026 Seoul International Buddhism Expo to Open April 2 at COEX With ‘Emptiness’ Theme Bongeunsa Temple will become a playground for young people, while COEX will serve as a venue where visitors can engage with the Buddhist idea of emptiness, organizers said. Seongwon, director of cultural affairs at the Jogye Order’s administrative headquarters, said at a news conference Tuesday at the Korean Buddhist History and Culture Memorial Hall in Seoul that the 2026 Seoul International Buddhism Expo in April “will be not just a hot expo, but a ‘so hot’ expo.” The Jogye Order of Korean Buddhism will hold the 2026 Seoul International Buddhism Expo at COEX for three days starting April 2. The event marks its 14th edition. Seongwon said the order will work to broaden the reach and popularity of Buddhist culture to help improve people’s inner peace and encourage social harmony, adding that it will offer more ways for the public to experience Buddhist teachings. About 200,000 people visited last year’s expo, with 77.6% from the MZ generation. Organizers are introducing paid admission for the first time this year but still expect about 250,000 visitors, about 50,000 more than last year. This year’s expo will feature 286 companies and 435 booths. Exhibits will focus on participatory content that lets visitors experience the core Buddhist concept of emptiness through ball-play activities, linking the wordplay between “emptiness” and “ball” ahead of the North and Central America World Cup. Organizers said they will set up spaces across the venue where visitors and monks can talk about emptiness, encouraging what they described as natural “counseling to share life’s concerns.” Those who complete missions will receive sponsored items, including “gapi bags.” A party-style program aimed at connecting with the MZ generation will also be held. At Bongeunsa’s Iljumun gate, organizers will stage the “Heart Sutra Emptiness Party,” a program combining tradition and K-pop. They described it as a Buddhist performance that reinterprets the Heart Sutra’s message — that all things are interdependent and empty — through contemporary music culture. Artist Woo Won-jae and others, along with monks, will chant the Heart Sutra, and attendees will experience “emptiness” through rhythm. An organizer said more than 400 people registered in advance and that those without advance registration can also join the event. Other programs include “Gyeonsimsa (Dog Mind Temple),” a collaboration between creator Yang Gyeong-su and veterinarian Choi In-young, which will release 10 vegan pet food products and present a lifestyle of practice with companion animals. Visitors can also see the “Scent Project,” which recreates the distinctive fragrance of temples as modern incense products, as well as brands such as “Buddha Land” and “Haetal Four Cuts.” Wonheo, president of the Buddhist Newspaper, said the expo will serve as a venue to discover and support creators and emerging brands that reinterpret tradition, adding that it will create new value inspired by Buddhism and traditional culture and expand the potential of Korean traditional culture.* This article has been translated by AI. 2026-03-25 15:13:18
  • South Korea Changes Korean Spelling of Mongolia’s Capital to ‘Ulaanbaatar’
    South Korea Changes Korean Spelling of Mongolia’s Capital to ‘Ulaanbaatar’ The Ministry of Culture, Sports and Tourism and the National Institute of Korean Language said on the 25th they reviewed the Foreign Ministry’s request to change the Korean spelling of Mongolia’s capital and decided to revise it from “Ulaanbaatar” written as “Ulan Bator” in Korean to “Ulaanbaatar.” The capital’s name has long been written in Korean by convention as “Ulan Bator (Ulan Bator).” Officials said that form reflects a Russian-language spelling and differs from local Mongolian spelling and pronunciation, creating administrative inconvenience. To address confusion in the field, the ministry and the institute convened the “2026 First National Institute of Korean Language Committee on Foreign Proper Names” and decided the standard Korean rendering should follow “Ulaanbaatar (Ulaanbaatar).” A Foreign Ministry official said Mongolia had asked South Korea to change the spelling “in consideration of the close relationship between the two countries,” adding that public inquiries had continued because of the confusion. The official said the ministry welcomed the decision and expected it to contribute to “future-oriented” ties and to expanding friendly perceptions between the two peoples.* This article has been translated by AI. 2026-03-25 08:54:38
  • Korean Cultural Center in Hong Kong previews works from Art Basel Hong Kong 2026 galleries
    Korean Cultural Center in Hong Kong previews works from Art Basel Hong Kong 2026 galleries The Korean Cultural Center in Hong Kong said it will present a group exhibition of Korean contemporary art, “From Korea to Hong Kong: Expanding Horizons,” from March 24 through May 30. The show, tied to “Art Basel Hong Kong 2026,” was organized in cooperation with 11 leading South Korean galleries participating in the fair. It brings together works by 11 artists spanning generations and genres. Participating artists are Lee Manna (Sun Gallery), Michael Joo (Kukje Gallery), Kim Jae-yong (Hakgojae Gallery), Won Seongwon (Arario Gallery), Kang Kanghoon (Johyun Gallery), Shin Kyungchul (Rian Gallery), Choi Sujin (G Gallery), Lee Jaeseok (Gallery Baton), Lee Yujin (Wooson Gallery), Kim Mooyoung (N/A) and Lee Jonghwan (Cylinder). The center said the exhibition is notable for bringing together, in one venue, works selected directly by each gallery. It said the space was arranged to highlight each artist’s distinct approach while allowing visitors to experience the show as a cohesive whole, reworking messages and aesthetic directions presented at Art Basel within the center’s galleries. Visitors will be able to see how different visual languages align, and how styles intersect from emerging artists to midcareer artists active internationally, the center said. Director Choi Jaewon said this year’s edition aims to present “expanded horizons” by broadening the participating galleries, linking the timing to the fair, and widening the range of generations and genres. He said he hopes it will be remembered as a signature program that offers a chance to encounter Korean contemporary art around the same time each year. * This article has been translated by AI. 2026-03-24 15:27:37
  • Hirst and Sehgal Draw Crowds With Opposite Approaches: Exposure vs. No Photos
    Hirst and Sehgal Draw Crowds With Opposite Approaches: Exposure vs. No Photos Bare it all, or keep it tightly hidden. Two exhibitions drawing attention in Seoul are doing so in opposite ways: a Damien Hirst solo show at the National Museum of Modern and Contemporary Art, Korea, leans into exposure, while a Tino Sehgal solo show at the Leeum Museum of Art draws curiosity by refusing it.  Online posts on the 24th have focused on “Damien Hirst: There Is No Truth, Everything Is Possible,” now on view at MMCA Seoul.  The show has been closely watched since before it opened, after debate over whether MMCA should mount a solo exhibition for Hirst, whom some critics describe as past his peak or as a star artist aimed at box-office appeal. Images and reviews of the exhibition have followed.  Hirst, whose name functions as a brand, is known for actively using the media, audiences and social platforms. In the 1990s, he drew explosive attention with shocking works, including a dead shark displayed in a glass tank filled with formaldehyde. His unconventional moves, including producing work with a large team of assistants, helped elevate him to celebrity status.    At a recent news conference, Hirst did not take questions but posed in various ways for photographers. The MMCA exhibition also highlights personal details, including music he says he listens to regularly and a space designed to recreate his London studio.     Hirst is also an active social media user, with more than 1.04 million Instagram followers. In 2018, he posted a photo of himself in his studio wearing only underwear and offered a free artwork to the follower who wrote the wittiest caption. The post drew about 10,000 comments. In 2022, through his project “The Currency,” buyers were told to choose between an NFT and a physical artwork. After collectors chose the NFT version, Hirst burned more than 1,000 of the original works. The burning was livestreamed on social media, and the destroyed works were valued at about 10 million pounds (about 17 billion won), according to assessments at the time.    Sehgal, by contrast, keeps his distance from social media. Britain’s The Guardian has described him as an “Instagram users’ nightmare.” His exhibitions leave no photos or videos behind. At Leeum, photography and video recording are banned, and the work is meant to be carried forward only in visitors’ memories.  Sehgal, who pursues what he calls “de-production,” urges visitors to put down smartphones and cameras and stay with the present moment. Asked at a news conference in February whether he regretted being unable to promote his work through social media, he said, “My work is about asking what we can do beyond objects.”  He added, “In a way, I think I benefit in the screen era,” citing growing research on the negative effects of screen activity. “I don’t think you can say my work only loses out,” he said. He also said teenagers often described as “digital natives” are realizing screen time is not always positive and are paying more attention to real experiences.   2026-03-24 15:18:21
  • Korea Creative Content Agency holds K-documentary screenings in New York
    Korea Creative Content Agency holds K-documentary screenings in New York The Ministry of Culture, Sports and Tourism and the Korea Creative Content Agency’s New York Business Center said March 24 they have wrapped up a two-day documentary screening event in New York aimed at helping KOCCA-backed projects expand overseas. The event, titled “KOCCA Spotlight,” was held in the screening room on the basement level of the New York Korea Center. Two documentaries produced with KOCCA support — “Goddess Era” and “The Philosopher’s Cuisine” — were shown. The free screenings were offered by advance reservation and drew about 300 attendees, including local content industry professionals and members of the public. “KOCCA Spotlight” is a New York Business Center program that selects KOCCA-supported works considered to have strong potential for the North American market and introduces them in New York. On March 19, the program screened “Goddess Era,” produced by Jenny Film. The documentary was selected for KOCCA’s 2023 documentary production support and was planned and directed by Moon Seung-wook and Yoo Ye-jin. It won a Silver Award in the feature-length documentary category at the 57th WorldFest-Houston International Film Festival in 2024. The film follows a journey to trace goddess myths passed down through Korea’s nature and traditions, highlighting independent, self-directed women’s leadership and community values. On March 20, the program screened “The Philosopher’s Cuisine,” produced by ELTV. The documentary was selected for KOCCA’s 2024 documentary production support and portrays the daily life and philosophy of Buddhist temple cuisine master Jeong Kwan, who has drawn global attention. The film explores philosophical imagination about cooking and the meaning of practice, while examining the cultural value and depth of Korean temple food. In post-screening audience surveys, attendees said it was a rare chance to see Korea’s goddess culture on screen and described the program as time to appreciate Korean Buddhist culture alongside Jeong Kwan’s food. They also expressed hope that screenings of Korean video content would continue. Lee Yang-hwan, head of KOCCA’s New York Business Center, said, “We will work to ensure that Korean documentary producers and works — which continue the tradition of making strong documentaries under difficult conditions — can draw interest in the United States and find business opportunities.”* This article has been translated by AI. 2026-03-24 09:06:19