Journalist

Yoon Juhye
  • South African Artist’s ‘Elegy’ Opens in Venice Church After Pavilion Cancellation
    South African Artist’s ‘Elegy’ Opens in Venice Church After Pavilion Cancellation 5일(현지시간) 7세기 성당 키에사 디 산타 안토닌(Chiesa di Sant’Antonin) 안에는 여성들의 흐느낌 같은 소리가 끊임없이 이어졌다. 남아프리카공화국 작가 가브리엘 골리아스(Gabrielle Goliath)의 영상 설치작품 ‘엘레지’(Elegy)는 8개의 대형 스크린에 7명의 여성 퍼포머를 담아, 약 1시간 동안 길고 애절한 음을 유지하게 한다. 그 소리는 흐느낌이자 통곡처럼 들리고, 노래처럼 이어진다. 한 사람의 음을 뒤의 다른 이가 받아 잇는 방식이다. 마지막 화면에는 빛으로만 드러난 단상이 남아 ‘부재’를 강조한다. 이 성당은 베니스 비엔날레 본전시(국제전)가 열리는 아르세날레에서 도보 5분도 채 걸리지 않는 곳이다. 당초 ‘엘레지’는 인근 자르디니의 남아프리카공화국 국가관에서 공개될 예정이었다. 그러나 2023년 10월 가자지구에서 이스라엘 공습으로 어린아들과 함께 숨진 32세 팔레스타인 시인 히바 아부나다를 추모하는 내용이 포함된 사실이 알려지면서, 남아공 정부는 “분열을 초래할 수 있다”는 이유로 올해 1월 국가관 참여를 전면 취소했다. 작가는 외부 지원을 받아, 간헐적으로 현대미술 전시가 열리는 이 성당에서 독립 전시 형태로 작품을 선보이게 됐다. 폭력으로 희생된 여성들을 애도하는 의식으로 기획된 ‘엘레지’는 2014년 남아공에서 성폭력을 당한 뒤 살해된 10대 여학생 이펠렝 크리스틴 모홀라네를 추모하며 시작됐다. 골리아스는 이펠렝을 기리기 위한 퍼포먼스에서, 아버지가 쓴 편지를 읽었다. 편지에는 “그 아이는 나의 첫 자식이자 자부심이었고, 내 삶의 가장 큰 힘이었다. 그녀와 함께 내 일부도 죽었다”는 내용이 담겼다. 그는 이후 10여년간 ‘엘레지’ 퍼포먼스를 통해 성적·인종적 폭력으로 목숨을 잃은 여성들을 불러내고 애도해 왔다. 20세기 초 독일 식민군이 자행한 헤레로·나마 집단학살로 강제 이주되고 살해된 두 나마족 여성, 그리고 강제 이주와 집단학살된 팔레스타인 여성과 아동, 민간인 등이 그 대상이다. 전시장 인근에서 만난 골리아스는 지난 4일 열린 프리뷰와 공식 인터뷰 외에는 남아공 정부의 결정이나 표현의 자유 문제에 대해 언급할 수 없다며 말을 아꼈다. 예술과 정치의 충돌은 이번 베니스 비엔날레 전반의 분위기와도 맞닿아 있다. 우크라이나 침공 이후 두 차례 연속 비엔날레에 불참했던 러시아와, 가자지구 사태로 집단학살 혐의를 받는 이스라엘이 이번 비엔날레에 참가하면서 논란이 확산되는 모습이다. 이 여파로 심사위원 전원이 집단 사퇴했고, 황금사장상 수상작은 오는 11월에야 결정될 것으로 전망된다. 유럽연합(EU)은 러시아의 참여를 문제 삼아 베니스 비엔날레에 지원하던 약 200만 유로의 자금을 철회하기로 했다. 이에 러시아관은 프리뷰 기간에만 일반 공개되고, 9일 공식 개막 이후에는 문을 닫기로 했다. 호주, 미국 등 주요 국가관에서도 정치적 논란이 이어졌다. 그럼에도 ‘엘레지’의 소리처럼 예술은 계속된다는 메시지도 현장에 남는다. 권위주의 체제 아래에서 표현의 자유를 억압받은 벨라루스 출신 망명 예술가들로 구성된 벨라루스 프리 시어터(Belarus Free Theatre, BFT)는 비엔날레 기간 전시 ‘오피셜, 언오피셜, 벨라루스’(Official. Unofficial. Belarus)를 선보인다. 문화는 국가 체계 밖으로 밀려나더라도 사라지지 않는다는 취지다. * This article has been translated by AI. 2026-05-05 23:30:14
  • 2026 Venice Biennale Opens With ‘In Minor Keys’ and Expanded National Pavilions
    2026 Venice Biennale Opens With ‘In Minor Keys’ and Expanded National Pavilions 'Art world Olympics' opens The Venice Biennale, often called the “Olympics of the art world,” runs from May 9 to Nov. 22, with preview days May 6-8. The world’s first art biennale is held every two years. Events span the Giardini and Arsenale, as well as venues across Venice and nearby islands. The international exhibition curated by the late Koyo Kouoh includes 111 artists and collectives. The only invited Korean artist in the main show is Yo-E Ryou. Korean diaspora artists including Michael Joo and Gala Porras-Kim are also on the list. The biennale consists of the international exhibition, titled “In Minor Keys,” and national pavilion presentations. More than 100 national pavilions are operating this year, including 30 permanent pavilions in the Giardini. Qatar, newly added to the permanent pavilion group, will exhibit in a tent-like structure on its future building site because construction is not complete. Dozens of nonpermanent pavilions — including those of China, India, Argentina, Mexico, Saudi Arabia and Turkey — are spread across the city. The main exhibition runs simultaneously at the Giardini and the Arsenale. Seven countries — Guinea, Equatorial Guinea, Nauru, Qatar, Sierra Leone, Somalia and Vietnam — are participating for the first time. El Salvador is also making its debut with its own exhibition space. Who is the artistic director? The artistic director of the 61st Venice Biennale in 2026 is Koyo Kouoh (1967-2025). Born in Cameroon and raised in Zurich, she was appointed in late 2024 as the first African-born woman to lead the biennale. From 2019, she served as executive director and chief curator of Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA). In May 2025, she died suddenly at age 57 ahead of the opening. Organizers said it was the first time in the biennale’s history that an artistic director died before the exhibition opened, and they decided to proceed as planned. A five-member curatorial team assembled by Kouoh is carrying out her plans. In Minor Keys The theme, “In Minor Keys,” draws on the musical concept of the minor key. Kouoh urged audiences to “listen to the frequency of the minor key.” She wrote that amid “uneasy noise and confusion sweeping the world,” music continues — “songs of those who create beauty in tragedy, melodies of those who try to rise again from ruins, and harmonies of those who seek to heal wounds and restore the world.” The title signals a shift away from spectacle toward a slower, deeper approach to art, framing it as a space for reflection, recovery and connection. The main exhibition avoids rigid sections, linking more than 110 participating artists through loose relationships shaped by different places and contexts, expanding what it calls a “relational geography.” It unfolds around overlapping motifs including shrines, procession, schools, rest and performances. Women and performance Women artists are especially prominent. Britain’s pavilion features Lubaina Himid, a Black woman who won the Turner Prize in 2017, and France’s pavilion features Yto Barrada. Women artists also stand out in pavilions including Austria, Estonia, Finland, Germany, Ireland, Iceland, Cyprus and Denmark. Performance is emphasized in several national presentations, including those of South Korea, Austria, Belgium and the Netherlands. Awards likely moved to November after jury resigns The Venice Biennale awards include the Golden Lion (for national pavilion, best artist and lifetime achievement), the Silver Lion and special mentions. The awards ceremony is typically held at the opening. This year, however, all jurors resigned, making it likely the ceremony will be held at the November closing. Awards may also be decided by audience voting rather than a jury. The five jurors, including Solange Oliveira Farkas, were reported to have clashed with organizers over the participation of Russia and Israel. The jurors had previously said that, to defend human rights, they would exclude from judging any national pavilion from a country whose leader has been indicted by the International Criminal Court for crimes against humanity. Russian President Vladimir Putin is under an ICC arrest warrant over alleged war crimes related to the invasion of Ukraine, and Israel’s Prime Minister Benjamin Netanyahu is the subject of an ICC prosecutor’s request for an arrest warrant over allegations related to Gaza. Reports said Netanyahu remained at the request stage, leaving any exclusion to the jurors’ judgment. War-related disputes spark controversy Russia did not participate in the 2022 and 2024 Venice Biennale after its invasion of Ukraine, but it is returning in 2026. Russia opened a permanent pavilion in the Giardini in 1914. It is reported that, due to opposition from the European Union, Russia will open only during the preview and then close afterward. During the 2024 preview, Israel’s pavilion was voluntarily closed by artist Ruth Patir and curators, citing the situation in Gaza. Afterward, the Israeli government was reported to have added a contract condition in the artist selection process stating the pavilion cannot be closed. This year, Israel’s Giardini pavilion is closed for renovations, and it will exhibit at the Arsenale. Iran notified organizers it will not attend. South Africa’s pavilion will be empty for the first time in 15 years. The South African government canceled its participation in January, saying artist Gabrielle Goliath’s work “Elegy” could “cause division.” The work mourns victims including Palestinian poet Hiba Abu Nada, who died in an Israeli airstrike in October 2023. The piece will be shown at Chiesa di Sant’Antonin, a church built in the 7th century in Venice’s Castello district. Australia’s pavilion saw the participation of Lebanese Australian artist Khaled Sabsabi and curator Michael Dagostino canceled over controversy surrounding Sabsabi’s 2007 work “You,” which includes footage of a Hezbollah leader’s speech. After continued backlash from the art world, their participation was ultimately reinstated. The United States faced fallout after the Trump administration changed biennale support conditions, removing equity-related standards and emphasizing “promoting American values” and the “ability to demonstrate American exceptionalism.” Some selected artists refused to participate. Alma Allen will lead the U.S. pavilion. What about the Korea Pavilion and Korean artists? The Korea Pavilion theme is “Liberation Space: Fortress and Nest.” It revisits the “liberation space” period from 1945 to 1948 — a transitional era after Japanese colonial rule as a new state was sought — and extends it as an ongoing question, re-sensing and carrying it forward in aesthetic terms. Curator Choi Bitna said at a March news conference that she focused on 1995, when the Korea Pavilion was established. “That was when the Gwangju Biennale first opened and Korea National University of Arts was founded. Demolition of the former Japanese Government-General building also began. It led into the start of a civilian government. It was a moment of transition,” she said. Artists Choi Go-eun and Cho Hyeri will present sculptural installation and durational works titled “Meridian” and “Bearing,” respectively. Creators and activists from cultural and social fields, including novelist Han Kang, will participate as fellows. The Korea Pavilion is also pursuing collaboration with the Japan Pavilion, the first such cooperation between the two pavilions. Korean artist Yo-E Ryou was invited to the main exhibition. Gala Porras-Kim is undertaking a joint project with the Victoria and Albert Museum. Artist Choi Jeong-hwa will participate as a collaborator in the Japan Pavilion, and artist Cho Guk-hyeon was invited to the Tanzania Pavilion. Artist Hong Eun-ju will take part in an opening performance at the Taiwan Pavilion. Exhibitions involving Lee Ufan, Yoon Song-yi, Shim Moon-seup and Lotus Kang are also planned.* This article has been translated by AI. 2026-05-05 18:09:51
  • Why the Musical Billy Elliot Still Resonates: Dreams, Love and Sacrifice
    Why the Musical 'Billy Elliot' Still Resonates: Dreams, Love and Sacrifice “Rather than an optimistic message that ‘dreams come true,’ it’s a story about the process a person must go through to live as themselves.” (Lee Ji-young, domestic associate director) The musical “Billy Elliot” has remained popular 21 years after its premiere, drawing a cumulative global audience of 12 million. In South Korea, it returns for its fourth season, meeting audiences again after five years. What keeps the show enduring? Lee said at a press call on April 29 at Blue Square in Seoul’s Yongsan district that the work is “a struggle and determination to find myself against oppression,” adding that “most of the characters, not only Billy, show that.” The message is echoed by Mrs. Wilkinson, who teaches Billy ballet, and by Billy’s mother’s final words: It matters to know who you are, and to protect yourself. The number “Solidarity,” which crosscuts the miners’ strike with Billy learning ballet, makes that point most clearly. Lee called “Solidarity” — often cited as one of musical theater’s greatest 12 minutes — a scene that suggests the workers’ fight and Billy’s artistic drive share the same roots. Lee also said the child actors who play Billy trained “with blood, sweat and tears” for a year and a half, adding that their effort matches the character and gives the production a “documentary-like authenticity.” The journey toward finding oneself, the production argues, is sustained by love and sacrifice. The adults’ devotion to Billy heightens the emotional impact. Oh Min-young, domestic associate music director, said there is a saying that it takes a whole village to raise a child, and that the show carries a similar idea. As a child moves toward the future with a dream, Oh said, the adults “sacrifice themselves and send the child off with love,” and that spirit brings deep emotion. The process of staging “Billy Elliot,” the production team said, mirrors that theme: Completing the show requires growth and care from everyone involved. Actor Choi Jung-won, who plays Mrs. Wilkinson, said the children who play Billy can only take the stage at that age, making it a role that cannot simply be promised again. She said the adult cast, including herself, grows alongside the child actors during rehearsals and performances. Choi said she performs each show as if it were closing night. “Because of the Billys, I came to feel, ‘There’s a show today, but today could be the last,’” she said. As the cast shares that growth, Choi said, affection follows naturally. Saying she is “always falling in love” with the Billys, she added that she puts that feeling into the final line, “Never come back — start again there.” Choi said she hopes the children — who could become ballet dancers, actors or musicians — will find happiness on stage through the role, just as she does. “This stage is full of love,” she said. “Everyone is making this show with love, and at the center of that love are the child actors playing Billy.” The production runs at Blue Square’s Woori Bank Hall through July 26. * This article has been translated by AI. 2026-05-04 09:06:25
  • Korean Soban Tables Reimagined in 17 Works at Milan Design Week Exhibit
    Korean Soban Tables Reimagined in 17 Works at Milan Design Week Exhibit “I couldn’t believe how much history and meaning could be held in one small table. I was instantly drawn in." Italian designer and artist Marco Oggian said he was captivated by the Korean traditional object known as a “soban,” a small, portable dining table. Seeing it for the first time, he said, he thought of it as “a very human object.” “It’s simple, intimate and deeply connected to everyday life,” he said. “At the same time, it carries a strong cultural identity.” Korea’s traditional soban is being presented in 17 new forms at Milan Design Week, one of the world’s largest design events. The Seoul Design Foundation is staging the exhibition “SEOUL LIFE 2026 MILAN: Heritage Reimagined, Soban” at the ADI Design Museum in Italy. The show aims to introduce the beauty and identity of K-design through the soban. Seventeen designers and teams from Korea and abroad have reinterpreted the soban in their own visual languages, combining traditional Korean craft techniques with contemporary tools such as 3D printing and artificial intelligence-based design. Visitors can view the works’ varied shapes and colors in one place. Oggian’s work, “PRIVATE UNIVERSE,” expands the soban into a motif of a face, the universe and the world. “The face represents identity, the universe scale and mystery, and the world the space we share,” he said. “By expressing the face geometrically, I wanted to talk about individuality. At the same time, I wanted to show how a small everyday object can connect us to something universal.” Some visitors said they saw a contemporary sensibility in the pieces. A botanical designer from London, in her 40s, said the modern treatment of the soban and its harmony with hanji, traditional Korean paper, stood out. An Italian industrial designer, also in her 40s, said the soban goes beyond a simple small table, naturally combining balance, function and portability into a refined design object. Technology amplifies tradition’s identity: “Emotional and of the present” Oggian, unfamiliar with Korea’s solo dining-table culture, said he tried to understand the spirit behind the object rather than copy tradition as-is. “The biggest challenge was finding a form that respects the original function and symbolism, while expressing it in my own visual language,” he said. He said he wanted viewers to recognize the work as a soban while accepting it as a contemporary object. “I hoped it would feel rooted in tradition, but also open, bold and alive,” he said, adding that it was important to expand into new design territory without losing the soban’s cultural essence. “What was most interesting was confirming that technology doesn’t replace an object’s identity — it can amplify it,” he said. Known for strong visual elements such as geometric forms, Oggian said he newly discovered the value of restraint and discipline in Korean aesthetics. Through that process, he said he learned that “tradition isn’t fixed or far away — it can be playful, emotional and of the present.” He described Korean aesthetics as “precise and meaningful, without unnecessary decoration,” calling it a source of inspiration. He added that working with lacquer and mother-of-pearl inlay showed him traditional materials can be realized in a contemporary way when handled with care and imagination. Discovering lacquer and mother-of-pearl inlay: outstanding craftsmanship Italian designer Anna Gili, known for collaborations with Cassina and Alessi, presented a soban titled “MIAWO” that evokes a cat. She interpreted the soban as “a kind companion that shares everyday life.” Linking the familiar traditional table to a pet cat, she said, brought a sense of vitality to the object and condensed warmth associated with family and friendship into a small table. “In ancient Egypt, cats were mysterious animals and protectors of the home — specifically Egyptian temples,” she said. “In Western culture, which has origins in Southwest Asia, cats also became companion animals and guardians of the home. Cats have a protective instinct toward people.” Gili said she was deeply impressed by the beauty of Korean lacquer and mother-of-pearl inlay. “The finished result felt like magic,” she said. “The quality of the materials, and the craftsmanship, are outstanding. It’s breathtaking. It made me want to explore the techniques and materials more deeply.” Gili said she plans to present more works using lacquer and mother-of-pearl inlay, and to expand her experience and knowledge by trying different materials and combinations. Referring to mother-of-pearl techniques in the Brianza area near Milan, she said she hopes the meeting of Korean and Italian cultures will continue. Citing what she called “Korean artisan crafts with 2,000 years of history,” she said she hopes the two countries can explore new possibilities by combining cultures, techniques and material production methods through design. She added that collaborating with highly skilled artisans who work with traditional techniques is always a special experience that adds a distinctive sensibility to a piece. She also argued that projects combining tradition and technology, like this exhibition, should expand to help preserve humanism. “We have to maintain humanism in architecture and design,” she said. “Today, as much research is done online and in virtual environments, people often choose interests based on algorithmic data aimed at financial efficiency or maximizing sales. Before the internet, information was limited, but choices were made based on deep experience accumulated in real life. It was a different kind of experience than scanning Excel spreadsheets or online materials.” She said technology’s value is ultimately realized when it meets human touch and care. “Traditional objects can be renewed by combining with constantly evolving technology and diverse ways of thinking,” she said. “By doing so, tradition will continue to grow and develop for thousands of years.” The exhibition is hosted and organized by the Seoul Metropolitan Government and the Seoul Design Foundation, with cooperation from the ADI Design Museum. It runs through May 10 at the ADI Design Museum in Italy. * This article has been translated by AI. 2026-05-04 00:06:00
  • Korea’s National Museums Roll Out Family Programs for May Holiday Break
    Korea’s National Museums Roll Out Family Programs for May Holiday Break May, widely marked in South Korea as Family Month, is bringing a slate of programs at major museums nationwide, with hands-on activities, performances and education designed to make cultural heritage easier and more engaging for visitors. The National Museum of Korea said Thursday it will host a family-focused event, “Gukjungbak Outing,” from May 2-5 across its outdoor plaza, Mirror Pond Square and the permanent exhibition halls. Outdoor photo zones will feature character-themed installations tied to Kakao Friends, including “Bangara Chunsang” and a “white porcelain spring jar” display near the Mirror Pond. The large sculptures reimagine the famed pensive bodhisattva statue and a white porcelain moon jar as the characters Ryan and Chun-sik, respectively. Performances are scheduled in the outdoor plaza, including a fusion Korean traditional music show by Akdan Gwangchil at 3 p.m. on May 2. On May 6, the museum plans balloon art and a bubble magic show by a stilt-walking clown, a Miracle Boyz ensemble performance, and a K-pop dance stage by YouTuber Sumail. Visitors can also join participatory programs such as “My Own National Museum Treasure Exhibit” and “Make a National Museum Treasure Postcard.” In the permanent galleries, events include a “QR stamp tour” and a Children’s Day mission to find treasure stickers. Around the Mirror Pond, 13 independent bookstores will run children’s book sales booths, and Pulmuone Food & Culture will operate food trucks. Regional national museums are also preparing family programs. The National Museum of Cheongju will offer a children’s musical, “The Sun and the Moon,” along with a magic and laser show, fusion Korean traditional music performances and a family sports day. The National Museum of Gongju will run a free children’s concert, “Kongkong Classic,” and a participatory play, “The Giant’s Desk.” The National Museum of Buyeo will hold an interactive education program, “Today I’m an Oaksa,” and the 41st cultural heritage drawing contest. The National Museum of Iksan will stage participatory events around the Mireuksaji site, combining traditional folk games, craft activities, a treasure hunt, a magic show and photo zones. Some museums will highlight local themes. The National Museum of Jeonju will host a children’s pottery festival, while the National Museum of Naju will offer mask-making. The National Museum of Gyeongju will stage a percussion performance near the bell pavilion of the Divine Bell of King Seongdeok, one of the museum’s signature cultural assets, allowing visitors to experience the heritage site alongside live music. Each national museum operates its own website. A museum official said most Family Month events will be free, but some programs require advance reservations, and visitors should check each museum’s site for schedules and participation details.* This article has been translated by AI. 2026-05-02 09:03:18
  • Culture Minister Choi Hwi-young Defends Contested Arts Appointments, Says They Have Reasons
    Culture Minister Choi Hwi-young Defends Contested Arts Appointments, Says They Have Reasons Culture, Sports and Tourism Minister Choi Hwi-young said April 30 that recent controversy over the Lee Jae-myung government’s arts and culture appointments had caused concern, but he defended the decisions as justified. “As the appointing authority, I feel sorry for causing worry,” Choi said at the second meeting of the Culture and Arts Policy Advisory Committee’s basic arts subcommittee (classical music, Korean traditional music and dance), held at the National Museum of Modern and Contemporary Art in Seoul. “But there are reasons. There are no appointments without reasons.” Choi said expectations for what he called a “people-sovereignty government” were high, and that some people appeared disappointed and asking, “Why are you doing it this way?” Committee member Won Il, representing the Korean traditional music field, urged the ministry to appoint “professional people” as heads of institutions, noting that leadership posts remain to be filled, including at the National Theater of Korea. He asked that the selections be reviewed carefully so that working artists would welcome the appointees. Choi replied that personnel decisions can look different depending on one’s perspective. “Differences in perspective clearly exist,” he said, adding that he believed the government should accept criticism, disappointment and scolding over appointment outcomes. At the same time, he said criticism should not turn into questioning an individual’s basic qualifications. “We can speak openly, but an approach that targets the person and treats it as a matter of competence should be viewed differently,” he said. He added that he was disappointed to see such attacks from artists who value respect for people. Choi also said the government does not “hide behind the scenes,” and that it can talk about and explain its decisions. While acknowledging that outcomes can prompt differing views and concern, he said he believed the appointees would perform their roles well and that they were not appointed without cause. Committee member Choi Woo-jung said he agreed that personal attacks should be avoided, but asked that when appointments are made it should become clear what vision and direction an organization will take under the new leader. Choi said controversy can push both him and appointees to work in line with the purpose of the appointments. He said the ministry must ensure “meaningful results” and progress toward a clear direction. He pledged to proceed transparently and asked for oversight. “Monitor and check us,” he said, adding that he hoped the committee would help ensure the ministry works properly and reliably. The remarks followed a news conference held April 21 in front of the Cheong Wa Dae fountain, where Culture Action and other arts groups condemned the Lee Jae-myung government’s appointment policy for heads of public arts and culture institutions. They cited Jang Dong-jik, chair of the National Jeongdong Theater; Park Hye-jin, head of the Korean National Opera; Seo Seung-man, CEO of the National Jeongdong Theater; and Hwang Gyo-ik, president of the Korea Culture and Tourism Institute. The groups said appointments to national arts institutions and state-funded research bodies with strong public missions were being made without clear standards and procedures, and that public popularity, political interests and personal ties were playing an outsized role. 2026-04-30 16:20:53
  • Kim Gyeong-bae Named President of Korea Craft and Design Foundation
    Kim Gyeong-bae Named President of Korea Craft and Design Foundation Culture, Sports and Tourism Minister Choi Hwi-young appointed Kim Gyeong-bae, a professor at Kyonggi University’s Graduate School of Hallyu Culture, as president of the Korea Craft · Design Culture Promotion Agency, effective April 30, and presented him with a letter of appointment. Kim’s term is three years. Kim earned a master’s degree in industrial design from the Royal College of Art in the United Kingdom and has built more than 30 years of experience in the convergence of design and cultural content, the ministry said. He previously led Design Icon and served as executive vice president overseeing design at Inno Design Co., developing his own design philosophy while building practical expertise and management experience in industry. He is currently a professor at Kyonggi University, working to expand the cultural content industry and train talent for K-culture convergence. Choi called Kim “an expert in the convergence of design and cultural content,” and said he expects Kim to drive innovation to expand the use and industrialization of crafts, traditional culture and public design — and to help them enter global markets — based on his experience leading projects spanning design, technology and culture. * This article has been translated by AI. 2026-04-30 15:28:20
  • South Korea culture minister urges faster guidance as game rules lag behind AI era
    South Korea culture minister urges faster guidance as game rules lag behind AI era “Companies need to see a guide to move, but we keep only reviewing things. Then game companies can only ask, ‘Are you telling us to market or not?’” (Culture, Sports and Tourism Minister Choi Hwi-young) Culture, Sports and Tourism Minister Choi Hwi-young on April 30 scolded the ministry’s game policy team, saying it must quickly provide the industry with clear guidance as rules and interpretations lag behind rapid change in gaming and AI. “We need to give guidance quickly,” Choi said at the second meeting of the Culture and Arts Policy Advisory Committee’s game subcommittee at the National Museum of Modern and Contemporary Art, Seoul. “Even if it’s just, ‘You can do this much for now,’ or ‘Ask us,’ we should issue as much guidance as we can within what’s possible.” The meeting brought together committee members representing the ministry and the game industry (Bae Su-jeong, Yoo Seung-hyun and Lim Su-jin), academia (Lee Seung-hoon and Hwang Seung-heum), and associations and groups (Cho Young-gi, Hwang Sung-ik and Kim Young-man) to discuss key tasks and policies for the sector. Members said the industry remains constrained by the fallout from the Sea Story controversy 20 years ago, arguing that a lingering gambling-related stigma makes it difficult to run promotions, including prize giveaways. Kim Young-man, president of the Korea e-Sports Association, said prizes are also used in e-sports and are unrelated to gambling. He said problems persist because of regulations rooted in two-decade-old concerns, citing cases in which services that had operated for 15 years without issues, including Real Farm, were blocked. Kim added that game companies in Taiwan and Japan offer rewards and urged faster action on issues that can be resolved through the will of the ministry and the public. Choi said the government is reviewing regulatory easing but faces concerns about side effects. “We should move one step within what society can accept, then another step,” he said, adding that officials are discussing how far rules can be relaxed while remaining effective and reducing public unease. Lee Seung-hoon, a professor in the Department of Game Contents at Anyang University, said restrictions on prize giveaways are making it harder for game companies to build user data. He said Google and Apple do not share user information with developers, and that marketing costs tied to those platforms rise while companies cannot accumulate data. Lee said game companies risk losing key assets beyond development, including open-market access and promotion. He added that when the Sea Story issue erupted, there were no e-sports tournaments, and suggested that even clearer legal interpretation could help remove gambling-related concerns. Artificial intelligence was also a major topic. Choi said the game industry leads IT advances and urged rapid adoption of AI achievements in the field. He asked participants to propose what government support is needed so the industry does not fall behind. Industry representatives criticized support programs as outdated. Yoo Seung-hyun, CEO of Wonder Potion, said AI has made it possible for small teams to build games, but Korea Creative Content Agency programs still reflect older standards, including residency requirements that set a minimum staffing level of about 10 people. With AI, he said, three people can now make a game. Yoo called the criteria too harsh and urged easing standards to match changing conditions. He also said there is some support for AI tool costs, but the amounts are limited even as prices rise, and asked for expanded, more advanced support. The meeting also reviewed follow-up progress on issues raised at the first subcommittee session, including cracking down on illegal private game servers, making the 52-hour workweek rule more flexible for the game sector, and introducing a tax credit for game production costs. Choi said illegal private servers would be blocked immediately through the introduction of an emergency takedown authority. He said the tax credit for game production costs should be introduced next year. He also pledged that a 120 billion won game fund, created with a 60 billion won investment from Nexon, would be focused on small and indie game companies. 2026-04-30 12:09:17
  • South Korea’s Content Industry Revenue Hits 161 Trillion Won in 2025, Up 2.6%
    South Korea’s Content Industry Revenue Hits 161 Trillion Won in 2025, Up 2.6% South Korea’s content industry posted 161 trillion won in revenue last year, with growth led by music, knowledge information, comics and animation. According to the “2025 Q4 and Annual Content Industry Trends Analysis Report” published on the 30th by the Korea Creative Content Agency, 2025 annual revenue for the domestic content industry rose 2.6% from a year earlier to 161.4839 trillion won. By genre, music grew 15.8%, knowledge information 7.8%, comics 7.4% and animation 6.8%, the report said. The report analyzed 11 content genres, combining business surveys, management data from listed companies and basic industry statistics to outline changes in revenue, exports and employment. Exports in 2025 climbed 5.9% from the previous year to $14.90582 billion. Music (32.4%), film (19.9%) and character content (12.8%) led the increase. The music sector recorded strong growth on expanded overseas performances and wider global activity by K-pop artists. Film exports benefited from strong results for highly anticipated releases, while character content gained from rising overseas demand for Korean characters. By contrast, content solutions (down 10.3%), animation (down 7.6%) and publishing (down 3.1%) declined amid slower conditions in some overseas markets. Content companies also reported broad use of generative artificial intelligence. In the fourth quarter of 2025, the adoption rate was 32.1%, meaning about one in three companies used the technology. Among 810 adopters, 66.2% introduced it in some departments, while 33.8% deployed it companywide. By sector, adoption was highest in games (70.0%), followed by animation (51.6%), advertising (40.9%), knowledge information (33.7%), and broadcasting and video (31.9%). The most common use was content production (62.7%), followed by business planning (43.7%) and content creation (32.8%). Among companies that had not adopted generative AI, 16.6% said they plan to do so, suggesting further expansion. The report also covers genre-by-genre trends, listed-company performance, business sentiment among content firms and the broader macroeconomic environment. It is available on the agency’s website. * This article has been translated by AI. 2026-04-30 09:41:07
  • Leeum Museum Recreates Jeong Kang-ja’s Censored 1970 Immersive Work
    Leeum Museum Recreates Jeong Kang-ja’s Censored 1970 Immersive Work "You are now inside my work." Jeong Kang-ja’s “Non-Body Exhibition” has no solid form, yet it creates a claustrophobic tension that pushes viewers backward. White smoke seeps from the corners of a square room. A red siren blares. A flat voice repeats, “You are now inside my work,” evoking the sense of being confined in South Korea’s closed society of the 1970s. The smoke, intangible but insistent, keeps rising to knee level no matter how far one retreats. Leeum Museum of Art has revived “Non-Body Exhibition,” first shown at Jeong’s debut solo show at the National Public Information Center in 1970. The government at the time, which treated avant-garde art as political agitation, forcibly removed the work three days after the opening without consulting the artist. With Jeong now deceased, Leeum said it worked to reconstruct the original using past news reports, the artist’s notes and testimony from surviving family members. According to Leeum on the 29th, visitors will be able to enter “Non-Body Exhibition” as part of the museum’s upcoming special exhibition, “Into Another Space: Women Artists’ Synesthetic Environments 1956-1976,” opening May 5. The exhibition was organized in 2023 at Haus der Kunst in Munich and expanded as it traveled via Rome and Hong Kong before arriving at Leeum. It revisits and reconstructs pioneering “environment” works by women artists long omitted from art history. Often seen as early models for today’s “experiential” or “immersive” exhibitions, the works allow visitors to step inside and experience light, sound, color, air and movement with their whole bodies. At a press briefing, Leeum Deputy Director Kim Seong-won said environment works were often discarded, leaving little physical trace. He said two curators — Marina Pugliese, director of MUDEC in Milan, and Andrea Lissoni, artistic director of Haus der Kunst — restored the lost works one by one after three years of research. Full-scale reconstructions include Yamazaki’s “Red,” along with environment works from about 50 years ago by Judy Chicago, Lygia Clark, Laura Grisi and Lea Lublin, among others. Pugliese said the team began by reviewing magazine coverage from the period, then visited institutions where the environment works were produced to see whether photographs remained. For artists who had died, she said, they searched for interview materials and other records. She added that women artists in the past often struggled to fully realize what they wanted to express because galleries invested little and sales were rare. For living artists, she said, the team focused on realizing ideas that had been conceived but not properly executed at the time; for deceased artists, it focused on detailed re-creations of past works. Jeong’s “Non-Body Exhibition” followed a similar path. The museum said it had difficulty identifying a South Korean woman artist who presented environment work between 1956 and 1976, searching across fields including crafts and architecture before finding Jeong’s piece. Restoration was also challenging, Leeum said, because documentation was limited and the artist had died. The museum reviewed articles, notes and on-site photographs and conducted extensive verification, including meetings with family members and acquaintances, to get as close as possible to the original. Kim said there were no drawings, exact measurements, descriptions or instructions. He said the line “You are now inside my work” was originally Jeong’s own voice, but no tape survived; the museum used AI to recreate the voice based on her recorded speech. Lissoni said that among the versions presented so far, he was most proud of the one at Leeum. He said it clearly shows the period the organizers set — 1956 to 1976 — and presents works they had not been able to examine under the same criteria. Kim said the exhibition is notable for highlighting women artists who played a formally important role in the development of contemporary art history. "Exhibitions about women artists can easily fall into a trap. Social and cultural or psychological theories can bury the art itself," Kim said. "The two organizers pinpointed the core in a professional, elegant and refined way. It’s at a level where even children can immediately respond to what contemporary art is. It has professional and art-historical value, and yet it’s also popular. You could say it catches two rabbits at once." The exhibition runs May 5 through Nov. 29 at Leeum Museum of Art in Seoul’s Yongsan district. 2026-04-29 14:49:17