Journalist
Yoon Juhye
jujusun@ajunews.com
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Korea’s Longest-Running Art Fair Draws Young Collectors to COEX South Korea’s longest-running art fair is also one of its youngest in feel. While wealthy collectors in their 50s and early 60s often wait for the fall’s Kiaf-Frieze Seoul, newer collectors led by the MZ generation have been turning out for the spring Hwarang Art Fair. Major galleries lowered the entry barrier with more works by midcareer and emerging artists, while bringing in pieces rarely seen by the public. According to the Korea Galleries Association on April 9, about 4,500 people visited on opening day the previous day, down from about 6,000 a year earlier. Even so, the turnout was viewed as better than expected given external uncertainty such as war in the Middle East and a spike in oil prices. “Galleries had major concerns because global conditions are unstable due to war and other factors,” a Korea Galleries Association official said. “But we saw better-than-expected results, with long lines from the entrance on opening day.” Hosted by the Korea Galleries Association, the Hwarang Art Fair is in its 44th edition and is the country’s oldest art fair. This year’s event, running through April 12 at COEX in Seoul, is the largest yet, with 169 galleries participating. Galleries said they aimed to differentiate the fair from Art Basel, held recently, and from Kiaf-Frieze scheduled for September by emphasizing fresh works from established midcareer and emerging artists, encouraging first-time buyers to purchase without feeling priced out. On opening day, interest was spread across blue-chip, midcareer and emerging names. An official at Kukje Gallery said visitors showed strong interest in works by emerging and midcareer artists such as Lotus Kang and Jang Pa, and focused on pieces that are hard to see in Korea or being shown publicly for the first time, including Julian Opie’s tile work and a 1955 work by Ahn Kyuchul. The official added that inquiries continued for scarce works even if they were not blue-chip, and that couples and young married visitors were touring booths regardless of whether they planned to buy. The association also pointed to a shift in public attitudes toward collecting. A Korea Galleries Association official said perceptions of owning art became more positive after special exhibitions of the Lee Kun-hee Collection in 2021-2022, helping spread the idea that art can be purchased and held, not only viewed, and accelerating younger people’s entry into the market. Some in the market are also looking for a trickle-down effect. At a recent Seoul Auction sale, a work by Japanese artist Yoshitomo Nara sold for 15 billion won, setting a record for South Korea’s art auction market, fueling expectations that more beginners will enter and look to midcareer and emerging artists. Jung Tae-hee, head of Seoul Auction’s auction business team, said the market has been confirming “stable fundamentals” as the sell-through rate recovered to the 70% range since the second half of last year. He said news of the record price has prompted novice collectors to seek works they can afford, increasing interest in midcareer and emerging artists, and he expects the positive trend to broaden after the first half of this year. Risks tied to Middle East tensions and other factors have increased caution, but many in the market do not see them as enough to reverse the overall direction. Jung said high inflation was largely anticipated, and that a weaker won has instead drawn overseas collectors’ attention to Korea’s auction market, with the share of foreign bidding rising. He added that while shipping costs are a burden, relatively lower prices are expanding interest in both overseas and Korean artists from Europe, the Chinese-speaking world, mainland China and the United States.* This article has been translated by AI. 2026-04-09 15:30:18 -
Korea Heritage Service Finds Ramses II Name on Ramesseum Temple Pylon in Egypt The Korea Heritage Service and the Korea National University of Cultural Heritage said on 9 that they have made major academic findings during a restoration project at the pylon gate of the Ramesseum Temple in Luxor, Egypt, including the discovery of a cartouche bearing the name of Ramses II. The work is part of the Korea Heritage Service’s official development assistance project, titled “Capacity building for sustainable cultural heritage tourism resource development in Luxor, Egypt.” A cartouche is an oval enclosure used in ancient Egypt to set apart and emphasize a pharaoh’s name, which otherwise would be written in a line of hieroglyphs. The discovery was confirmed during an excavation survey on the north side of the pylon. Investigators also identified multiple layers spanning from the period when the pylon was built through modern times, securing materials that help reconstruct how the Ramesseum was built and altered over time. A French research team previously found a cartouche of Ramses II while excavating the temple’s innermost sanctuary, but this is the first time one has been discovered at the pylon, the agencies said. Hisham El Leithy, secretary-general of Egypt’s Supreme Council of Antiquities, said the newly found cartouche differs in form from those previously identified and is expected to provide an important clue for determining the construction sequence of structures within the Ramesseum. He also said researchers confirmed a carved stone element bearing a new place name that supports the extent of Ramses II’s territorial expansion. The Korea Heritage Service and the university said they also identified soil layers that could help estimate how stone was transported and how the structure was built, providing baseline data for restoring the pylon to its original form. A temporary protective shelter is now being installed, and once completed, dismantling and full-scale restoration of the pylon are expected to accelerate. * This article has been translated by AI. 2026-04-09 09:21:06 -
Isabelle Huppert, Lee Hye-young to read from Han Kang novel at Avignon Festival Nine South Korean performing arts works have been selected for the official “IN” program of the 80th Avignon Festival. The festival’s organizing committee said on April 8 (local time) that nine works by seven Korean companies will be presented in the official lineup at venues across Avignon, France, from July 4 to 25. It will be the first time Korean works have been officially invited since 1998’s “Désir d’Asie,” about 28 years ago. A staged reading based on Han Kang’s novel “I Do Not Bid Farewell” will be performed at the Cour d’Honneur of the Palais des Papes, one of the festival’s signature venues. The production is a joint project of the Avignon Festival and the Seoul Performing Arts Festival (SPAF) and features French actor Isabelle Huppert and South Korean actor Lee Hye-young. It is also scheduled to be presented at SPAF in October. Italian director Daria Deflorian’s new work, “The dolore terrible e l’amore,” also draws on “I Do Not Bid Farewell” and is set to premiere at the festival. Three works by playwright Gu Ja-ha, the first Asian recipient of the International Ibsen Award, will also be staged. They include “Cuckoo” and “A History of Korean Theater,” two parts of his Hamartia trilogy, and “Haribo Kimchi.” The works were previously shown at SPAF in 2023 and 2025, respectively. Other invited productions include the audience-participation piece “Material,” part of “Elephants Laugh” directed by Lee Jin-yeop; “Island Story” by Creative Vaki, directed by Lee Kyung-sung, set against the backdrop of the Jeju 4.3 incident; “1 Degree Celsius” by choreographer Heo Seong-im’s Heo Project on the climate crisis; “Gin: Yeonhui Deconstruction Project I” by Liquid Sound, directed by Lee In-bo, blending traditional performance with contemporary dance; and Lee Ja-ram’s “Snow, Snow, Snow,” a pansori adaptation of a Tolstoy short story. During the festival, Arts Management Support Center will host a tentative event titled “K-Stage Rendezvous” at the Cloître Saint-Louis, the festival’s main hub. More than 50 performing arts professionals, programmers and critics from around the world are expected to attend to explore collaboration, co-production and distribution opportunities with Korean artists. The center will also support participation in “Transmission Impossible,” a residency and training program for young artists, aimed at strengthening skills and expanding international exchange opportunities for the next generation, including university and graduate students in arts majors. Kim Jang-ho, head of the Arts Management Support Center, said the organization will “introduce the global potential of Korean arts through collaboration across genres, including literature and visual arts,” and will work to expand international distribution of Korean performing arts through platforms such as SPAF and the Seoul Art Market (PAMS). The festival also selected Korean as its guest language, the first time an Asian language has been chosen. * This article has been translated by AI. 2026-04-09 09:00:00 -
Suwon Museum of Art Expands Accessible Viewing for Deaf and Blind Visitors Gyeonggi Province’s Suwon Museum of Art said Thursday it is running exhibition-viewing programs for deaf and visually impaired visitors as it pursues a “barrier-free museum that everyone can enjoy.” The museum has provided sign-language interpretation videos for exhibitions since 2020 and has produced braille leaflets for visually impaired visitors since 2023, it said. For its current collection exhibition, “Blanc Black Panorama,” the museum planned and produced sign-language interpretation videos. Starting this year, it will significantly increase the share of on-screen exhibition explanations in those videos, expanding them so not only deaf visitors but also the general public can follow artwork descriptions more comfortably and intuitively. The videos will be available from April 17 on the museum’s official YouTube channel and Naver TV. In June, the museum plans to offer an on-site sign-language tour for members of the Suwon branch of the Gyeonggi chapter of the Korean Association of the Deaf. For visitors with visual impairments, the museum has prepared audio guides and braille leaflets for use in the galleries. Director Nam Ki-min said the museum will further improve accessibility through a range of content development and facility upgrades aimed at a barrier-free museum for all residents.* This article has been translated by AI. 2026-04-09 08:39:15 -
New Books: Why You Keep Tuning In to Romance ‘Frequencies’ Problematic Love That Unknowingly Ruins You and Helps You Grow=By Kim Ji-yong, Dplot. If you find yourself searching YouTube for tarot readings like “Does that person still think about me?” or listening to romance “frequencies” promising “They’ll text in eight minutes,” this book argues it may be time to look inward instead. For readers who avoid dating out of fear of heartbreak — or who cannot leave relationships that repeat the same wounds — the author urges them to stop blaming fate, a fixed destiny or past love and to examine their own unconscious patterns. Kim, a psychiatrist, draws on cases from his clinic involving people struggling with love and dating. He describes the counseling process as using a “T-hammer” to bring up what lies beneath the surface, analyzing patterns ranging from people who cannot start relationships to those who cannot deepen them, those who cycle through frequent breakups, and those who repeatedly end up in unequal power dynamics. Citing Sigmund Freud’s line that “in a married couple’s bedroom there are six people,” Kim writes that early attachment to parents can shape adult romance. One example is a woman in her early 30s — with striking looks and a stable job — who has never dated; raised by a tyrannical father, she unconsciously built a wall around herself with the rule that any man “like Dad” was unacceptable. Other cases include L, who cannot stand loneliness; W, who wants to be loved exclusively; and G, who is “too nice,” inviting readers to recognize themselves in past or current relationships. Kim also warns readers to break free from the “gaslighting” of the idea that “your true other half is out there.” He argues that warmth in love comes not from destiny but from reasoned self-reflection, honest conversation with a partner and growth that expands each person’s sense of self. If that kind of love feels unfamiliar, he writes, start now. He recommends the book to prospective parents and those raising young children, saying the attachment types described can help readers assess their own tendencies and consider whether they may be passing on insecure attachment. “‘Life is not something you explore and then live; it is something you live while exploring.’ Yang Gui-ja, , Sseuda, 2013, p. 296. Life is not time spent searching for a fixed answer. There is no correct answer to begin with. It is unpredictably complex, and every moment is contradictory. By living through those contradictions and paradoxes, we gain unexpected insight and grow. That was true for me, and for everyone I have met. (Omitted) Near the end of , I found a line that confirmed my changed thinking. ‘What do you think the completion of love is?’ ‘Marriage?’ ‘Love is complete in itself. If you loved unbelievably well, that’s enough.’” (pp. 244-245) Mind Study With Mencius=By Jang Hyun-geun, Hangilsa. Jang, a professor in the Department of Chinese Studies at Yongin University and an adjunct professor at Jilin University in China, explains that Mencius’ concept of “budongsim” — an unshakable mind — is not about suppressing emotion. He describes it as internalizing principles that do not collapse under pressure, arguing that people waver because of outside influences despite an inherently good nature. Based on Mencius’ answer to how to remain steady, Jang lays out 22 everyday principles. They include holding to one’s intent and center without meddling in small matters; not lingering too long at the door of someone who has closed off conversation; keeping principles while judging what is most important and urgent; and setting rules to rely on when judgment blurs or emotions take over. For readers who feel shaken day after day, the book offers a standard for self-review. “Mencius was different. Rather than simply following fate, he opened the possibility of ‘seeing’ fate differently through self-cultivation and effort. He accepts that some fate cannot be helped, but also recognizes that some things are not fixed, and he sought ways to find happiness and joy on that side. He offered the path of seeking the nature within people — benevolence, righteousness, propriety and wisdom — as a ‘useful’ solution. What is useful in life is not money or power but cultivation of the mind. Happiness gained through character cultivation is more important in life than a fate that brings fortune.” (p. 273) 2026-04-08 14:12:23 -
Korea Disability Arts Foundation to Open Exhibitions, Concert for Disability Day The Korea Disability Arts & Culture Center said Tuesday it will mark April 20, the Day of Persons with Disabilities, with a slate of exhibitions and a performance at three venues in Seoul: the I-eum Center in Daehangno, Modu Art Space and Modu Arts Theater. The programs are designed to present a broad look at disability arts across history and contemporary practice. At the I-eum Center, the special exhibition “History of Korean Disabled Artists — People Who Became a Path” will run from April 20 to May 10. The center said it is the country’s first archive-style exhibition to trace the lives and work of disabled artists from the Joseon Dynasty through the modern era and into the first generation. Built around 38 figures, it follows the historical development of disability arts using records and source materials. At Modu Art Space, the planned exhibition “The Art of Relationship: Willingly, Relentlessly, Leaning On” will open April 16. It approaches disability arts through relationships and collaboration, exploring creative possibilities that expand through close solidarity. Six artists and teams, including Kim Jin-woo, Dungji and Raumcon, will present works in formats such as painting, installation, performance and participatory programs. On April 20 at 7:30 p.m., Modu Arts Theater will host the commemorative performance “Modu’s Concert: Together, Spring.” The concert is a crossover stage rooted in Korean traditional music, featuring disabled artists and other performers in a program blending traditional and contemporary elements. Performers include gayageum player Seon Yeong-suk, piano byeongchang performer Choi Jun, pansori singer Heo Jeong, the samulnori group Ttamdtti, the Dream On dance company, Gyeonggi folk singer Lee Ji-won and the fusion gugak band Akdan Gwangchil. Gugak musician Oh Jeong-hae will serve as host. Chairwoman Bang Gwi-hee said the Day of Persons with Disabilities should be more than a commemoration and should serve as a chance to view disability arts anew within today’s culture. She said she hopes the events will connect disability arts with more audiences and provide a place to share its value.* This article has been translated by AI. 2026-04-08 09:18:18 -
Newspapers Must Ask ‘Good Questions’ to Create Fresh Perspectives, Korea Newspaper Association Chief Says "Asking good questions and creating new perspectives through public debate is both the duty and the right of newspapers." Park Jang-hee, chairman of the Korea Newspaper Association, made the remarks on 7일 at the Korea Press Center during the 70th Newspaper Day ceremony. He said machines cannot raise doubts on their own or empathize with the values of the times and the pain of neighbors. The ceremony was co-hosted by the Korea Newspaper Association, the Korea Newspaper and Broadcasting Editors Association and the Journalists Association of Korea. In his address, Park said artificial intelligence can produce answers instantly from vast data, while biased claims spread through algorithms on platforms “as if they were the correct answer.” He called the current moment “an era of answers.” He said high-quality journalism grounded in facts and balance is “a journey with no final destination.” Citing this year’s Newspaper Day slogan — “Beyond the algorithm, read the real world” — he urged newspapers to dig into truths that cannot be reduced to calculation and to build spaces for unity and public discussion. Lee Tae-gyu, president of the editors association, stressed responsibility in his opening remarks. “Technology cannot judge and verify what is true, nor does it take responsibility for results,” he said, adding that newspapers exist to put accuracy over speed, trust over sensationalism and responsibility over trends. He said the power to read the real world lies in journalism — in reporters’ on-the-ground verification, editors’ standards and the media’s sense of duty to the community. Park Jong-hyeon, president of the journalists association, also emphasized rebuilding trust in a message to readers. “AI and algorithms deliver information quickly, but they do not guarantee the truth,” he said. He called on the media to ask more questions, verify more and keep records more responsibly, pledging to choose substance over breaking news and accuracy over speed while staying in the field. A reception followed the ceremony, drawing about 300 guests including National Assembly Speaker Woo Won-shik; Jeong Cheong-rae, Democratic Party leader; Jang Dong-hyeok, People Power Party leader; Seoul Mayor Oh Se-hoon; and Lee Gyu-yeon, senior presidential secretary for public relations and communication. In welcoming remarks, Park said that when the world is unsettled, society needs clearer standards of truth, and that newspapers have the strength to push back against falsehoods and extremism. He said that strength comes from trained reporters in the field and rigorous fact-checking. Park added that while the AI era is unlike the past, AI is built on learning, and learning depends on refined accumulations over time — meaning the standing of original journalism and the value of carefully produced works will rise. * This article has been translated by AI. 2026-04-07 19:54:19 -
LG Arts Center Stages ‘Uncle Vanya’ as Rival National Theater Company Mounts Its Own LG Arts Center and the National Theater Company of Korea will both stage Anton Chekhov’s ‘Uncle Vanya’ in the first half of this year, setting up another close-timed matchup after last year’s dueling productions of ‘Hedda Gabler.’ Director Son Sang-gyu, who is leading LG Arts Center’s version, said at a production news conference on April 7 in Seoul that he welcomed the overlap. “I think it’s a good thing that we interpret the same work differently,” he said. Son said he watched last year’s ‘Hedda Gabler’ faceoff with interest and, after seeing both productions, came away thinking it could be worthwhile to mount the same classic at the same time. He said that after news spread of another head-to-head, he initially brushed off concerns from people asking if he was worried, but has since felt a sense of camaraderie. “They’re working hard, and we’re working hard,” he said. “I find myself cheering them on.” Son said his production will reimagine the play without locking it to a specific era or place, unlike the original set on a 19th-century Russian country estate. He said the staging aims to help audiences connect with a story written about 130 years ago by infusing Chekhov’s text with contemporary emotions and language. Actor Lee Seo-jin will play Vanya, and actor Go A-sung will play his niece, Sonya, in her first stage play since debuting as an actor. Son highlighted a clear difference from the National Theater Company’s approach. “They changed the setting to Korea,” he said. “We didn’t. Even if it’s not radical, we’re looking for ways to express it freshly, without strain, and as freely and effectively as possible.” LG Arts Center Director Lee Hyun-jung said she was surprised to hear the National Theater Company would stage the same work. She said audiences could find it more engaging to watch the two productions back-to-back and compare how each interprets the classic. Son said he saw echoes of his father in Vanya, a man who complains but shoulders responsibility until he finally erupts in anger. He also said Lee Seo-jin’s on-screen persona — grumbling yet reliably completing tasks — made him a strong fit for the role. “My father worked late and retired,” Son said. “Because he had to support the family, he used to say, ‘I’ve never even been able to take a trip.’ Who can judge that kind of life?” He added that ‘Uncle Vanya’ portrays regret over not doing what one wanted and the humiliation that follows, but said it would be wrong to declare the character lived incorrectly. Son said he hopes the production offers comfort by encouraging people to be more forgiving about their own lives, much as one accepts a tree as it is. He said he recently cried while watching the cast rehearse, but described the play as a comedy. “It’s a comedy, but I want to include sadness and emotion, too,” he said. “I want audiences to laugh.” He recalled once seeing a young couple arguing on the street and finding it funny from the outside, even if it was not funny for them. The production runs May 7-31 at LG Arts Center Seoul’s LG Signature Hall. 2026-04-07 17:42:23 -
Seoul Design Award 2026 Accepting Entries Through June 30; New designboom Prize Added The Seoul Design Foundation said Monday it is accepting entries for the Seoul Design Award 2026 through June 30. Now in its seventh year, the Seoul Design Award is a public global award focused on sustainable design aimed at addressing social problems. The foundation said the competition has expanded from 75 entries at its first event in 2019 to 941 projects from 74 countries in 2025, a 1,100% increase over six years. The foundation said it has broadened the award this year by adding new categories, including a designboom special prize. The global design media outlet will judge and select three winners, who will receive global promotion opportunities, including a featured article on designboom’s platform. A new ESG Design Impact Prize will also spotlight companies and institutions practicing sustainable design. The foundation said the category is intended to identify strong projects and show how design can serve as a practical tool for advancing ESG values. The foundation also expanded opportunities for young designers. The existing Concept Prize has been renamed the Young Designer Prize, and participation has been widened for undergraduate and graduate students in South Korea and abroad, the foundation said. Entries will be accepted in four categories based on the United Nations Sustainable Development Goals: Health & Peace, Equal Opportunities, Energy & Environment, and Cities & Communities. Applications will be accepted only in English via the Seoul Design Award website from March 30 through 3 p.m. on June 30. An awards ceremony and an international conference are scheduled for October at DDP, the Dongdaemun Design Plaza. 2026-04-07 14:51:20 -
Royal Culture Festival to Run 9 Days at Seoul’s Five Grand Palaces, Jongmyo Shrine The 2026 Royal Culture Festival will be held for nine days from April 25 to May 3 at Seoul’s five major palaces — Gyeongbokgung, Changdeokgung, Deoksugung, Changgyeonggung and Gyeonghuigung — as well as Jongmyo Shrine. The National Heritage Administration’s Royal Palaces and Tombs Center and the agency-affiliated Korea Heritage Service Foundation said Tuesday that the theme for the spring 2026 festival is “Palace, Awakening Art.” An opening ceremony will be held April 24 at Heungnyemun Square at Gyeongbokgung. Director Yang Jeong-ung, who served as artistic director for cultural events tied to the “2025 APEC summit,” will stage a performance titled “Palace, Awakening Art — Hyper Palace,” combining K-content sensibilities with palace aesthetics. The program will begin with the National Dance Company’s “Mongyudowonmu,” followed by rapper Woo Won-jae and the foundation’s arts troupe performing “Ganggangsullae,” a hanbok fashion show blending Korean traditional music with EDM, and joint stages featuring Choi Ho-jong and Heo Yun-jeong, an accredited performer of the national intangible heritage geomungo sanjo. Performances will also include singer Choi Ye-rim with the Noah Children’s Choir and a reinterpretation of Bongsan mask dance by dancer AIKI with HOOK. The finale will feature a media-facade mapping show and the National Gugak Center’s “Hyangamurak,” showcasing court dance traditions. At Gyeongbokgung, programs include “Gyeongbokgung, Time Travel (4.25.~4.29.),” “Recreating Daily Life at Court (4.25.~4.29.),” “Newcomers to the Royal Court (4.25.~4.29.)” and the “Children’s Royal Culture Festival (5.1.~5.3.).” For socially vulnerable groups, including single-parent families, “A Gyeonghoeru Outing With Jangakwon Musicians (4.25.~5.3.)” offers hands-on experiences with traditional wind instruments and family photos with the palace as a backdrop. A “K-Heritage Market (4.25.~5.3.)” will run throughout the nine days, selling souvenirs. At Changdeokgung, the festival will present “Awakening the Palace in the Morning (4.28.~5.3.)” and “Crown Prince Hyomyeong and the Dance of the Moon (4.28.~4.30.).” The latter program lets visitors follow the process of preparing a banquet in 1828 to mark Queen Sunwon’s 40th birthday, touring key buildings and the rear garden. At Injeongjeon Hall, a traditional arts performance titled “Palace Concert — Taepyeongjiak by 100 Performers (太平之樂)(5.1.~5.3.)” will feature 100 performers presenting Korean traditional pieces including Sujecheon, Taepyeongga and Arirang. At Deoksugung, “Imperial Hobby Club (4.25.~5.3.)” at Jeonggwanheon will offer experiences such as tasting yangtang-guk (coffee) enjoyed by King Gojong and trying sports and other pastimes, along with special music performances. For foreign visitors, “The Emperor’s Table (5.1.~5.3.)” at Jungmyeongjeon will offer a chance to taste banquet dishes from the Korean Empire’s imperial court and hear about the history of royal cuisine. At Changgyeonggung, “Yeongchunheon, Spring Library (4.27.~5.1.)” and “The Queen’s Taste (4.30.~5.3.)” will be offered. At Gyeonghuigung, the foundation’s arts troupe will lead a street parade, “Royal Culture Festival Gilnori (5.1.),” from Heunghwamun Gate to Sungjeongmun Gate, featuring traditional performances including lion dance, Jindo drum dance and pangut. At Jongmyo Shrine, “Jongmyo Jeryeak Night Performances (4.28.~4.30.)” will present the royal ancestral ritual music in the evening. Programs requiring advance reservations will open sequentially starting at noon April 8, with tickets available through Ticketlink. Programs for foreign visitors can be booked through Creatrip. * This article has been translated by AI. 2026-04-07 11:42:25