Latest Events in Seoul(April Updated)

This is the second solo exhibition of Egyptian artist Wel Shawky, who has constructed a unique narrative world that blurs the boundaries between reality and fiction through various media, including video and film, sketches, paintings and installations. The exhibition focuses on the artist's early video works, exploring from different perspectives how to use the entertainment of popular media to examine complex social structures related to politics, religion and gender.

The exhibition presents the 60-year painting career and major works of Kang Myung-hee (1947- ). Kang Myung-hee established his own painting realm by capturing the relationship between existence and nature on canvas through long-term and in-depth exploration of the essence of the natural scenery he encountered. The paintings of the artist, who has been active at home and abroad since leaving Korea in 1972, are full of influences from different cultures, as well as colors and emotions that transcend the East and the West. "Visiting" is the exhibition title borrowed from the artist's works, telling the nomadic attitude of the artist who does not settle in one place but constantly moves around to create, and the artistic inspiration he gets from brief encounters. Although this work looks like an abstract painting full of light and color, it originates from very specific elements in nature and is the condensed result of long-term training, meditation and repeated "emptying" behavior. Kang Myung-hee's footprints are all over the world, including the Gobi Desert in Mongolia, Patagonia in South America, Antarctica, India, Hong Kong, China, Taiwan, etc., persistently exploring the essence of nature and looking for primitive scenery. Brushstrokes and fragments vibrate, collide and accumulate on the plane, similar to the movement of nature. The painting seems calm and peaceful, but in fact, it is a long and repeated painting, an intense dialogue with the world or nature. In an era when the existence of nature itself is threatened, his paintings contain the history and memory of the land, destruction and death, creation and extinction, and after repeated practice and purification, they bring us into the finished picture. In front of Kang Myung-hee's huge paintings, the audience will encounter nature reinterpreted by the artist, and feel as if walking in boundless nature. In 2007, the artist returned to his homeland and lived in Jeju Island, continuing to create abstract paintings depicting diverse natural scenery. Kang Myung-hee's works, which have entered the mature stage of creation, bring deep thinking about nature and human beings. His works stand on the opposite side of modern civilization and cutting-edge technology, exuding a powerful energy of life and rebirth, and comforting and soothing the pain of the times with the power of art. "Kang Myung-hee - Interview" is not arranged in chronological order, but is roughly divided into three parts according to the author's time and space experience and stream of consciousness. The titles of all sections of this exhibition are derived from the titles of the works, and recent works centered on Jeju Island are presented under the theme of ‘1. Living in Seogwang-dong’ and ‘2. Works centered on works created while working in France and traveling around the world. Visits’ and ‘3. Introducing early works that serve as the starting point for the current works and provide clues for their interpretation. It consists of the ‘Secret Garden’ section.

Around the 2000s, a new focus and tone on archives emerged in the field of documentation and the contemporary art scene in Korea. With the truth-finding movement on the sacrifices and human rights violations in Korea's tortuous modern history of the last century, the value of private records, namely manuscripts, that are not captured by public records, has been re-evaluated. In addition, critical and alternative practices have been carried out on archives that support official history and memory. Contemporary art has also accepted critical theories of archives, and through the generation and reorganization of records, events or objects that are not covered by institutions or mainstream media are socially publicized. Over the past 20 years, manuscript- and archive-based work has formed a common terrain, excavating marginalized and suppressed events and objects and restoring them to social memory. This exhibition is combined with the institutional theme "Action" of the Seoul Museum of Art in 2025, which aims to examine the social value and practical mechanism of records. From today's perspective, the trend of what used to be called archival art, and manuscript history. These two trends continue to update critical discourses on archives while forming counter-memory. Especially today, when the proliferation of digital technology and communication has made instant information production a daily routine, and misinformation and alternative facts are rampant, recent domestic and international conflicts, disputes, disasters, etc. have raised the complex issue of "how to record and interpret the present." In such contemporary issues, beyond reproduction and preservation, we think about the social role of contemporary art and archives as memory institutions to restore social memory and reveal diverse voices. The title of the exhibition "We Keep Penetrating into Different Rivers" draws on the ancient Greek philosopher Heraclitus (535-475 BC)'s motto "You can't step into the same river twice", emphasizing that records are not permanent, but an ongoing process of encountering current consciousness through reading and perception. The exhibition is composed of "delayed memory", "witness records", and "thrown narratives" based on the meticulous contact and three-dimensional relationship with events or objects. "Delayed Memory" displays works related to the history of modern and contemporary Korean history and the history of suppressed communities, and exhibits related to the records of the Democratization Movement Memorial Foundation and the Korean Queer Archive Queerarch. "Witnessed Records" presents the Jeju April 3 Incident and the issue of "comfort women" of the Japanese military, which have not been revealed for a long time after the incident, through the collection records of the Jeju April 3 Peace Foundation and the Seoul Art Archives, and works that form an emotional space through meticulous documentary records. "Thrown Narratives" presents works that are rooted in real-life issues and archives, but construct new narratives in their missing spaces, liberating areas obscured by social conventions or boundaries and one-sided discourses. "We Keep Infiltrating Different Rivers" aims to recognize the activism of records from multiple perspectives through the process of constantly reconstructing and reinterpreting records of the past and present, arousing our memories, emotions and consciousness, and prompting us to take action for the future.

Koku Gallery will present Jae-eun Choi’s solo exhibition “Nature’s Country” in K2 and K3 from March 20 to May 11. This is the artist’s third solo exhibition at Koku Gallery, and the works on display reflect on the origin and time of life, the birth and death of existence, and the complex relationship between nature and humans, covering a variety of media such as sculpture, installation, architecture, photography, video and sound. Choi, who moved to Tokyo in the mid-1970s, entered the art world by learning the grammar of flower arrangement at Tokyo’s Sogetsu Art Center and reinterpreting it. In 1986, he held his first solo exhibition with the work “Earth”. In the work, he covered 13 tons of soil on the indoor garden “Heaven” designed by Isamu Noguchi at the Sogetsu Art Center and planted seeds on it, visualizing his unique philosophy on the flow of life and time and space. Through the “World Underground Project” that began in the same year, he tried to combine art and science, such as taking out paper after being buried underground for a long time, examining life and cycles through the traces of time accumulated on the paper, and expanding to observe the microscopic world of microorganisms in paper. Especially since the implementation of the "Dream Earth" project in 2015, we have been working on specific solutions and methods to restore the forests in the DMZ based on professional research. 

While the Atomouse for mobile devices preceded Murakami’s work, it was the Superflat series that followed that really captured international attention. It’s not hard to see why the world reacted so differently to these seemingly similar paintings. Murakami included Japan in his Superflat series, while Lee Dong-gi did not. In the mid-2000s, Christie’s Hong Kong held an exhibition of contemporary art from Korea, China, and Japan that immediately revealed the differences between the three countries. Japan uses manga imagery to express its identity, while China uses traditional and communist symbols. On the other hand, the work of Korean artists is distinctive no matter how you look at it. What does this difference mean? This suggests that something unseen is influencing our interpretation of the meaning of art. This is context. Context acts like a kind of grammar. The grammars that currently dominate the reading of art are Orientalism and Postmodernism. Orientalism defines the non-West through Western eyes and requires non-Western writers to show regional characteristics. This ultimately creates a situation that emphasizes group identity rather than individual uniqueness. Postmodernism also seems to value the individual, but it further divides identity by region, gender, and generation. It does not offer a way to understand the uniqueness of the individual. Ultimately, the individual serves only as a medium for revealing a more detailed group identity, and art is absorbed into another social discourse. Nothing has changed. Art is always searching for something new. However, it is impossible to create something new if we focus only on recognizing repetitive patterns of collective identity in individual works. For the real novelty lies in the uniqueness of each individual.

The exhibition will feature six promising young artists, including Kim Ah-reum, Lee Yeon-jung, Jang Do-eun, Jeon Jang-yeon, Cho Wan-jun, and Ha Sun-woo. Watching these creatures, like their clones, move forward towards a world that is yet to come is like a space rocket dropping its engine and fairing with a loud noise as it leaves. The exhibition follows the artists' trajectories and raises questions about what we once thought was one, what is closer to us than ourselves, or what may now be nothing more than the tail of a star that is quietly disappearing.

Miju Leehas been exploring familiar, everyday things and discovering hidden clues and new possibilities for interpretation. This exhibition features 20 sculptures and paintings, including new works, showing the artist's interpretation of everyday life and how it is woven into narratives

This exhibition emphasizes the artist’s instinctive and free expression of emotions. The work discards static images and expresses images of movement and transformation through fluid and changing compositions. By capturing brief moments where reality and surrealism intertwine, the work challenges conventional perceptions and guides viewers to redefine their own sensory and mental experiences. What questions does art ask? What answers are hidden? The exhibition encourages visitors to embark on a personal journey of discovery and respond to these reflections in their own unique way. Ultimately, Endless demonstrates the transformative power of art at the intersection of perception and thought. These works deconstruct the familiar and bridge the gap between reality and imagination, providing new insights and inspiration. Through her art, artist Shchedrin invites viewers to challenge their existing perceptions and reconstruct their understanding of what they see and feel. The exhibition is not only a visual experience, but also an open invitation to engage with the world in a broader way.

Glamstone Seoul is a contemporary art museum founded by Brazilian-born contemporary artist, curator and activist Jed Esbell. (1979-2021) The exhibition is the first solo exhibition in South Korea. The exhibition focuses on Esbell’s late paintings and drawings It shows the essence of the artist’s unique visual language, characterized by landscape backgrounds and contrasting patterns. Ecological movement Esbell’s deep connection with nature is based on the Macuxi language, which is reflected throughout his work. These can be doubled up with plant dyes, mythological wall paintings, and scenes filled with multiple volumes, trees and cacti. All living things Esbell believes that natural systems are interconnected, and mythical creatures and spirits coexist in complex ecosystems. The world of the work and a cluster of resistance, embodying the will of the indigenous people. ” Throughout his life, Esbell straddled the line between art and activism in the name of “art activism” for the colonies. As a key figure in the Contemporary Indigenous Art (Arte Indígena Contemporânea) movement, he was an advocate for indigenous rights and the land. To raise awareness of its importance and secure a space to highlight the grand postcolonial perspectives of the Saharan art historical tradition. I did it again. The social movement led by Esbell won over the creative efforts of the then Afro-Brazilian community, indigenous peoples, and those who were historically marginalized. It helped support options. Located roughly in the art world, it gave voice to more people In the process, the artist established the gallery as a place for artistic and thought experiments, and engaged with polytheists F. We also seek to integrate/and explore the inner reflection outside of Ether Earth Art. Esbell's artwork has an impact on "ecology". Strengthening the connection between indigenous people and the land, revealing environmental awareness. Calling for change. The pictures/squirrel's fragments in this exhibition start from the landscape and illustrate the relationship between living and non-living things in nature. Paintings in the exhibition hall. In Makushi's worldview, he reveres the gods who create nature (including Makunaim). It depicts various mythological figures and spirits, revealing the worldview and philosophy of indigenous peoples. Commemoration, the moment of rain "Thunder and wind (Kaɨsikɨ and chuvass) have different symbolic meanings in different cultures, inspiring dialogues and bottom-up cycles that occur in nature. The snakes, turtles and frogs that appear repeatedly in different works are political metaphors that integrate traditions and refer to the Amazon. It contains the author's critical perspectives on the extractivism that is affecting the earth. The intersection of art, lineage and ecology Esbell's artistic activism through cursors explores the importance of Indigenous artistic identities/artistic norms.

Night is the force that unites everything. Children dream, prisoners escape. —Harold Ancart First, March 17, 2025—Gagosian presents a solo exhibition of new paintings by Harold Ancart. We are hosting the “Tent” event. The exhibition is held at the project space APMA of Art Review on Garosu-daero, Seoul. The closing conference (APMA Talk) will be held on April 3. Harold Ancart creates natural and human-made environments in his paintings/wall paintings. Various art historical references His new paintings/paintings are neither graphic nor abstract, but landscape and inner reflection. Focus on the connection with nature. The works exhibited in this exhibition are all themed around night scenes. The two layers of the screen are surrounded by a dark sky and white stones. Under the water, two other works present landscapes with trees and various plants. The works with the exhibition space will be woven into a space that runs from one entrance to the wall. For the artist, the themes of painting/images are like an "excuse" to experiment with painting and color. The purpose is. (Except An) is also composed of works that blur the boundaries between concrete and abstract. The author commented on this as follows: "Under the light of the moon, stars or street lamps, objects and their surroundings It does not look as clear as the sky. If we follow something clear, we will see it in another way. I have no choice but to turn in. Objects in the dark are more easily deformed." In "Still Sleeping Tree" (2025), a tree base stands in the center of the screen. The leaves are stained with a deep blue The sky of the tree, and the clouds are intertwined in light and shadow. Blending with the trees, the ground and soil below are filled with woven colors. . Plants grow in the forest. In "Enclosure and Dawn" (2025), the shadows of large hollow trees are covered. The light of the trees, the knee-jumping horizon is embedded with blue and white light. The main light source of the two works "Landscape" (2025) and "Grand" (2025) leads to the same scene. Through the subtle changes of white walls, it seems like a village in the wilderness. Giving a sense of the situation from dusk to late night Finally, in "Goodnight" (2024), Ankart depicts the red flowers of the market covered by the layers of small trees and a flower hanging on the wall inside the house. His purpose-made landscape portraits are arranged together with pine trees. Like other similar works, this work has a soft color with a dark tone. The wall surfaces are hung with camouflage branches and a soft canopy striped rug. It ties into the ideal figure that all art, including this piece, is ultimately a human artifact.

As part of the "Inside White Cube" initiative, White Cube Seoul will host the first solo exhibition in Asia by American artist Alex Carver (b. 1984, Boise, Idaho) in April 2025. The author explores the inner world of humans wandering in chaos, drawing inspiration from biomedical diagrams, medieval manuscripts, and Botticelli's illustrations for Dante's Divine Comedy to depict the nature of human suffering and oppression. The exhibition will feature new works inspired by the opening of Dante's Inferno, the first part of Dante's 14th-century epic poem. "Inside White Cube," a project that showcases works by unaffiliated artists active in the contemporary art world but not exhibited at White Cube, aims to examine the multi-layered nature of contemporary art from various perspectives.

HUNKY SHOW is a groundbreaking, sensational male dance performance musical, curated exclusively for female audiences who want to make their day special. Experience a new form of live performance that goes beyond mere spectacle, allowing you to directly participate and interact with the captivating performances of Korean fitness models and performance artists who appear in each episode. Also included are customer participation performances, anniversary specials, and even photo time and fan service to provide more than just viewing pleasure.

Join us this Sunday for Dark De Gary's Comedy Open Mic at Lit Lounge Itaewon! Whether you're here to enjoy the show or eager to step up to the mic and try your hand at stand-up comedy, you're guaranteed a fantastic time. Don't miss out on an evening of laughter and fun. See you there! Doors open at 7:30pm Show starts at 8pm Information Source: Planet Hustle | eventbrite

Come join us for a night filled with laughter and fun. Audience members are encouraged to throw words to the comedians and the comedians will use these random words to form their sets. This event will be filled with spontaneity, excitement and of course, raucous laughter! Doors open at 7:30pm Show starts at 8pm Information Source: Planet Hustle | eventbrite

The National Museum of Korea will hold a special exhibition titled (tentative title) in June 2025. This exhibition covers the 200 years of art and culture from the establishment of the new nation of Joseon in 1392 to the outbreak of the Imjin War in 1592. During this period, the new dynasty led society and culture in a new space called ‘Hanyang’ with a new ruling power called the ‘Sadaebu’. Internally, as the Confucian ideology system was combined with the shadow of the previous era, Goryeo, the literary arts centered around the royal family and the sadaebu blossomed, and the handicraft system developed in earnest with the maturation of technology and the reorganization of the national system. Externally, various arts developed through international exchanges while being influenced by the East Asian relationship between the Ming Dynasty of China and the Muromachi shogunate of Japan. This exhibition covers various visual materials such as paintings and ceramics, Buddhist paintings and sculptures, books, and printing types from the 15th and 16th centuries. Through this, we will be able to examine the diversity, high aesthetic and technical achievements, and rich tastes of Joseon’s early art, which emerged as a new nation during this period. The year 2025 marks the 80th anniversary of liberation, the 60th anniversary of the normalization of diplomatic relations between Korea and Japan, and the 20th anniversary of the relocation of the National Museum of Korea to Yongsan. To mark this memorable year, we will look back on the peak of East Asian culture achieved by the new nation Joseon and draw the ideals of the era we will advance into.

The National Museum of Korea will hold a special exhibition titled (tentative title) in June 2025. This exhibition covers the 200 years of art and culture from the establishment of the new nation of Joseon in 1392 to the outbreak of the Imjin War in 1592. During this period, the new dynasty led society and culture in a new space called ‘Hanyang’ with a new ruling power called the ‘Sadaebu’. Internally, as the Confucian ideology system was combined with the shadow of the previous era, Goryeo, the literary arts centered around the royal family and the sadaebu blossomed, and the handicraft system developed in earnest with the maturation of technology and the reorganization of the national system. Externally, various arts developed through international exchanges while being influenced by the East Asian relationship between the Ming Dynasty of China and the Muromachi shogunate of Japan. This exhibition covers various visual materials such as paintings and ceramics, Buddhist paintings and sculptures, books, and printing types from the 15th and 16th centuries. Through this, we will be able to examine the diversity, high aesthetic and technical achievements, and rich tastes of Joseon’s early art, which emerged as a new nation during this period. The year 2025 marks the 80th anniversary of liberation, the 60th anniversary of the normalization of diplomatic relations between Korea and Japan, and the 20th anniversary of the relocation of the National Museum of Korea to Yongsan. To mark this memorable year, we will look back on the peak of East Asian culture achieved by the new nation Joseon and draw the ideals of the era we will advance into.

Frieze Seoul is the leading international art fair, created by the team behind top art fairs such as Frieze London, Frieze Masters, Frieze New York and Frieze Los Angeles.

Frieze Seoul is the leading international art fair, created by the team behind top art fairs such as Frieze London, Frieze Masters, Frieze New York and Frieze Los Angeles.

This exhibition, in the form of digital media art, revolves around G-Dragon's third regular album, and deeply interprets the core concept of "Übermensch". Übermensch is translated into English as beyond man! In addition to getting exquisite peripheral products, it is particularly worth noting that the audience can experience AI technology, real-time holographic projection, VR and CG images driven by Unreal Engine, so that everyone can fully experience the new album.

• Have wild fun and shout wild! • A girl’s dream party! This is where a fantasy you've never dreamed of before begins. • After Party for women who dream of a fantastic escape for just one night!

Recording All Life National Geographic's most ambitious project, the Photo Ark