Featured Events in Seoul in February, 2025 (February Updated)

The exhibition "Lee Kang So: When the Wind Blows the Water" re-examines a unique series of works created over six decades by Lee Kang So (b. 1943), a seminal figure in the development of Korean contemporary art. As a leading artist in the Korean art scene, Lee Kang So has been conducting conceptual experiments on image perception and recognition. The exhibition title "When the Wind Blows the Water" is inspired by the work "Qing Ye Yin" by the Song Dynasty Neo-Confucianist Shao Yong (Shao Yong, 1011-1077). In his work, Shao Yong metaphorically describes a state of epiphany when encountering a new world. Shao Yong's title summarizes the oeuvre of Lee Kang So, who has long questioned the many different ways we see the world around us and continues to conduct conceptual experiments on perception in a variety of media such as painting, sculpture, installation, printmaking, video and photography. Lee Kang So's artistic philosophy, as he himself described his work for the 1975 Paris Biennale, is described in this way. At the time he said: “I do not intend to depict images in a traditional way, away from the subject-object relationship, but rather to present an open structure that reveals the order and relationships in the universe that are usually invisible, making these invisible states naturally visible.” (“Participating in the 9th Paris Biennale”, Space, January 1976)

The exhibition "Lee Kang So: When the Wind Blows the Water" re-examines a unique series of works created over six decades by Lee Kang So (b. 1943), a seminal figure in the development of Korean contemporary art. As a leading artist in the Korean art scene, Lee Kang So has been conducting conceptual experiments on image perception and recognition. The exhibition title "When the Wind Blows the Water" is inspired by the work "Qing Ye Yin" by the Song Dynasty Neo-Confucianist Shao Yong (Shao Yong, 1011-1077). In his work, Shao Yong metaphorically describes a state of epiphany when encountering a new world. Shao Yong's title summarizes the oeuvre of Lee Kang So, who has long questioned the many different ways we see the world around us and continues to conduct conceptual experiments on perception in a variety of media such as painting, sculpture, installation, printmaking, video and photography. Lee Kang So's artistic philosophy, as he himself described his work for the 1975 Paris Biennale, is described in this way. At the time he said: “I do not intend to depict images in a traditional way, away from the subject-object relationship, but rather to present an open structure that reveals the order and relationships in the universe that are usually invisible, making these invisible states naturally visible.” (“Participating in the 9th Paris Biennale”, Space, January 1976)

The exhibition "Lee Kang So: When the Wind Blows the Water" re-examines a unique series of works created over six decades by Lee Kang So (b. 1943), a seminal figure in the development of Korean contemporary art. As a leading artist in the Korean art scene, Lee Kang So has been conducting conceptual experiments on image perception and recognition. The exhibition title "When the Wind Blows the Water" is inspired by the work "Qing Ye Yin" by the Song Dynasty Neo-Confucianist Shao Yong (Shao Yong, 1011-1077). In his work, Shao Yong metaphorically describes a state of epiphany when encountering a new world. Shao Yong's title summarizes the oeuvre of Lee Kang So, who has long questioned the many different ways we see the world around us and continues to conduct conceptual experiments on perception in a variety of media such as painting, sculpture, installation, printmaking, video and photography. Lee Kang So's artistic philosophy, as he himself described his work for the 1975 Paris Biennale, is described in this way. At the time he said: “I do not intend to depict images in a traditional way, away from the subject-object relationship, but rather to present an open structure that reveals the order and relationships in the universe that are usually invisible, making these invisible states naturally visible.” (“Participating in the 9th Paris Biennale”, Space, January 1976)

Special Exhibition of Seoul Urban Life Museum: Marriage Stories of Seoul Families Once seen as an obligation, marriage is now viewed as a choice. To explore the reasons behind this shift, the Seoul Urban Life Museum conducted a comprehensive survey and studied the marriage culture of Seoul's citizens across different eras last year. The findings are now presented in this year's special exhibition. Soon after the liberation in 1945, the country faced the Korean War. Still, Korean society has rapidly grown with the Miracle on the Hangang River, and marriage customs have evolved alongside this growth. Seoul's marriage culture, shaped by traditional values and foreign influences, continues to change. We invite you to reflect on Korean society's journey over the past 80 years after independence through the lens of Seoul's marriage culture to foster deeper generational understanding and empathy.

Special Exhibition of Seoul Urban Life Museum: Marriage Stories of Seoul Families Once seen as an obligation, marriage is now viewed as a choice. To explore the reasons behind this shift, the Seoul Urban Life Museum conducted a comprehensive survey and studied the marriage culture of Seoul's citizens across different eras last year. The findings are now presented in this year's special exhibition. Soon after the liberation in 1945, the country faced the Korean War. Still, Korean society has rapidly grown with the Miracle on the Hangang River, and marriage customs have evolved alongside this growth. Seoul's marriage culture, shaped by traditional values and foreign influences, continues to change. We invite you to reflect on Korean society's journey over the past 80 years after independence through the lens of Seoul's marriage culture to foster deeper generational understanding and empathy.

Special Exhibition of Seoul Urban Life Museum: Marriage Stories of Seoul Families Once seen as an obligation, marriage is now viewed as a choice. To explore the reasons behind this shift, the Seoul Urban Life Museum conducted a comprehensive survey and studied the marriage culture of Seoul's citizens across different eras last year. The findings are now presented in this year's special exhibition. Soon after the liberation in 1945, the country faced the Korean War. Still, Korean society has rapidly grown with the Miracle on the Hangang River, and marriage customs have evolved alongside this growth. Seoul's marriage culture, shaped by traditional values and foreign influences, continues to change. We invite you to reflect on Korean society's journey over the past 80 years after independence through the lens of Seoul's marriage culture to foster deeper generational understanding and empathy.

Mak2 Mai Yingtong 2The first solo exhibition in Seoul, "Cows With Built-in Wi-Fi ”, this exhibition mainly consists of paintings, but also displays 3D printed sculptures and video installations

Project Hashtag is a project curated by the National Museum of Modern and Contemporary Art to discover creators leading the visual arts in Korea and to support mutual collaboration not only in art but also in various fields. Launched in 2019 with the support of Hyundai Motor Company, Project Hashtag celebrates its fifth anniversary in 2024 and builds it into a new level of competition project that experiments with the scalability of contemporary visual art. "Hashtag (#)", the name of the enterprise, is a special symbol that can be interpreted in many ways depending on the language, country, purpose, etc. It was first used by Chris Messina on Twitter (currently X) and is now widely used. Hashtag is a method of linking related topics in different posts by connecting # and keywords on SNS platforms, and in this way, links can be formed in countless cases. The guiding value of Project Hashtag is an attitude and practice that transcends traditional definitions and boundaries, just like a label, creating a structure that enables unpredictable connections and communication. Project Hashtag 2024 is a project that supports collaboration between creators, curators, and researchers in various fields, rather than focusing on traditional pure visual art, and involves a differentiated platform through which expanded artistic possibilities are explored. We also hope to actively embrace free sharing between different fields and further conduct marginal experiments on tensions and conflicts that arise within them. Project Hashtag 2024 opened for public submissions in March 2024. This year's applicants proposed not only convergence projects using the latest technologies such as generative AI, metaverse, and games, but also social experiments that address pressing contemporary issues. In particular, people's tendency to look at social issues such as new environments, interpersonal relationships, and changes in values ​​brought about by the introduction of AI technology into daily life from different perspectives, and to seek community solidarity through interaction with others was very evident. In the Project Hashtag 2024 showcase, "Wish Office (Kim Raeo, Choi Joonseong, Seo Jinkyu, Seo John, Oh Saeol), Playing Art Method (Cho Hoyoun, Kim Youngju, Rhee Sei)", proposed different themes in their own way through the medium of "games", introducing the projects of Ho-yeon Jo, Young-ju Kim, and Se-ok Lee. "Wish Office" builds a "wish world", a virtual world where everyone's wishes can come true. We proposed a social experiment game that examines modern society through the language of games, in which individual efforts are easily frustrated. The "Playing Art Method" addresses the problems that arise when games are displayed as works in art galleries, creating meaningful discourse through exhibitions, workshops and other methods to form a loose learning community.

Project Hashtag is a project curated by the National Museum of Modern and Contemporary Art to discover creators leading the visual arts in Korea and to support mutual collaboration not only in art but also in various fields. Launched in 2019 with the support of Hyundai Motor Company, Project Hashtag celebrates its fifth anniversary in 2024 and builds it into a new level of competition project that experiments with the scalability of contemporary visual art. "Hashtag (#)", the name of the enterprise, is a special symbol that can be interpreted in many ways depending on the language, country, purpose, etc. It was first used by Chris Messina on Twitter (currently X) and is now widely used. Hashtag is a method of linking related topics in different posts by connecting # and keywords on SNS platforms, and in this way, links can be formed in countless cases. The guiding value of Project Hashtag is an attitude and practice that transcends traditional definitions and boundaries, just like a label, creating a structure that enables unpredictable connections and communication. Project Hashtag 2024 is a project that supports collaboration between creators, curators, and researchers in various fields, rather than focusing on traditional pure visual art, and involves a differentiated platform through which expanded artistic possibilities are explored. We also hope to actively embrace free sharing between different fields and further conduct marginal experiments on tensions and conflicts that arise within them. Project Hashtag 2024 opened for public submissions in March 2024. This year's applicants proposed not only convergence projects using the latest technologies such as generative AI, metaverse, and games, but also social experiments that address pressing contemporary issues. In particular, people's tendency to look at social issues such as new environments, interpersonal relationships, and changes in values ​​brought about by the introduction of AI technology into daily life from different perspectives, and to seek community solidarity through interaction with others was very evident. In the Project Hashtag 2024 showcase, "Wish Office (Kim Raeo, Choi Joonseong, Seo Jinkyu, Seo John, Oh Saeol), Playing Art Method (Cho Hoyoun, Kim Youngju, Rhee Sei)", proposed different themes in their own way through the medium of "games", introducing the projects of Ho-yeon Jo, Young-ju Kim, and Se-ok Lee. "Wish Office" builds a "wish world", a virtual world where everyone's wishes can come true. We proposed a social experiment game that examines modern society through the language of games, in which individual efforts are easily frustrated. The "Playing Art Method" addresses the problems that arise when games are displayed as works in art galleries, creating meaningful discourse through exhibitions, workshops and other methods to form a loose learning community.

Souimun Gate (昭義門) was once a prominent part of the Seoul City Wall during the Joseon dynasty. Situated between Sungnyemun and Donuimun Gates, it served as a key passageway to the southwest of Seoul. The area surrounding Souimun was a bustling hub of both land and water transportation, filled with people and goods during the Joseon era. Additionally, just outside Souimun was the site where individuals convicted of capital crimes, along with Catholics considered a threat to Neo-Confucian ideology, were executed. These public executions were meant to serve as a stark warning to passersby about the consequences of crime. In 1914, during the Japanese colonial period, Souimun was demolished to make way for road development, as it was seen as an impediment to modernization. This exhibition offers visitors a glimpse into Souimun's rich history, showcasing its role as both a guardian of the Seoul City Wall and a vibrant center of activity before its demolition.

More than a thousand years ago, Goryeo celadon was the product of the Goryeo people's high-level cutting-edge technology and unique aesthetics. Among them, figurative celadon with specific shapes such as animals, plants, and figures fully demonstrates the high level of craftsmanship and aesthetics of Goryeo celadon. In pictographic celadon, various shapes are expressed in a three-dimensional way. The addition of blue glaze gives people a lively feeling. Pictographic celadon, the crystallization of the best production technology and unremitting efforts, contains the world that the Goryeo people love. We reflect our world on these green containers and think about the world we want to contain. We invite you to step into the world of pictographic celadon, where there is infinite beauty and stories.

The term Taepyeongseongdae refers to an era of peace under the rule of a benevolent king. For those of us today, amidst news of conflict and division, such a time may seem like a distant utopia. Yet, throughout history, there have been periods remembered for their peace. In the Joseon Dynasty, the reigns of King Yeongjo and King Jeongjo stood out as such a time. This exhibition brings to life the vibrant 18th-century Seoul, often celebrated as a pinnacle of cultural and historical renaissance. Step into the Seoul of this peaceful era, shaped by two visionary rulers who embraced the “Magnificent Harmony” (Tangpyeong) ideology, striving for reforms that uplifted the lives of their people and left a legacy of lasting peace.

Koreans believe that people born in the Year of the Snake are smart. Because in the Chinese zodiac, the snake symbolizes wisdom. However, stories about snakes usually portray snakes as scary creatures. The appearance of snakes, the aggressiveness of some snakes, and their deadly venom have created an instinctive fear in humans. Therefore, snakes are portrayed as creatures that follow the transcendent and punish evildoers. Although humans are afraid of snakes, they also believe that snakes are sacred. This is because I am amazed by the way snakes grow by shedding their skins and their survival instincts of disappearing in winter and reappearing in spring. Due to these characteristics, snakes travel between different dimensional worlds and are even considered sacred creatures that bring blessings and prosperity to humans. In this way, snakes have become scary and righteous, disgusting and wonderful, familiar and sacred, and live with us. To celebrate the Year of the Snake, this exhibition attempts to examine the lives of humans who live with snakes. I hope you have a prosperous Lunar New Year and everything goes according to plan, overcoming the complex human mind and creating a thousand faces for an animal called snake.

Kim Byung-ho uses metal as the main material to create sculptures and installations whose aesthetic forms stand out. Kim Byung-ho's work process is based on carefully planned design drawings and is carried out in a thoroughly divided production system, reflecting an aspect of modern society. As a modern person integrated into the structure of contemporary society, I seek to achieve a new form of sculpture by combining mechanical complexity and seemingly beautiful artistic practices. For him, a work of art is an object similar to a product created by social consensus such as norms, rules, and systems. Kim Byung-ho's working world reminds people of philosophical questions about human life and psychology in a civilized society based on rationalism. Held on three floors of Arario Gallery in Seoul, this exhibition displays 15 sculptures of various sizes, including Kim Byung-ho's representative works and new works.

Adeni-Jones is a London-born Nigerian artist known for his brightly coloured portraits inspired by Yoruba culture. His work is rooted in West Africa’s ancient history and the region’s unique contemporary artistic discourse. Influenced by the Harlem Renaissance and modern art masters such as Aaron Douglas and Kerry James Marshall, he delves into themes of the African diaspora and his own position as a British artist of Nigerian descent. These characteristics of the artist are clearly on display in this exhibition. Against an abstract background covered in lush foliage, elastic, sinuous body outlines repeatedly intersect to create a fusion of form and colour. The viewer experiences a state of selflessness.

Adeni-Jones is a London-born Nigerian artist known for his brightly coloured portraits inspired by Yoruba culture. His work is rooted in West Africa’s ancient history and the region’s unique contemporary artistic discourse. Influenced by the Harlem Renaissance and modern art masters such as Aaron Douglas and Kerry James Marshall, he delves into themes of the African diaspora and his own position as a British artist of Nigerian descent. These characteristics of the artist are clearly on display in this exhibition. Against an abstract background covered in lush foliage, elastic, sinuous body outlines repeatedly intersect to create a fusion of form and colour. The viewer experiences a state of selflessness.

Opening in January 2025, White Cube presents Tunji Adeniyi-Jones’s first exhibition in Korea, debuting a new series of paintings. Born and educated in the UK and now living and working in New York City, Adeniyi-Jones’s practice is inspired by his Yoruba heritage, as well as the ancient history of West Africa and its attendant myths.

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

Experience the mesmerizing Art on Loop - Immersive Experience - Seoul, a captivating group art exhibition showcasing top artists from all corners of the world. Hosted by The Holy Art at 38 Yongsan District, Seoul 04344, this event features a diverse array of mediums, including video art, 2D, and 3D works. The exclusive preview will take place on February 22, 2025, from 7:30 PM to 10:00 PM, offering a first look at the extraordinary talent on display. Admission is free, so gather your friends and family for an unforgettable evening surrounded by exceptional artistry. The exhibition is open to the public on February 23rd and February 24th, 2025 - a rare opportunity to witness the brilliance of renowned artists all in one place. Don't miss this chance to immerse yourself in the world of art in the heart of Seoul's vibrant cultural scene.

The Hermès Studio will host the solo exhibition "Paranoia Paradise" by the artist duo Nayoung Kim and Gregory Mars from November 22, 2024 to February 2, 2025. Since the beginning of their collaboration in 2004, the artists have expanded their awareness of artistic diversity and freedom through exhibitions at home and abroad for nearly 20 years, and in this exhibition they present their own extraordinary world of work with 60 new works. The artists, born in South Korea and Germany, met in France, a third country, and continue to live and work together, developing a world of work that eliminates the purity, hierarchy and norms of art based on mixed languages ​​and cultural experiences. . For them, the countless objects and images that exist in the world are interesting existences with cultural typicality in a specific time and space, and by being separated from their original purpose or context and handed over to the hands of the artists, they enter a new realm of artistic life. Through the strange combination of objects that the artists themselves call "Frankenstein", we go beyond clichés and enter a surprising and rich world of interpretation. At first glance, these works seem to be a collection of different objects, the product of "readymades" descended from Dadaism or Fluxus, trying to eliminate the gap between art and life, but in the case of Kim & Maas, they are "handmade" sculptures that require careful artistic adjustment, and they also have personality. The title of the exhibition, "Paranoid Paradise", is the superposition of two words with the same etymology but conflicting references, clearly revealing the world of the artist's work who likes tautology and contradictory puns. The combination of two or more objects often seems strange and inappropriate because it does not follow the standards of harmony or completeness, which inevitably involves the Korean society in which the artist currently lives, the contemporary hybrid imitation culture, and the shadow of art. Obsessed global capitalism has been covered up. In the representative work "Katie's Enlightenment" (2024), a large sculpture abandoned in a corner of the park was taken out and restored, and a cute expressionless icon and the father's hot air balloon regained their joyful and sad faces. It's like a halo attached, overcoming pain and entering nirvana. Nayoung Kim & Gregory Maas deal with objects and images without any limits, ranging from art history to kitsch and pop culture products, to daily necessities related to food, clothing, shelter and transportation, as well as leisure items suitable for people of all ages and genders. They coexist without hierarchy, just like the various parts and byproducts of the human body that maintain life through metabolism. The exhibition features modified works by Picasso and Henry Moore, as well as Minnie Mouse expressed in embroidery, screens written in English, and snot paintings. The artists' works are ironic and humorous, but never defined by a single meaning, bringing an experience that awakens a calm sense of reality, rather than entering the unconscious or surreal world through the "chance encounter" of objects.

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