Adrienna Matzeg’s solo exhibition "After Hours" at Abbozzo Gallery in Toronto presents embroidered textile works inspired by her late-night explorations of Kyoto, Tokyo, and Seoul during a July 2025 trip. The pieces capture quiet, illuminated scenes of convenience stores, markets, and roadside attractions, rendered on black linen with a diaristic, snapshot-like quality.
Jaeyong Park, a Seoul-based writer, translator, and interpreter, has attended every edition of the Venice Biennale since 2022—including both art and architecture cycles—and seen every single show, from the central exhibition and national pavilions to collateral and unofficial events. He documents his journeys in regular dispatches and has compiled a free bilingual guide to the biennial. Park organizes his trips with a group of fellow art workers, splitting accommodation costs and sharing reviews over dinner to ensure full coverage.
Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
At the 2026 Venice Biennale's Arsenale, critic Andrew Durbin reviews national pavilions, finding the US presentation vacuous and lacking meaning, while praising the British and German pavilions for their incisive and moving installations that resist erasure. The review highlights a stark contrast in curatorial ambition and political engagement among the participating nations.
The article, a critic's guide review by Andrew Durbin, contrasts the US national pavilion presentation at an unspecified biennial with those of Britain and Germany. The US presentation is described as vacuous and lacking in meaning, while the British and German installations are praised for being incisive and moving. The review critically examines the thematic and conceptual approaches of each national pavilion, highlighting a disparity in artistic depth and engagement.
Andrew Durbin reviews national pavilions at a major biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful content in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
Ukrainian artist Nikita Kadan, in an interview with Frieze, reflects on his practice and the ongoing psychological and physical toll of war, questioning whether conflict ever truly ends. He discusses his recent works, which grapple with the persistent state of war in Ukraine, the transformation of urban spaces, and the collective trauma that outlasts active hostilities.
BB&M gallery in Seoul presents "When Space Becomes Painting," a solo exhibition of leading Korean architect Byoung Cho, organized in partnership with Jiyoon Lee of SUUM Project. The show traces Cho's 30-year engagement with space across painting, installation, maquettes, and drawing, exploring how his architectural thinking translates onto canvas. Central to the exhibition is Cho's concept of "mahk," inspired by Korean traditional ceramic maksabal, embracing spontaneity and imperfection as a guiding philosophy. The exhibition shifts from viewing artworks to experiencing them, with paintings that function as performative inquiries into existence rather than static images.
Osaka-born graphic artist VERDY will debut his first solo museum exhibition, 'I Believe in Me,' at the LOTTE Museum of Art in Seoul from April 24 to July 19, 2026. The show features over 250 works, including crayon drawings, large-scale sculptures, and neon installations, exploring his signature aesthetic rooted in punk, skateboarding, and Japan's '90s Urahara scene. Divided into four sections, the exhibition traces the evolution of his characters and typography from graphic design into immersive physical forms, with highlights including the recurring character Vick and pandemic-era figure Visty.
Centre Pompidou Hanwha has opened in Seoul, housed within Jean-Michel Wilmotte's 'Box of Light' design. The new museum features flexible galleries that can accommodate large-scale contemporary exhibitions, with inaugural displays including large-scale paintings and sculptures.
Artist Yeesookyung, known for her "Translated Vase" series that repairs broken ceramics with gold, has created new AI-driven video works for the exhibition "Fail Better," jointly held at Forum & Space in Seoul and Vido Gallery in Jeju through June 13. The two-person show, curated by Kim Yoon-kyung, also features media artist Yangachi and includes works like "Moonlight Crown," which uses real-time GPS and weather data to generate ever-changing forms, and "Oh, Rose!," a digitally bred rose series produced through an AI generative system.
Tate St Ives has opened 'Shelters for the Senses', the first UK museum presentation of Lithuanian-American artist Aleksandra Kasuba (1923–2019). Curated by Tate St Ives Director Anne Barlow in collaboration with LNMA curator Elona Lubytė, the exhibition spans seven decades of Kasuba's work, including early paintings, mosaics, public artworks, architectural designs, and spatial environments. A reconstruction of her 'Live-In Environment' (1971) is featured, alongside works donated to Lithuania and kept by the LNMA. The show runs until 4 October.
The Total Museum of Contemporary Art in Seoul has opened "Somebody Has to Collect It," an exhibition featuring works from the collection of French art collectors Catherine and Renato Casciani. Running from April 30 to May 31, the show marks the couple's first major presentation in Korea and inaugurates the museum's new "Collector/tion" project, which reframes collectors not as buyers but as actors at the intersection of capital, memory, and value-making. The exhibition includes 22 artists and collectives, with a focus on video art addressing themes such as precarious labor, state violence, colonial inheritance, climate crisis, and queer intimacy. It is also an official program of the 140th anniversary of diplomatic relations between Korea and France.
Veteran Korean artist Lee Jong-gu, a key figure in the 1980s minjung art movement, has opened a solo exhibition titled "Pensive" at Hakgojae Gallery in Seoul. The show features 38 paintings that mark a shift from his decades-long focus on social realism toward a more contemplative approach, centering on the bangasayusang (contemplative bodhisattva figures) from the National Museum of Korea. Lee blends these sacred images with nude bodies, flames, and crowd scenes, drawing on the Buddhist concept of non-duality to explore themes of life, death, and the sacred versus the profane. The exhibition runs through June 20.
The Kelterborn Collection, a German private collection focused on video art and experimental installations, will be exhibited in Italy for the first time at Venice's Contemporary Forces platform from May 7 to September 27, 2026. The exhibition, titled "Who’s a good boy??," is curated by Anastasia Stravinsky and Mario von Kelterborn in collaboration with IKT – International Association of Curators of Contemporary Art, and features works by twelve artists including Joseph Beuys, Gary Hill, Laure Prouvost, and Ulay. The show aligns with the theme of the 61st Venice Biennale, exploring power "in minor keys."
K Auction will hold its May sale on May 27 at its headquarters in Sinsa-dong, Seoul, offering 83 works by Korean modern and contemporary masters with a combined estimated value of around 10.4 billion won. Highlights include Suh Do-ho's large-scale installation "Cause & Effect" (estimated 280 million to 600 million won), Kim Whan-ki's untitled 1969 painting from his New York period (estimated 780 million to 1.5 billion won), and Yoo Young-kuk's abstract landscape "Mountain" from 1988 (estimated 400 million to 800 million won). The sale also features works by Dansaekhwa artists Yun Hyong-keun, Park Seo-bo, and Lee Ufan, alongside contemporary artists Angel Otero, Anna Park, and Woo Kuk-won.
The Leeum Museum of Art in Seoul is hosting 'Inside Other Spaces: Environments by Women Artists, 1956-1976,' an exhibition that reconstructs immersive room-scale works by 11 women artists from underrepresented regions. Co-curated by Andrea Lissoni and Marina Pugliese, the show traces two decades of experimental environments made from light, sound, plastic, and foam, which anticipated installation and media art. The Seoul edition features a new version of Jung Kang-ja's 1967 work 'Muche-jeon (Incorporal Exhibition),' a smoke-filled chamber that evokes the tension of 1970s authoritarian Korea.
P21 gallery in Seoul, South Korea, presents 'Balance in Motion,' an exhibition running from May 14 to July 4, 2026. The show takes place at the gallery's Itaewon district space, which features two separate facades (P1 and P2) designed for site-specific works. P21, founded in 2017 by Soo Choi, opened with an inaugural exhibition by Choi Jeong Hwa and continues to promote international contemporary art.
Artist Koh Sang-woo's solo exhibition "Still Breathing" opened at the Savina Museum of Contemporary Art in Seoul, featuring paintings of wounded, abused, and endangered animals. The show includes portraits of spotted seals from a project with WWF Korea, works from a partnership with Cheongju Zoo (including a vulture named Hana and a zebra named Sero), and a rabbit blinded in cosmetic testing. Koh uses a signature blue-inversion technique, and the exhibition is curated by museum director Lee Myung-ok.
The article 'From Paris To Gyeongseong’ Illuminating The Flow Of Modern Art' explores the historical and cultural exchange of modern art between Paris and Gyeongseong (the former name of Seoul during the Japanese colonial period). It traces how Western modernist movements, particularly from Paris, influenced Korean artists in the early 20th century, highlighting the cross-cultural dialogue that shaped the development of modern art in Korea. The piece examines specific artworks, exhibitions, and the role of key figures who facilitated this artistic flow.
Leeum Museum of Art in Seoul is presenting "Inside Other Spaces: Environments by Women Artists, 1956–1976," an exhibition that reconstructs immersive environmental artworks by 11 pioneering women artists. Originally curated in 2023 at Haus der Kunst Munich and later shown at MAXXI in Rome and M+ in Hong Kong, the show features restored pieces including Judy Chicago's "Feather Room" (filled with 136 kg of white goose feathers), Jung Kangja's "Muchejeon" (restored after 56 years), Lygia Clark's "House Is Body: Penetration, Ovulation, Germination, Expulsion," and Marian Zazila, La Monte Young, and Jung Hee Choi's "Dream House: Environment of Sound and Light" (shown in Asia for the first time).
Leeum Museum of Art in Seoul is presenting "Into Other Spaces: Synesthetic Environments by Women Artists 1956-1976," a major exhibition opening May 5 that reconstructs immersive environmental artworks by 11 women artists from Asia, the Americas, and Europe. The show features full-scale recreations of works that were often dismantled or lost, including Jeong Gangja's "Muchejeon" (1970), which was shut down by authorities after just days. Curators Andrea Lissoni and Marina Pugliese used archival materials, photographs, and direct consultations with artists or their estates to piece together these ephemeral pieces.
A 20-something intern at a small Seoul gallery, identified as Park, accepted a job paying 1.35 million won ($910) per month after taxes—below South Korea's minimum wage—because she believed early experience was essential for career advancement in the art world. The article, based on interviews with the Korea JoongAng Daily, reveals that many entry-level workers face low pay and precarious conditions, exacerbated by a severe oversupply of arts graduates (48,000 annually) versus only about 3,523 job postings per year on the industry site Art More, leading to reliance on personal connections and informal hiring.
The inaugural HIVE Art Fair in Seoul, opening May 21 at COEX Magok, is testing an alternative business model that eliminates fixed booth fees. Instead, galleries can choose which services and installations to pay for through a "selective purchase system," with the fair relying on ticket sales, corporate partnerships, and promotional lounges for revenue. The fair features 48 galleries (36 South Korean, 12 international) and 158 artists, with no overlapping artists between galleries, and will display exhibition titles and curatorial statements alongside gallery names.
On May 11, the Leeum Museum of Art in Seoul opened its entire museum on a Monday—its regular closing day—to host approximately 200 members of multicultural families. The event, organized in partnership with family centers and related organizations across Seoul, included exhibition tours of the permanent antique art collection, the special exhibition "Into Another Space: Synesthetic Environments by Women Artists 1956-1976," and the outdoor Orozco Garden. A curator provided explanations, and a magic show was held in celebration of Family Month. Participating organizations included the Yongsan-gu Family Center, Itaewon and Ichon Global Village Centers, the Mari Shelter for Migrant Women and Mari Community, and the Dongdaemun and Seocho Family Centers.
Korean American visual artist Sungmo Cho is returning to South Korea after 14 years to exhibit his 'Along the LOVE Road' series in Seoul and Buyeo. Cho, who moved to New York in 1992, has created over 30 solo shows and 150 group shows across four countries. His works explore themes of migration, memory, and the tension between civilization and nature, with roads serving as a central symbol of both human progress and environmental destruction.
Jungeun Park, an artist based between New York and Seoul, creates sculptures that blend glass, ceramics, and textiles to evoke raw biological forms and alien organic matter. Her 2025 graduate presentation at the Rhode Island School of Design featured works like *Skin Mite (demodex)* (2024), sewn from old pillowcases, and *Period Chalice* (2024), made from resin, metal chain, metal ring, water, and strawberry syrup, which transform the repulsive into something tender and strange.
The Sehwa Museum of Art in Seoul, operated by the Taekwang Group Sehwa Arts and Culture Foundation, has launched a series of artist-led participatory programs tied to its current exhibitions. On May 17, artist Yesol Kim will lead "Perhaps Scribbling on the World Crookedly," where participants draw and view their work through a kaleidoscope. On May 23, artist Jeong Manyoung will host "Sound Exploration: Finding My Own Sound Space," involving outdoor sound recording. Every Tuesday and Sunday at 3 p.m., visitors can enjoy a performance while holding cotton candy, linked to Lee Wonwoo's work "Gentle Prince." Additional ongoing activities include a handmade zine-making station and a social media review giveaway offering an "Artist Puzzle" from the museum shop.
The Plas Art Show, a Seoul-based art fair specializing in sculpture and three-dimensional works, returns for its 11th edition from June 4 at Coex in Gangnam District. Featuring 102 galleries (91 domestic and 11 from Taiwan, Germany, Japan, and Georgia), the fair presents roughly 750 artists and 3,500 works under the theme “New Chance.” Fair president Shin Jun-won acknowledged criticism that the event had drifted from its sculptural focus and announced stricter curation, including on-site inspections and penalties for galleries that fail to include at least one three-dimensional artist and one stereoscopic work. Standard booth prices range from 5.7 to 6.7 million won, which Shin says attracts Gangnam-area galleries priced out of larger venues.
Digital art venue Arte Museum, operated by Seoul-based design company d'strict, has partnered with K-pop group BTS for a large-scale immersive exhibition titled "Arte Museum X BTS The City Arirang." Inspired by BTS's new album "Arirang," the exhibit debuted on Wednesday at the museum's Las Vegas branch and will run through June 17, with subsequent openings in Busan on June 5 and in New York at a later date. The show features five original media artworks—including "No. 29," "Body to Body," "Swim," "2.0," and "Into the Sun"—alongside an updated "Arirang Wave" installation, an interactive "Live Sketchbook" space, and a BTS-themed cafe. It is part of the band's "The City" project, which extends the concert experience into local venues during their "Arirang" world tour.