Taking a new approach using new media and technology, S-Factory in Seongsu-dong presents a modern media art exhibition of the celebrated Viennese artist Gustav Klimt. Unlike the traditional method—of viewing renowned paintings hung on museum walls—this exhibition allows us to experience the works of art complimented by music, lighting, LED screens and more. Divided into 6 sections (End of Century, Ver Sacrum, Women, Stocklet Frieze, Later Colors and Kiss), each section offers unique insight into the Austrian symbolist painter. Outside the main exhibition, visitors can experience a virtual reality of a Stoclet Palace dining room decorated with an artwork which Klimt was commissioned to create.
Arario Museum is displaying the works of Minjeong Koo and Rae Shim as part of their ‘Project Underground’ with the aim to discover and introduce rising artists. The title of the exhibition, Pink Poison, refers to the pink-colored digestive medicine Pepto-Bismol, suggesting that the uneasy feelings of deception can be a catalyst for art (as the charmingly baby-pink medicinal liquid may make you want to vomit when over-consumed). The exhibition begins with Rae Sim’s black and white paintings in a maze-like format. The drawings depict extremely vulgar scenes of violence, amputation and even cannibalism. Minjeong Koo’s colorful stuffed dolls (which seem like a living organism) and painting at the end recreates the physical space of the gallery to put the audience inside of a "mother’s womb." Pink Poison is the second of ‘Project Underground’ — the museum is set to open the space for up-and-coming artists up to four times a year.
They say it'll serve as a great stimulus for couples on a date—while that may be considerably so, the transcending logic and overwhelming beauty presented by Numen / For Use exhibit at Storage by Hyundai Card is too brilliant to go unnoticed. From March 24th to June 18th, Storage presents Numen / For Use, an artist trio (Sven Jonke, Christoph Katzler, Nikola Radeljkovic) working in the fields of conceptual art, theatre scenography and industrial/spatial design. While comprised of only 3 main works, this powerful presentation and creative study will easily have you leave with a more enlightened perception of space and your physical and metaphysical relationship to it. The exhibition begins with a mock-up of Void and a video projection of Numen / For Use's previous works. Hinting at the actual scales in which these the trio plays and produces, these images/prototypes allow you a peek at the exhaustive worlds of the artists. Proceeding to String model 2x2 (2015), a cube structure constructed with clear vinyl and blue strings, is a miniature version of the original balloon-like installation. At its most deflated point, the model is devoid of a volume or space, with all of the strings tangled up and vinyl resting lifelessly; as soon as it begins to get inflated, the sculpture begins to take form with the blue strings serving as a systematically gridded endoskeleton. This whole process can be controlled/manipulated with a tap of a red switch which inflates the balloon into a pe
Amid all the hype of minimalism seen right here in Korea (which encompasses lifestyle philosophies to aesthetics presented in varying levels of commercialization), Todd Selby’s first solo exhibition opened at Daelim Museum. The show is appropriately titled The Selby House, as the exterior walls of the museum are covered with the artist’s illustrations while displayed inside is a re-creation of the artist’s very own bedroom. The self-proclaimed embracer of maximalism comes as a fresh contrast to the dominant trend that’s been sweeping the local scene for several years. The mammoth showcase of photographer, illustrator and creative journalist Todd Selby is, especially in this particular context, one that offers refreshing inspiration. Selby mentioned: “Minimalism to me is quite boring. When I started shooting people and their spaces in the early 2000’s, that super-clean look was the dominant aesthetic. What I did was embracing maximalism and real life and messiness. It was a slap in the face to that whole thing.” The artist's unapologetically disruptive attitude is fully apparent in the first section of the exhibit, Selby the Photographer, in which ‘documentarian’ photographs portray people in their natural habitat—with whichever kind of lighting that was available and no props whatsoever. In a rather paradoxical manner however, this unique ‘Selby’ process questions how real a photograph can be, as the unconstructed images seem so professional and iconically Selby. As you pro