Arko Art Center is holding a homecoming exhibition for the Korean Pavilion’s return after completing the Venice Architecture Biennale. The monument, which was said to have attracted about 250,000 visitors, was founded on the idea of the ‘FAR Game’ — with ‘FAR' being an acronym for Floor Area Ratio, which is thoroughly and inevitably considered in any architecture projects in Seoul due to the country's extremely dense urban setting. For an architect in Korea, the concept often comes down to convincing their clients that their designs will yield the largest rentable floor area in order to get a commission. This strenuous and limiting "game" played with models, drawings, photographs and videos will be explored in the exhibition, raising theoretical and practical issues on desire, regulation, aesthetics and creativity. On April 8th at 11am and on the 21st at 7pm, roundtable discussions at will take place at Space Feelux and Gallery 2 (call in advance to RSVP).
Those who have learned to write Korean probably at least once went through a few of those language journals or exercise books gridded with small rectangles to be filled in with letters. These books are a standard in the Korean elementary school curricula and thus a common way of perceiving the written language for many Koreans. Ahn Sang-soo, justifiably one of Korea’s most influential graphic designers, is one who brought challenges to this norm and created a written code—stepping outside the box, quite literally, thereby revolutionizing Korean typography. In an acknowledgment of such accomplishment and talent, Seoul Museum of Art has selected Ahn for this year’s SeMA Green, a biannual exhibition “reflect[ing] the achievements of senior artists and estimating the contemporaneity and future of Korean art.” Elaborately showcasing the graphic designer's lifelong achievements, Nalgae.Pati will offer you an insight into the creative and empowering elements that he exposed to the many aspects of the language, along with the new and authentic ways in which the artist made the discipline a cultural tool.
On the second floor of the Art Sonje Center is an interactive installation-based exhibition created by two local artists, Rhii Jew-yo and Jung Ji-hyun. With previous joint exhibitions at New York’s Queens Museum in 2015 and 2016 Gwangju Biennale, Dawn Breaks, Seoul will be their third collaborative experience. In this exhibition, Rhii and Jung's main objective is to push the boundaries of conventional storytelling by using objects and active participation of the audience. By navigating and interacting with the various kinetic structures chaotically juxtaposed within the confines of the gallery space, you and the objects become one organic entity, full of spirit and narrative.
Visually simple yet strangely alluring, works created by Ryan Gander displayed at his solo exhibition Soft Modernism focus on the relationship between objects. Perhaps the curious nature of humans to narcissistically articulate an affiliation is what attracts the audience, as each of the neo-conceptual pieces has the potential to allude to a personally relevant story from their life—of the past, present and future. That is, the sculptures, paintings and interactive installations showcased are simplified in form to a point where anyone is allowed with plenty of room for open interpretation and storytelling—and, at the same time, a chance to understand the veiled meanings which the artist mischievously induced. Such self-conscious nature is the reference with which the title of the exhibition is understood: for the artist, post-modern art is nothing but “frivolous ego-centric nonsense,” that is, contrary to the viewpoint of many art historians who regard conceptual art as post-modern, and hence refers to his collection as "soft modernism." From the contemporary "selfie culture" discussed in the basement installation to pieces that suggestively arouse childhood sensibilities, Gander's works engage viewers in the conceptual exploration of ambiguous relationships we naturally build upon interaction.