Shows & Exhibitions

When we think of Modern art, the innovations of Picasso, Duchamp, Kandinsky, and the Abstract Expressionists are what tend to spring most readily to mind. Now, the Los Angeles County Museum of Art is looking to expand our Western-centric horizons with “The Space Between: The Modern in Korean Art,” a first-of-its-kind survey of art production in Korea between 1897 and 1965.
With over 130 works, the exhibition explores a significant period of upheaval in the country’s history from the Korean Empire (1897-1910), through the Japanese colonial period up to the struggles and aftermath of the Korean War (1950-1953). 
At this time, the country was newly exposed to foreign cultures and many of the works, which have never before been exhibited outside of Korea, examine how both European and American influences played out there.
As Seoul plays an increasingly pivotal role in the Asian and international art scenes of today, the show is a chance to see how Korean artists first began breaking with tradition to inform the beginnings of Korean contemporary art.
“The Space Between” runs until February 19, 2023. See artworks from the exhibition below. 
Kim Whanki, Jars and Women (1951). Photo: © Whanki Foundation-Whanki Museum.
Shin Nakkyun, Photograph of Choi Seunghui (1930). Image courtesy of Jipyong Collection, Research Institute for the Visual Language of Korea, Seoul.
Kim Kwan-ho, Sunset (1916). Photo courtesy of The University Art Museum, Tokyo University of the Arts.
John Pai, Untitled (1963). Photo courtesy of John Pai.
Park Seo-bo, Primordials No. 1-62 (1962). Photo courtesy of The National Museum of Modern and Contemporary Art, Korea.
Han Youngsoo, Near Savoy Hotel, Myeongdong, Seoul (1956). Photo courtesy of LACMA.
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There is such a wide array of openings, tours, and events packed into the annual Berlin Art Week—which launches today, September 14—that it can feel equally exciting and overwhelming.
Where should art lovers, collectors, or the curious curator spend their energy? It may be impossible to get to everything on offer in the Germany art capital this week, but as you build up your itinerary, be sure not to skip these exhibitions and events.

Ian Cheng at LAS
Ian Cheng, Life After BOB: The Chalice Study (still) (2021), real-time live animation. Commissioned by LAS (Light Art Space), The Shed and Luma Arles. Courtesy of the artist.
The private institution LAS (Light Art Space) has a reputation for putting on extremely ambitious commissions, and Life After Bob is no exception. American artist Ian Cheng, who is an authoritative artistic voice on digital art, is known for his live simulations that ask profound questions about the relationship between technology and humanity. His newest work is on view at the formidably grand, concrete halls of Halle am Berghain. The project, which has been years in the making, explores artificial intelligence and free will through an interactive, shifting cinematic experience, transformed by an algorithmic feed. The narrative will culminate in the possibility of leaving with your own personalized NFT.

Simone Forti at Neue Nationalgalerie
Simone Forti. Huddle (1961), performance at Fondazione ICA Milano. Photo: The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2019 The Museum of Modern Art, New York.
On loan from MoMa for a short time only is a course-changing work by Simone Forti. The Neue Nationalgalerie, a Modernist glass jewel box of a museum designed by Mies van der Rohe, is a statement location for this very soft and intimate performance piece that dates back to 1961. Curator Klaus Biesenbach (a MoMA alumnus) described Forti as “one of the most important and influential artists that you might not have heard about in Germany.” This is a terrible truth, given that the 87-year-old Jewish-Italian artist fled her home in Florence as a young girl to escape antisemitic persecution. Forti is credited with initiating minimalism and conceptual art as we know it today, and for fans of contemporary performance work, this is educational and essential viewing. Huddle is a part of her “Dance Constructions” series.
The 15-minute performance will take place from today through Sunday, September 18, every half an hour in the main gallery of the museum. On Friday evening, September 16, Miles Greenberg, a young performance artist who is rapidly gaining major acclaim in the art world, will offer an homage to Forti’s work. More homages are planned for the coming weeks.

Marianna Simnett at Société
Marianna Simnett, OGRESS. Courtesy of the artist and Societe.
Of all the millennial artists growing in prominence at the moment, it is always exciting to see what U.K. artist Marianna Simnett is going to do next; from chapter to chapter of her career, her work is in an entrancing state of metamorphosis. Simnett’s surreal, unsettling world-building probes strange fundaments of the human psyche in a practice that rangers from film, to photography, sculpture and watercolor—and, if you are lucky, a flute performance.
On the heels of her conversation-sparking presentation of a three-channel video installation at the Venice Biennale—where viewers lounged on a 75-foot rat tail—Simnett is opening her first solo show at gallery Societe, on Thursday, September 15. “Ogress” will consider the eponymous, shape-shifting character of legend. Simnett will also release 100 NFTs on October 6 that multiply an A.I.-generated Athena, another mythological character that transforms across this show.

Jon Rafman at Schinkel Pavillon
Jon Rafman Punctured Sky (2021). Video still. Courtesy of the artist and Spruth Magers.
As a post-internet pioneer, Rafman’s works have never been an easy viewing experience, especially given the artist’s almost anthropological deep dive into the unsettling underworlds of online subcultures, and his ambitious use of virtual production tools. He is presenting two new works at Schinkel Pavillon: Minor Daemon, Vol. 1 (2021) is a dystopian film looking at the intersecting lives of two male characters; Punctured Sky (2021) meanders into the internet’s past and the dark web as a gamer attempts to find a long-lost computer game. Curated by Nina Pohl, the exhibition at Schinkel is presented alongside a solo show by Anna Uddenberg; both shows mark the 15th anniversary of the Berlin institution. Rafman is also presenting a new solo show at gallery Sprüth Magers, Counterfeit Poast, that delves into machine learning and fragmented individuality.
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The immersive art industrial complex, one of 2022’s defining trends, continues to grow—as does the list of artists whose work has been turned into an “experience.”
The latest to join that list is modernist painter Georgia O’Keeffe, who is the subject of a new ticketed event open now in Las Vegas. It looks like a gas. 
“O’Keeffe: One Hundred Flowers,” as the show is called, invites viewers into a “virtual garden” where the artist’s many floral paintings come to life via vivid, 360-degree wall projections. The name nods to the seminal book of the same title, a coffee table staple since it was published in 1987.
Tickets cost $30 and come with timed-entry slots granting visitors 35 minutes inside the 7,000-square-foot event. The experience will be soundtracked by a 12-song playlist of all women artists, including Cyndi Lauper’s True Colors, Annie Lennox’s Georgia on My Mind (subtle!), and Sia’s Chandelier—an homage, apparently, to O’Keeffe’s own status as a trailblazing woman artist. (The playlist is also available on Spotify, where it was no doubt conceived.)

Meanwhile, $19 specialty cocktails inspired by the flora and fauna of the painter’s work will be available to guests not already intoxicated by the projections. 
Perhaps the show’s parting gift will assuage some of the cocktail-buyer’s remorse: As the visitors leave, they’ll be given a “package of wildflower seeds ideal for planting and celebrating the legacy of O’Keeffe,” according to a press release, 
“One Hundred Flowers” takes place at Area15, a new immersive art and entertainment complex located off the Las Vegas Strip. It comes on the heels of two similar events—“Van Gogh: The Immersive Experience” and “Klimt: The Immersive Experience”—which just concluded their runs at the site last month.
Area15 is also home to Meow Wolf’s permanent Omega Mart installation and Museum Fiasco, an immersive audiovisual experience that, per its description, “explores relationships between space, time, and perception.”
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The video artist Charles Atlas opens one of his most ambitious and complex commissions this week at Pioneer Works in Brooklyn. Projected on both walls of the institution’s 100-foot-long Main Hall, The Mathematics of Consciousness expands on Atlas’s recurring interests in science, consciousness, and the workings of the human mind.
Images in the video are drawn from his past and present work, including his collaborations with performers like Merce Cunningham and Kembra Pfahler, and TikTok videos showing viral dance trends. They drift across the walls like fleeting memories or thoughts, while patterns of web-like structures link everything together.
“I subscribe to that idea that an artist just makes work. It’s up to the other people decide what it means,” Atlas told Artnet News over Zoom as he was finishing the project in his studio.
While he confessed he was not sure what the final project would look like exactly, he did hope that it would pull together different elements of the various subjects he has been interested in over the years.
“I wonder what people will get out of it,” he said.
The installation, which features a score by Lazar Bozic and a specially designed stage by Mika Tajima where performances, talks, and other events will be held, opens on Friday, September 9, and run through Sunday, November 20.
Charles Atlas testing the projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
What first sparked your interest in this project? Was it the space, or the chance to dig into some of your earlier work?
I went to see a show at Pioneer Works—I’d never been there before—and I was very impressed with the whole institution. What really sparked my interest was the fact that they had a science division. So I thought, “Oh, this is perfect, because then I can draw on that.” And it turns out, my scientific knowledge is so rudimentary—but anyway it was well supported there.
Things like quantum theory and cosmology, I’ve wanted for years to have it somehow be more a part of my work, because it’s something that I think about.
Then Gabriel Florenz decided to curate a show of mine, but we didn’t really know where it would be held. When we had our first discussions, we came across the idea of projecting on the whole wall [of the Main Hall], because I done a big projection in Chicago at Merchandise Mart.
That was much bigger, like two and a half acres. It took 32 projectors. We’re doing this one with two projectors. And we’re kind of starting from scratch. I mean, [Pioneer Works] didn’t have a map of the wall. So we had to make it, and that took about six months.
Then we did a test and we had to alter it live with software, so it would fit the wall. It’s complicated.
Test projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
You’ve talked about how this project is your biggest challenge. Is that because of its complexity?
Yeah. I mean, I thought it would be somewhat similar to Merchandise Mart. But with that, I had a template and I just had to fill it in. And, in fact, at Merchandise Mart, the windows are like little holes in the image. Here, the windows are so far apart, you can’t really make an image over them, and have them be part of a whole. So I had to think about it in a whole different way.
It’s like 26 individual windows, each one has a certain horizontal and vertical place. So if I have to make any changes, it takes forever.
And it’s not just that each window has its own image. There are also images projected against the wall…
And sometimes the image grows from the window into the wall. And sometimes it’s the same image on the wall on the window; often it’s different images, but the windows complement.
Test projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
How did you select the images? I noticed some of your earlier work in there, like videos with Merce Cunningham.
There are several different categories of images. The ones that are about memory, that’s from my archive, and that’s where Merce comes in. I identified people that I’ve worked with and think about. The show up for less than a minute each, so it’s really just a thought.
And you’ve got more recent things like TikTok dance trends, which people have really embraced. I’ve even taken a class where I learned the Lizzo “About Damn Time” choreography.
It’s a big contrast. It’s the current media landscape of dance and media. I have 45 different people doing [the Lizzo dance]. There are thousands of them [online].
Test projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
The work is meant to recreate the hemispheres of the brain, so there’s a right and left. Have you split the images up so one side of the Main Hall is more rational and the other is more creative? Or is there overlap?
There are some images that are symmetrical and some overall. And there’s some that are about the brain or about neurons, there’s some that are about math and numbers, fractals and stuff like that. There’s some that are about, I would say, connected structure. But they appear on both walls.
The thing is, from inside the building, you can’t really take in the whole wall at once. When I’m working on my computer, I can see the whole wall, so that’s how I’m composing it. But I realized no one can see it that way. So it’s hard to judge timing and how long something should stay on so people can see it fully.
It sounds like visitors will be walking into your brain in a way.
Well, I hope they think that. I just don’t know what people are gonna get. I’m really curious to see what people will think of it.
Test projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
The space will also have live performances, which is always a big part of your work.
Yeah. Different performances and science discussions on the stage that was created by Mika Tajima. I’m doing a performance just before the closing with my longtime collaborator, Austrian musician Christian Fennesz. It’s a dual improvisation; I’m working on my laptop, and he’s playing music.
I haven’t worked with him for 10 years, but I’ve wanted to. It just happened that he was going be in New York the day before my show closed. I’m very excited about it.
Have you two discussed what kinds of ideas you want to explore?
We don’t; typically, on the day of a performance, I rehearse all day and he doesn’t at all. So we just find out what each of us are doing at the performance. He’s so great, it always works out.
Charles Atlas testing the projections for The Mathematics of Consciousness at Pioneer Works, July 2022. Photo: Walter Wlodarczyk.
What do your final days look like as you near the opening?
Last night, I was up all night, because I have a test today. And I was saying to my musician friend, “God, I feel young again. I haven’t stayed up this late in years.” It used to be my normal practice of working overnight. And with every test, I make new versions [of the video].
Are you planning on tweaking the projection during the run of the show? Or once it’s up, is it done?
You know, normally, I’m terrible. I like to fix things, even after the opening. But if it’s an edition, and someone buys one, then I stop.
And are there any other big projects on the horizon?
What’s next is a big vacation. I’ve been working on this nonstop for a year.
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The New Orleans Museum of Art already owns a monumental Spider by famed sculptor Louis Bourgeois. Now, starting September 9, the museum will also present “Louise Bourgeois: Paintings,” the first exhibition of 40 early paintings, sculptures, and photos that aims to give her practice unprecedented context.
The museum partnered with the Metropolitan Museum of Art to bring the show to New Orleans, a city that held particular significance for the artist.
“Although Bourgeois never visited New Orleans until much later in life, the city loomed large in her consciousness,” NOMA curator Russel Lord, who oversaw the show’s installation, told Artnet News. “Throughout the exhibition there are subtle references to her interest in the mythic status of the city and surrounding area.”
“These early paintings reveal how the forms and ideas that she explored later in sculpture were nascent in this formative era,” Lord continued.
Most of these paintings date from 1938 through 1949—the period between Bourgeois’s arrival in New York City and her departure into new mediums—and trace themes that inspired Bourgeois across eras.
“The thorough inclusion of figures and symbols referencing her own biography in these paintings demonstrates that for her, art, be it painting or sculpture, was always first and foremost a gesture of personal expression,” Lord said.
Pieces like the show’s earliest work, titled The Runaway Girl, “can be understood as self-portraits and suggest the artist’s feelings of displacement upon her relocation to the United States just before World War II,” according to a statement from the museum. Others, such as Bourgeois’s Femme Maison series, display early forays into her own nuanced feminism.
Take a sneak peek at works from the show below.
Louise Bourgeois, The Runaway Girl, ca.1938. Oil, charcoal, and pencil on canvas, 24x 15 inches; 61 x 38.1 cm. Collection of TheEaston Foundation, New York. Photo by Christopher Burke. © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY.

Louise Bourgeois, Fallen Woman (Femme Maison), 1946–47. Oil on linen, 18 1/2 x 40½ inches; 47 x 103 cm. Private Collection, New York Photo by Christopher Burke. © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY.

Louise Bourgeois, Femme-Maison, 1946–47.Oil and ink on linen, 36 x 14 inches; 92 x 36cm. Private Collection, New York. Photo by Christopher Burke. © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY.

Louise Bourgeois, Untitled, 1946–47. Oil on canvas, 26 x 44 inches; 66 x 111.8 cm. ARTIST ROOMS, Tate and National Galleries of Scotland, Lent by the Artist Rooms Foundation 2018. Photo by Christopher Burke. © The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY.

“Louise Bourgeois: Paintings” is on view at the New Orleans Museum of Art through January 1, 2023.
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It’s Armory Week. That means that if you’re traveling to New York (or even just live here and need a refresher), you’re probably looking for a handy round-up of exhibitions to see while you’re in town.
From Robert Colescott at the New Museum to James Joyce at the Morgan Library, here are seven must-see shows on view now in New York.

“Raphael Montañez Ortiz: A Contextual Retrospective”El Museo del BarrioThrough September 11, 2022
Raphael Montañez Ortiz, The Memorial (2019). Courtesy of El Museo del Barrio.
This exhibition is the first in more than 30 years dedicated to the artist, educator, and founder of El Barrio, Raphael Montañez Ortiz. From painting to photography to assemblages, Ortiz’s work traces the peaks and valleys of American life through the lens of his Puerto Rican upbringing.

“The Clamor of Ornament: Exchange, Power, and Joy from the Fifteenth Century to the Present“Drawing CenterThrough September 18, 2022
Artist Unknown, Moyō hinagata miyako no nishiki / [henshū Yamanaka Kichirobē] : [volume 1], (1886). Courtesy of the Metropolitan Museum of Art Libraries.Call it maximalism or “cluttercore,” but ornamentation is all the rage right now, as even this century-spanning exhibition at the Drawing Center acknowledges. From Pennsylvania Dutch drawings to Navajo textiles and architectural drawings by Louis Sullivan, more is always more.

“New York: 1962–1964“Jewish MuseumThrough January 8, 2023
Andy Warhol, Empire (1964), film still. Courtesy of the Andy Warhol Museum, Pittsburgh, ©the Andy Warhol Museum, Pittsburgh.
This exhibition traces a three-year period of seismic cultural and political shifts in New York and beyond. Using the tenure of Jewish Museum director Alan Solomon as a starting point, and the museum itself as an epicenter for “New Art,” the show features work by influential artists who helped define the Big Apple’s art scene.

“One Hundred Years of James Joyce’s Ulysses“Morgan Library and MuseumThrough October 2, 2022
A portrait of James Joyce by Patrick Tuohy, ca. 1924. Courtesy of the Poetry Collection of the University Libraries, University at Buffalo, the State University of New York.
Re-Joyce, Ulysses fans, for the Morgan Library has devoted an entire exhibition to the Irish poet and the making of his magnum opus. Through archival material, proofs, and manuscripts, the show explores Joyce’s lived-experiences and rich imagination.

“Art and Race Matters: The Career of Robert Colescott”New MuseumThrough October 9, 2022
Robert Colescott, George Washington Carver Crossing the Delaware: Page from an American History Textbook (1975). Image courtesy Sotheby’s.
Robert Colescott’s satirical perspectives on race, the American dream, and beauty are on full display in this long-overdue exhibition that originated at the Contemporary Arts Center in Cincinnati.

“Bernd and Hilla Becher”Metropolitan Museum of ArtThrough November 6, 2022
Bernd and Hilla Becher, Water Towers (1965-1997). Courtesy Phillips.
Artists Bernd and Hilla Becher scoured the landscape of Western Europe and North America with a single mission: to document the rapidly disappearing architecture of pre-Industrial eras. Their serialized photographs—which foreshadow a generation of Minimalist and Conceptual artists—straddle the line between record-keeping and fine-art.

“Really Free: The Radical Art of Nellie Mae Rowe”Brooklyn MuseumThrough January 1, 2023
Nellie Mae Rowe, What It Is (1978–82) © 2022 Estate of Nellie Mae Rowe/Artists Rights Society (ARS), New York. Photo: © High Museum of Art, Atlanta).
New Yorkers will get to experience this show, which debuted at the High Museum in Atlanta last year, and which shines a spotlight on the self-taught Georgia artist. Explosively colorful works on paper and a recreation of Rowe’s house, dubbed the Playhouse for its whimsical landscaping and decor, will be on view.
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Talking Heads frontman David Byrne is debuting a 15,000-square-foot immersive experience today called Theater of the Mind.
The hands-on show, created in partnership with technology investor Mala Gaonkar, explores human perception at the Denver Center for the Performing Arts, specifically at its experimental Off-Center space, a former cannabis grow house in the Clayton neighborhood.
Byrne told Rolling Stone that he chose to debut the show in Denver based on the center’s previous experience with immersive programming. “Not quite like this,” he said, “but they’ve cultivated an audience in Denver.”
Byrne and Gaonkar collaborated on a similar project in 2016 at Pace Gallery’s Menlo Park location. Called “Neurosociety,” the experience contextualized brain research for the gallery setting.
Byrne later staged an early version of “Theater of the Mind” in 2017 on Governors Island as a series of “workshop performances.”
“Theater of the Mind” builds on that beta testing. Like “Neurosociety,” the show guides small groups of attendees through sensory experiments demonstrating how negotiable consensual reality actually is.
“Experiments, we feel, are a form of theater,” Byrne and Gaonkar told Artnet News in 2016. At “Neurosociety,” visitors saw themselves reimagined as dolls, predicted the results of fictional elections, and experienced moving objects freezing.
There’s no word on what specific gauntlets “Theater of the Mind” will entail, though it does take a more personal approach. Actors and actresses from the Denver Center’s stable play the guides who lead each group through “sensory experiments that reveal the inner mysteries of the brain,” inspired by actual stories from the lived experiences of Byrne and Gaonkar. They’ll engage sight, but also scent, touch, and sound.
“I think a thing that’s going to really track for a lot of these audience members is the way that these different perceptual phenomena actually make up our perception of the world,” director Andy Scoville told the news outlet Denver 9. “And then the experience will ask the question, is that reliable? How malleable is that? And what does that mean for us as people?” Ego dissolution could help us actually use new scientific insights.
Unlike Byrne’s zeitgeist Broadway show American Utopia, attendees at Theater of the Mind won’t really get to see the musician perform—unless they make it out for a live conversation between Byrne and leading neuroscientists moderated by Radiolab co-host Latif Nasser at the Denver Center on September 12.
“The conversation will explore the intersections between art and science and the neuroscience research that inspired this groundbreaking production,” the center said in a statement in May.
The most expensive tickets, up to $1,000, “may include a photo opportunity with David Byrne, cocktails with the creative team, [and] reserved seating.” Proceeds benefit immersive programming at Off-Center. General performances run through December 18.

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While everyone’s focused on commercial art scene in Seoul this week, there are a slew of gallery shows opening to coincide with the debut of Frieze Seoul and the opening of the stalwart art fair Kiaf on Friday. The Korean capital has a wealth of museums and independent art project spaces to choose from. Here’s what is on our radar.
Do Ho Suh and Children’s “Artland”Buk-Seoul Museum of ArtThrough March 12, 2023
Artist Do Ho Suh. Photo: Courtesy Lehmann Maupin, New York/Hong Kong.
“Artland” at Buk-Seoul Museum of Art, which is a part of the network of Seoul Museum of Art (SeMA), is presenting Do Ho Suh’s first collaborative children’s exhibition inspired by the artist and his children’s home activities. For over seven years in their London home, Suh and his children have been using modeling clay to create a fantastical ecosystem called Artland inhabited by a range of imaginary species of animals and plants. This exhibition not only brings Artland to Seoul, but also invites children visitors to add new elements to this ecosystem with their imagination.
1238, Dongil-ro, Nowon-gu, Seoul
Group show “MANUAL”Primary PracticeAugust 27 to October 29
Installation view of ‘MANUAL’ at Primary Practice, Seoul, 2022. ©CJY ART STUDIO (CHO Junyong)
Primary Practice is a new not-for-profit project-based art space under the directorship of Kim Sung-woo, a curator and writer based in Seoul who was a curator for the 12th Gwangju Biennale in 2018 and a curatorial advisor for Busan Biennale in 2020. As the inaugural exhibition of the experimental Primary Practice, the group show “MANUAL” features local artists Kim Minae, Jeong Rohwa, and Hong Seung-Hye; it explores the intersection between automated technology and the exhibition as a construction.
B1, 7, Changuimun-ro 11-gil, Jongno-gu, Seoul
Ryu Sungsil’s “The Burning Love Song”Atelier HermèsThrough October 2
Installation view of “The Burning Love Song,” 2022, video and installation. Photo Sangtae Kim © Fondation d’entreprise Hermès / Ryu Sungsil
Just a year after the 1993-born Korean artist was awarded the Hermès Foundation Missulsang, an art award dedicated to Korean art, Ryu Sungsil has a major solo exhibition called “The Burning Love Song” on view. For this presentation, the artist examines capitalist Korean society through the journey of a fictional character called Dae Wang Lee, who runs a funeral home for dogs. The satirical mixed media show approaches societal issues in a humorous way while propeling audiences to reflect on what extent humans surrender their emotions to the machinery of profit.
Maison Hermès Dosan Park B1F 7, Dosan-daero 45-gil, Gangnam-gu, Séoul, Corée du Sud
Juree Kim’s “0 Columns”TINC (This is not a church)September 2 to September 22, 2022
Juree Kim, Wet Matter(모습, 某濕)_202206 (2022). Provided by the Buk-Seoul Museum of Art.
Formerly an artist in residence at the V&A, the 1980-born Juree Kim has already exhibited at various biennials around the world over the past decade. “0 Columns” is will be on view at Seoul’s TINC (This is not a church), an independent project space converted from a church. Featuring a new series of mysterious wet sculptures, these large structures might appear to be static at first glance, but they are constantly evolving throughout the show. Audiences are invited to immerse themselves in a space of contemplation while experiencing the scent of fresh soil as well as zen sounds.
10 gil 34-16, Dongsomun-ro, Seongbuk-gu, Seoul
Um Tai-Jung’s “Dream and Rejoice of Silver Wings”Arario MuseumAugust 24 to February 26, 2023
Um Tai-jung, Dream and Rejoice of Silver Wings (2022) ⓒ 2022 Um Taijung. Courtesy of Arario Museum.
Housed in an iconic space designed by the late Korean architect Kim Swoo-geun, Arario Museum was founded by mega collector Kim Chang-il of the Arario Corporation in 2014. This branch of Arario Museum (it also has a space in Jeju) showcases recent works by Um Tai-jung in solo exhibition “Dream and Rejoice of Silver Wings.” Born in 1938, the renowned Korean artist is known for his abstract metal “healing space-sculptures.” This new show also features previously unseen works and drawings from 1960s to 1980s.
83, Yulgok-ro, Jongno-gu, Seoul
Hito Steyerl—A Sea of DataThe National Museum of Modern and Contemporary Art, Korea (MMCA)Through September 18
Installation view of Hito Steyerl–A Sea of Data, National Museum of Modern and Contemporary Art, Korea (MMCA), 2022. Image courtesy of National Museum of Modern and Contemporary Art, Korea (MMCA). Photography by HONG Cheolki. Courtesy of the Artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin.
MMCA is hosting Steyerl’s first large-scale solo exhibition in Asia, a monumental survey of the media artist and critic’s career. With 23 works, the exhibition spans early documentary-esque video works such as Germany and Identity (1994) to her more recent SocialSim (2020) as well as a new commission from the museum, Animal Spirits, which was on view at Documenta 15, expands on her exploration of algorithms, artificial intelligence, and robot engineering, and how they relate to human beings and society.
30 Samcheong-ro 5-gil, Jongno-gu, Seoul.
Group Show “Summer Love 2022”SONGEUN Art and Cultural FoundationThrough September 24

Thirteen promising young Korean artists are on view in this group show, including Hana Kim, Mijung Lee, and Rhaomi. Guest artists Ahram Kwon—each of them won the 21st Songeun Art Award. Also on view is Kun-Yong Lee, an important figure in Korean experimental art. Swiss French artists Barbezat-Villetard have also made a performative installation to mark this important non-profit institution’s anniversary.
441 Dosan-Daero, Gangnam-Gu, Seoul 
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