Gwon Dong-hyun principally works with sculpture and Kwon Sea-jung with documentary filmmaking, but since forming a two-person collective in 2020, their modus operandi has been transdisciplinary in terms of thought experiment and production. Their works of art combine video, sculpture and installation, and some are often shown at film festivals. Their aesthetic interests lie in the entanglement of beauty and disfiguration, the transformation of bodies with regards to emotional layers, and histori

Everything seems synchronized today, happening at the same time and at the same speed. You can connect yourself with the world, whenever you want and even when you do not want to. It is an age where a sense of being together is more easily obtained than a sense of being separated. But is this really true? Is the synchronicity a prerequisite or a preference when you seek to generate interactive togetherness? Sanghee (capitalized as SANGHEE by the artist), who came to distinguish herself with he

Everything seems synchronized today, happening at the same time and at the same speed. You can connect yourself with the world, whenever you want and even when you do not want to. It is an age where a sense of being together is more easily obtained than a sense of being separated. But is this really true? Is the synchronicity a prerequisite or a preference when you seek to generate interactive togetherness? Sanghee (capitalized as SANGHEE by the artist), who came to distinguish herself with he

At first glance, Yaloo’s work is none other than an immersive spectacle in a baroque style. You may feel this way when you encounter her projections mapped onto media facades at a department store or at an airport, but more so when it takes the form of an audiovisual and architectural installation that seems to be a large organism in its entirety. And soon after, you will realize that the very sensorial captivation of her work unveils a densely-knitted narrative of a fictional universe in

HWI (Hwang Hwi) is an electronic musician and a member of the three-artist collective and audiovisual production, "eobchae." Her part in eobchae consists of making video and sound, as a co-producer of their speculative worldview. But before anything else, she is a vocalist, well-versed in combining the human sounds from her own singing with computer-generated digital effects. Her first single album, "ExtraPlex (2019)," includes works derived from hanging around shopping malls

That digital is immaterial is simply a delusion, but this idea is not easy to dispel. We hold a screen, whether it be a smartphone, a tablet or a laptop, but looking at only the images on it, we are not really conscious of the physical machines. We tend to forget about them or take them for granted. However, the digital world we live in today is reliant on mechanical infrastructure and on natural resources, perhaps more critically so than ever. Think about the digital blackout caused by physical

The term “World Wide Web,” simply “the web,” was first put to use in 1989, for a system of linked information accessed through the internet. Its earliest form, Web 1.0, was regarded as pages to read and end-users were just consumers. With Web 2.0, users became producers and the user-created content enabled the web to become a platform, accelerated by mobile devices and social media networks. The web has now been evolving into Web 3.0 -- decentralized, autonomous and intel

When advanced technologies bring about radical changes in society, there is always a collision of utopian and dystopian views. The heated debate last year over generative AI is one example. If you want to learn how to have your own point of view, why not turn to artists of our time, to their “anthropologically” attentive exploration of the contemporary conditions of the world? A group of young, free-spirited Korean artists stands out in this respect. Born digitally and technologica