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ABOUT KOREA TOMORROW
Korea Tomorrow, with its unique structure and all-inclusive nature, has been inviting innovative artists and their ideas not only presenting them to the public but also inventing new ways of interaction between art experience and the audience. Overcoming traditional limitation by questioning its direction every year, Korea Tomorrow grows as one of the most flexible and beloved platform for artists to showcase their new ideas.

THE PHILOSOPHY
The purpose of Korea Tomorrow is simple. What questions ought to be asked, what network should be established, and what market should be pioneered? In 2009, questions were asked about the interaction between art, design, and architecture, with discussions on the importance of forming convergence possibilities among each genre. A goal was set to create a market to provide experience rather than selling object through art.

THE GLOBAL PROMOTION
In 2010, Professor John Rajchman from Columbia University visited, and Thomas Arnold from the Mary Boone Gallery percussed the expansion of Korean artists into the New York art scene. In 2011, Sarah Thornton of The Economist took part in Korea Tomorrow as a speaker. Furthermore, artists including PARK SeungMo, LEE LeeNam, KANG YiYun, CHAE EunMi, PARK SeonGhi, KO KangCheol, and HAN JinSu who participated in Korea Tomorrow have expanded their horizons through overseas exhibitions such as Salon de Future and Solid Illusion in Beijing. In particular, the WOMAD CODE (Woman Nomad Code), one of sub-themes from Korea Tomorrow 2011, exhibited separately at the Hong Kong Louis Vuitton Exhibition Hall from 2012 to 2013. The show explored the identity of Korean female artists through the works of LEE JiYen and KIM JiEun who successfully completed the fastidious art talk at the end.

THE VISION
These tangible achievements shine even brighter as they were not results of an art gallery exhibition nor of satisfactory financial support. It was possible due to the best efforts of all the participating artists who put faith in Korea Tomorrow and its determination to pioneer overseas markets. As much as cooperation between different areas such as critics, curators, dealers, auctioneers, art fairs, galleries, and publishing is crucial, so is the international cooperation across borders and regions. Overseas touring exhibition for Korean artists is bound to incur large costs, and Korea Tomorrow understands the limitations of only having “proven artists” on the rotation roster for such tours. Our vision is to expand new heroes of Korean contemporary art into more global stages.

THE DIRECTIONS
Korea Tomorrow changed the rules of the game by inviting them to critical discourse; interviewing the artists and ruminating on a structure that would allow criticism, gallery, magazine and such other exhibition related areas. Until now, the visitations to Korea Tomorrow have been professionals in curating, invitations for foreign artist, such as from Indonesia and the US. This was to overcome limits of a network of curators and to build a platform that can support an interchange of exhibition opportunities, information sharing, and communication among artists themselves.

Art should be questioned every moment. That is the essence. Our mission is fixed but the future of Korea Tomorrow will be in constant flux.

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