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Euljiro’s Nopo Live On

Features 2024 SPRING

Euljiro’s Nopo Live On The alleyways of Euljiro are lined with family-owned restaurants and pubs that have served hearty meals and refreshing drinks for generations. The traditional haunts of Euljiro’s workforce now also attract young locals, tourists, and art enthusiasts who enjoy the food as much as Euljiro’s colorful history. After sunset, Nogari Alley in Euljiro 3-ga is packed with people winding down the day with draft beer and nogari (dried young pollock). In 2015, the Seoul Metropolitan Government designated the alley as Seoul Future Heritage for its cultural value. ⓒ Lee Yusin Euljiro in downtown Seoul is home to many nopo, best described in English as long-standing family businesses. These old bars and restaurants share narrow alleyways with print, metal, and wood workshops. Euljiro began to flourish in the late 1960s with the construction of Sewoon Plaza, the first commercial-residential complex in Korea. During the 1970s, the area was the epicenter of Korea’s postwar economic boom, but it began to decline in the wake of rapid changes in the country’s industrial structure. Workshops where craftsmen burned the midnight oil closed down one by one and customers at local businesses began to thin. Euljiro eventually rebounded in the late 2010s when fledgling artists gravitated here and took over vacant spaces that were uncharacteristically cheap considering their prime location. New art studios and workshops reenergized the area and attracted a new generation of visitors. Soon, the Euljiro nopo became hotspots among young art aficionados, proving that their great food and retro vibe had never really lost their allure. An alley next to Daelim Plaza, famous for grilled pork belly. In recent years, it has become a popular destination among young people. Long lines often form in front of Euljiro’s eateries, most of which have been in business for over 20 years. ⓒ Seoul Tourism Organization NORTHERN NOODLES Pyongyang naengmyeon, as the name suggests, is a local specialty of the North Korean capital. When people from Pyongyang opened naengmyeon restaurants in Seoul in the1930s, it caught on as a summer delicacy and gradually gained widespread popularity. The simple, unpretentious dish consists of buckwheat noodles served in a meat broth that is simmered for a long time before being chilled. Swirled into a small pile and placed in a deep bowl, the noodles are often garnished with pear slices and half of a hardboiled egg. Woo Lae Oak, located a one-minute walk from Euljiro 4-ga subway station, is a favorite among foodies seeking this northern noodle dish. Hailing from Pyongyang, Jang Won-il and his wife Na Jeong-il started the restaurant in 1946. Since Jang’s passing in 1972, his descendants have continued his legacy. The restaurant’s original name was Seobukgwan, with seobuk referring to the Pyongan, Hamgyong, and Hwanghae Provinces in the northern end of the Korean peninsula.The Korean War erupted four years after the restaurant’s opening, forcing Jang and Na to flee, but they later returned and reopened under the current name, which means “at home again.”  Woo Lae Oak’s business thrived and its record for sales of Pyongyang naengmyeon in a single day is 2,000 bowls. Today, customers include both locals and out-of-towners, many of whom stop by after having toured nearby Changgyeong Palace. Another of the restaurant’s specialties is bulgogi. Thin slices of meat, usually beef, are cooked on a table-top grill with concave edges and a raised center. A sweet marinade enriches the flavor of the dish, making it a favorite among foreign guests. Eulji Myeonok was another famous Pyongyang naengmyeon restaurant in Euljiro. Opened in 1985, it operated at the same location for decades, and for a while, it seemed as if it might survive the area’s urban redevelopment. A group of long-established property owners had sued Jung District to have its approval of the project reversed, and the city responded by announcing plans to try and preserve Euljiro’s living heritage. Ultimately, it was to no avail, and so, before opening time on June 25, 2022, more than 100 people lined up in front of Eulji Myeonok for a final, memorable bowl of cold noodles. Woo Lae Oak’s Pyongyang naengmyeon. The broth for this dish is usually made from beef, but occasionally, dongchimi (radish water kimchi) juice is mixed in for a more refreshing flavor. The cold noodle dish is garnished with pear slices and radish pickled in salt, vinegar, and sugar. ⓒ Park Mee-hyang Opened in 1985, the renowned Eulji Myeonok was famous for its Pyongyang naengmyeon. Its quaint charm was beloved by old regulars and new customers alike. After losing along legal battle, it was forced to shut down in 2022. ⓒ Shinhan Card, URBANPLAY BIRTH OF NOGARI ALLEY In 2018, the Ministry of SMEs and Startups addressed the challenges faced by local entrepreneurs by launching the Hundred-Year Store Development Plan. The objective was to select and support businesses with historical value and growth potential that had been in operation for more than 30years. Opened in 1980, Eulji OB Bear, known for its draft beer, appeared on the Hundred-Year Store list in the project’s first year. Since freshness is key to exceptional draft beer, first-generation owner Kang Hyo-keun stored his kegs in a refrigerator set at 4 °C in winter and 2 °C in summer. The establishment was famous not only for its beer but also grilled nogari. The dried young pollock was placed over red-hot coal briquettes until golden brown and served with homemade red pepper paste. It paired perfectly with the affordably priced beer that allowed even those on a tight budget to buy more than one round. When Eulji OB Bear opened its doors, word spread quickly. The 19.8-square-meter pub was soon packed to capacity on a regular basis. Over time, nearby competitors also serving nogari as a bar snack popped up one after another, earning the street nationwide fame and the nickname Nogari Alley. This culminated in an annual beer festival, held each May in pre-pandemic times, that filled the street with an air of excitement. The Seoul Metropolitan Government selected the alleyway as Seoul Future Heritage in 2015 and recognized Eulji OB Bear as the originator of Nogari Alley. Nopo commonly face conflict with property owners and eviction due to urban redevelopment, and Eulji OB Bear was no exception. Kang’s daughter Kang Ho-shin and her husband Choi Su-young, who had taken over the management in the early 2010s, eventually lost a years-long legal battle against the building’s new owner, and the cherished pub was forcibly demolished in April 2022. Neither its heritage designation nor protests by regulars and civic groups shielded it from the landlord’s business ambitions. Although the couple reopened near Gyeongui Line Book Street in Seoul’s Mapo District in March 2023, they never gave up hope of returning to Euljiro. And so it came that on February 16, 2024, the legendary establishment made its triumphant comeback, reopening just 50 meters from Exits 9 and 10 of Euljiro 3-ga subway station. The beginnings of Golbaengi Alley, south of Euljiro 3-g Station, date back to the 1970s when golbaengi muchim (spicy sea snail salad) became a regular accompaniment to draft beer. Most of the restaurants here have been in business for over 30 years. ⓒ Shinhan Card, URBANPLAY When Eulji OB Bear opened in 1980, owner Kang Hyo-keun grilled dried young pollock and served it with draft beer. This new combination became a hit, and the alley was dubbed Nogari Alley after other bars serving the popular snack opened nearby. ⓒ Korea Tourism Organization COMMITMENT TO TASTE Other famous Euljiro nopo are Chosunok, Munhwaok, and Yangmiok. Chosunok, which opened in 1937, is the place to go for a true taste of beef galbi, or Korean short ribs. The secret to their extraordinary flavor is soaking them for a day in a marinade containing dark soy sauce, sesame oil, garlic, and sugar, and then grilling them over coal briquettes. The founder’s son, Kim Jeong-hak, is well-known as the publisher of Monthly Baduk, a magazine about the popular board game. Munhwaok, near Euljiro 4-ga Station, opened in 1952. The restaurant offers seolleongtang, or ox bone soup, a dish loved by many for its rich broth made from beef leg bones and brisket. Yangmiok is a decades-old establishment in Euljiro 3-ga, which opened in 1992. Specializing in grilled beef tripe, it gained fame when late President Kim Dae-jung became a frequent diner here. Unfortunately, a fire destroyed the original restaurant in 2021, but its culinary legacy lives on in the Namdaemun area, home to Korea’s largest traditional market. Despite the challenges faced by nopo over the years, their owners’ dedication remains steadfast and their offerings continue to entice patrons’ taste buds.

Fonts to Remember Old Euljiro

Features 2024 SPRING

Fonts to Remember Old Euljiro Delivery platform Baedal Minjok has an unusual side business: the company develops and freely distributes fonts. Its lineup includes the Euljiro fonts, which were inspired by an eye-catching sign and celebrate the spirit and history of the eponymous neighborhood in downtown Seoul. Baedal Minjok has developed fonts since 2012. To commemorate the release of its eighth font, named Euljiro, the company held an exhibition titled City and Letters at the N/A Gallery in 2019. © Woowa Brothers Baedal Minjok, commonly known as Baemin, is a popular delivery platform known for its witty marketing campaigns, but unusually, its portfolio also includes developing new fonts in Hangeul, the Korean alphabet. Baemin has been offering its fonts as free downloads since 2012. According to the company’s chief operating officer, Han Myeong-su, the reason is simple: “No one else does it.” He adds with a smile, “And it’s fun.” Han becomes especially animated when describing a font the company released five years ago. Like three previous Baemin-designed fonts — Hanna, Jua, and Dohyeon — it was inspired by the writing on old, weathered signs. This time, however, the company went one step further and themed the font exclusively on the old signs of the Euljiro area in the heart of Seoul. ORIGIN OF THE EULJIRO FONT Kim Bong-jin, the founder of Baemin’s holding company Woowa Brothers and a former designer, has long been interested in old Korean signage. He has thousands of photos of street signs stored on his smartphone, and his favorites are the Euljiro signs from the 1960s and 1970s. The calligraphy on these signs, commonly seen on Euljiro Tool Street, was written by several craftsmen known at the time as the “sign grandpas.” They would travel the neighborhood on bicycles laden with paint cans and create signs in their own unique handwriting on tin plates and wooden planks. One of the signboards that Kim photographed was for an auto repair shop whose name consisted of seven syllables. “The rough design of the font was interesting, each stroke teeming with power. It had the charm of something incomplete,” Han Myeong-su recalls. Eventually, Han discovered that an associate, Seok Geum-ho, had a photo of the same signboard stored on his phone. Seok happens to be the chairperson of Sandoll, a longtime partner of Woowa Brothers specializing in fonts. “Mr. Seok had also taken a picture of the sign because he liked the lettering. It was a moment that confirmed the shared vision of Seok and Kim, two creators fascinated by the era. The sign came to serve as the prototype of the Euljiro font,” Han explains. Many of Euljiro’s calligraphy signboards from the 1960s and 1970s still remain. Baemin’s Euljiro font series is inspired by their brushwork. © Woowa Brothers CHARMING BRUSHSTROKES The sign’s original seven syllables, created half a century ago, led to 200 more, forming the foundation of the new font. When the total number reached 2,350, Baemin had the minimum needed for the Euljiro style to be officially recognized as an independent Hangeul font. “Sandoll specializes in corporate fonts, so they tend to create refined ones. We asked the people there to ‘roughen up’ the letters a little,” Han recalls. “For instance, Sandoll draws circles very neatly, and the eighth consonant of Hangeul is a complete circle. But when you use a brush, you have to draw it in two parts, one half circle on the left and the other on the right. This results in a ragged circumference with the top bulging out a bit. We asked them to preserve the irregular charm of brushstrokes, and they were all excited to work on something new.” The Euljiro font soon became popular for its practicality and unique calligraphy style. It appeared in a myriad of settings, from subtitles for TV variety shows to banners at political demonstrations. “Whenever our team members noticed the font had been used, they shared images of it in our chat room. We could see that it was making a strong impression on the public, which, in turn, gradually solidified Baemin’s brand image.” Signs collected from across the country. Many of Baemin’s fonts, including Hanna, its first, were inspired by old signs. © Woowa Brothers   FURTHER FONTS The Euljiro font also attracted retro culture enthusiasts. When Baemin realized it had a style statement on its hands, the company saw an opportunity to not only promote the font but also raise awareness of the ongoing redevelopment that was slowly robbing Euljiro of its character. Baemin collaborated with internationally acclaimed photographer MJ Kim, who spent six months exploring the area, recording the narratives of locals of all ages and professions, from seasoned blacksmiths to budding artists. In 2020, his photos of the faces of Euljiro were displayed at the Sejong Center in Seoul in an exhibition titled Hey, Mr. Jumul. What, Mr. Mokhyeong? in reference to the cast iron and wooden molds used by Euljiro’s craftsmen and artists. What began with the visual attraction of old signs had grown into an interest in the neighborhood and its people. In preparing for the exhibition, Baemin also came up with the idea for its next font. “The weathered signs, whose paint had peeled off over the years, looked quite stylish. It inspired us to develop another Euljiro font, reflecting that worn-out look, and people’s reaction to it was quite positive,” Han says. “We went as far as releasing a version where the letters had essentially faded away. We continued to refine the new styles, contemplating ways to make the wear appear more natural.” The former of these two fonts, named “Baemin Euljiro Ten Years Later,” was unveiled in 2020. It replicated the look of a ten-year-old sign, its letters weathered by exposure to the elements. The latter, named “Baemin Euljiro OraeOrae” and released the following year, is so faint that the letters are hardly visible. (“Orae orae” means “for a long, long time.”) During the three years in which the Euljiro font series was introduced, Baemin evolved into a company with a distinct identity. Though it didn’t directly impact the company’s performance, the cultural influence of the Euljiro fonts on everyday life exceeded expectations. “Creators aspire for widespread acceptance of their work. Witnessing projects to which I’ve contributed being incorporated into culture and embraced by people has been really enjoyable and makes me happy,” says Han. Baemin’s font project began with a curiosity about old signs. The Euljiro font became the catalyst for collaborating with photographer MJ Kim who took Polaroids of Euljiro’s industrial artisans. They were displayed at the Hey, Mr. Jumul. What,Mr. Mokhyeong? exhibition at the Sejong Center in 2020. © Woowa Brothers

New Lights on the Block

Features 2024 SPRING

New Lights on the Block Lighting brand AGO, launched in 2019, has breathed new life into the previously lackluster Korean lighting industry thanks to its simple yet sophisticated and original designs. This success came through collaboration between business owners and designers, made possible by the inimitable industrial ecosystem of Seoul’s Euljiro area. A glimpse into AGO’s showroom on the 3rd floor of Daelim Plaza in Euljiro. Founded by Woobok Lee a lighting distributor with 30 years of experience, and Stockholm-based designer Mars Hwasung Yoo, AGO made its debut in 2019 at Maison&Objet. Courtesy of Studioflock; Photo by texture on texture The Seoul Future Heritage initiative, launched in 2013 by the Seoul Metropolitan Government, aims to preserve and promote yet-to-be-designated tangible and intangible heritage from the city’s modern and contemporary past. One of these assets is the Euljiro Lighting Street, located between the Euljiro 3-ga and 4-ga subway stations. Designated as future heritage in 2016, the street is home to a cluster of around 200 lighting stores, many of which have been in business for over 30 years. Alongside furniture, hardware, machinery, sewing, printing, sculpture, and tiles, lighting constitutes one of Euljiro’s specialized industries. Emerging in the 1960s, the industry experienced its heyday in the 1970s and 1980s. Thereafter, the boom in the development of satellite cities around the capital in the early 1990s led to a rapid increase in the construction of apartment buildings and multi-family homes, driving up the demand for lighting fixtures and sustaining the industry’s momentum. Afterwards, a burgeoning interest in interior design prompted many people to visit Euljiro in search of lighting products and other items to decorate their homes. Out of this decades-old industrial ecosystem came lighting brand AGO, which has garnered praise for setting new standards for the Korean lighting industry. LIGHT AT THE END OF THE TUNNEL Euljiro’s lighting industry has historically played a central role in the city’s industrial sector, but it has also been plagued by the circulation of counterfeit products. Over the years, the landscape of the Euljiro lighting market has changed drastically, partly due to the online availability of low-cost foreign products, but also because consumers have developed higher aesthetic standards and increasingly shun counterfeit goods. In order to retain clients, merchants responded by elevating their overall service and product quality and established the Korean Lighting Distribution Cooperative and the collective brand ALLUX. The city government took its own measures to preserve the unique character of the Lighting Street while also paving the way for its revitalization. For its first initiative, the Jung District Office partnered up with the Seoul Design Foundation to jointly organize the Euljiro, Light Way event, which was first held in 2015. With a diverse program featuring lighting exhibitions, live performances, and guided tours of the area, the event focused on promoting the Euljiro lighting industry to the public. In 2017, these partners went one step further and launched By Euljiro, a project to unite lighting companies and designers in Euljiro under a single brand. The following year, products from three of the eight participating teams were showcased at Maison&Objet in Paris, Europe’s largest interior design fair. The project continued in 2018 and 2019 with eleven and ten teams, respectively, and was positively received on both occasions. CEO Woobok Lee of Modern Lighting, a distributor of Euljiro lighting products with 30 years of experience, recognized the project’s potential to overcome the issue of counterfeit goods. Similarly drawn to the project was Mars Hwasung Yoo, the founder of Stockholm-based design studio BYMARS, who is known for his bold style and meticulous work ethic. “To be honest, I got behind the By Euljiro project because I wanted to express my concern over the widespread circulation of counterfeit goods in Euljiro and find a way to resolve this issue with the other parties involved,” Yoo said. Having crossed paths through the project in 2017, Lee proposed a collaboration with Mars to revitalize the Euljiro lighting industry. The two subsequently established the lighting brand AGO, named after the Korean word for “old friend.” The AGO booth at the 2021 Seoul Living Design Fair. Built from reusable materials, the booth displayed a variety of the brand’s designs, including BALLOON, CIRKUS, and ALLEY, demonstrating its clear-cut identity. ⓒAGO CLEAR-CUT DESIGNS Launched in 2019, AGO instantly set itself apart from other Korean lighting brands thanks to its products’ unique aesthetic appeal. With bold shapes, vibrant colors, and elegant curves, AGO’s designs brought a breath of fresh air to the domestic lighting market. Following its debut at the 2019 Maison&Objet fair, AGO went on to present its products at the 2020 Stockholm Furniture Fair. In the same year, AGO’s CIRKUS line won the “Best Dinner Guests” accolade at the Wallpaper* Design Awards, earning the brand international recognition for the innovative design and quality of its products. With lamps that resemble glutinous rice cakes, futuristic designs reminiscent of spacecraft, and pendant lights with adjustable projection angles, AGO’s designers demonstrate that lighting can serve a purpose beyond simply illuminating a space. Yoo, who is also AGO’s art director, deserves great credit for this. His first responsibility at AGO was to seek out other designers with whom to collaborate and develop the brand’s design identity. Thanks to his efforts, AGO successfully teamed up with an illustrious group of designers, including Augustin Scott de Martinville, Elric Petit, and Grégoire Jeanmonod of Swiss-based design studio BIG-GAME; Swedish architect and designer Jonas Wagell; and German designer Sebastian Herkner, to name but a few. AGO always strives to create clear-cut designs. Two years of collaboration and discussion led to the completion of thirteen products adhering to this core principle. Euljiro’s industrial ecosystem played a key role in allowing the production of so many designs within this short time frame. In Euljiro, prototypes can be swiftly manufactured, evaluated by designers, and adjusted based on feedback in a seamless process that is easily repeated multiple times. This is thanks to the area’s abundance of industrial craftspeople who each specialize in a particular skill and use their expertise to offer tailored solutions to the designers. At the same time, if AGO is to establish itself as a global brand, it cannot rely solely on Euljiro’s inimitable industrial landscape to enhance the quality of its products. Considering the work involved in the manufacture of design lighting, where products undergo multiple iterations using various materials and technologies before they are market-ready, CEO Lee, always a champion of domestic production, opted to team up with factories in other parts of the country. These included a factory in the Seoul area which is able to produce all necessary components for AGO’s products, as well as a factory in Paju, a city in Gyeonggi Province, which oversees the final assembly process. Designer Yoo stays in constant communication with all the crafts people, emphasizing the importance of attention to detail throughout the entire process to ensure his designs are executed flawlessly. While some of them initially did not think much of the strict standards he imposed, they soon witnessed firsthand the impact seemingly small details could have on the final product. This earned Yoo the nickname “0.1 mm.” Born in Euljiro, lighting brand AGO has made a name for itself through its strong emphasis on design. ALLEY, shown here, was developed in collaboration with Swedish designer Jonas Wagell. ⓒ AGO CHANGING INDUSTRIAL ECOSYSTEM Early on, the launch of a new lighting brand in Euljiro was met with a lukewarm response. Some people were skeptical whether AGO could really succeed given the prevalence of counterfeit products. There were also doubts about a specialized lighting brand’s appeal to domestic consumers, since the majority of Korean homes are move-in ready and come with pre-installed lighting. But the excellence of AGO’s locally made products helped solidify its presence on the market. The brand’s bold designs have been met more favorably than initially expected, and AGO products are regularly seen on the social media feeds of young people, particularly those with a keen interest in interior design. AGO’s success has even led to the emergence of knockoffs, but Yoo isn’t particularly concerned about this trend. “People who buy replicas are less likely to buy the original anyway, and the same is true vice versa. The markets for counterfeit goods and originals are inherently distinct from each other.” Since AGO’s launch, Euljiro has experienced a gradual transformation driven by individuals willing to break away from conventional practices and venture into uncharted territory. AGO has become a benchmark in the Korean lighting industry by demonstrating how a strong brand can be the key to nurturing a vibrant industrial ecosystem. Now in its fifth year, it has successfully established itself in Euljiro where it is collaborating with other brands across different industries to achieve its goal of becoming a global player in the lighting market. AGO’s 2022 Optimistic Design exhibit featured several products from its PROBE collection designed by Swiss-based studio BIG-GAME. ⓒ AGO

Preserving A Vanishing City

Features 2024 SPRING

Preserving A Vanishing City Illustrator Seol Dong-ju documents cities through photographs and drawings, recording people and places with endearing pen strokes. His 2020 book Euljiro Collection depicts the eponymous neighborhood from a personal perspective that reflects his deep attachment to the area. Euljiro 3-ga Intersection. Seol Dong-ju. 2019. Pen on paper. 39.4 × 54.5 cm. The first thing that catches your eye when entering Seol Dong-ju’s studio near Seoul Station is a stencil design in a Gothic font. It reads “We Live City We love,” which points to the theme that defines Seol’s work: his love of cities. “I visited Euljiro often, drawn in by the comfort that old things provide,” Seol explains. His book Euljiro Collection evokes nostalgia for bygone places and scenes before they disappear. Within is an assemblage of images and interviews with young people working to preserve Euljiro’s culture by merging old and new. The book also expresses the author’s longstanding affection for the area and his newfound hope for positive change. Seol Dong-ju’s pen drawings capture cityscapes. His highly detailed, captivating illustrations are often described as urban still life paintings. Some of them were recently exhibited in Japan at other, a gallery in Fukuoka, and Wada Garou Tokyo. How was the reaction to your book? Interest in Euljiro is high, and it seems that quite a few people have read it. After it was published, I was lucky to have the chance to work with fresh faces. I also wanted to hold an event such as a book talk, but unfortunately the COVID-19 pandemic disrupted those plans. What motivated you to document Euljiro? I trace it back to my childhood in Yeomni-dong [in Seoul’s Mapo District]. I cherished the atmosphere of this neighborhood, with its houses clustered together in small alleys, and I fondly remember them to this day. Once, I took a friend to that part of town to show him around, but demolition had already begun for the neighborhood’s redevelopment. It was such a shame and I felt devastated. I blamed myself for not having created any record of the area, either in photos or drawings. Time passed, and in 2017 or 2018, I heard a similar fate was awaiting Euljiro. I had regularly frequented the neighborhood, and this time around I wanted to preserve memories of it in my own special way before it vanished. So, I started documenting spaces being demolished or awaiting demolition. How did the Euljiro residents react to being interviewed? Many of them were longtime acquaintances. They had little experience with the media, so they were both amused and surprised that their stories would become known. Some of them had already moved to other areas of their own volition, while others had to move against their will because the spaces they occupied were designated for demolition. When I visit Euljiro these days, I always say hello to those who are still around. Euljiro Collection showcases Seol’s deep fondness for the old neighborhood. His 2020 book features personal photographs, drawings, and seven interviews with Euljiro locals. © Seol Dong-ju How did you choose the content for your book? Pungnyeon Barber Shop is very old and even the locals aren’t sure of its history. The shop has changed hands several times over the years, but the name and sign still remain. Ace Four Club is a café and bar in a renovated tearoom dating back to the 1960s. I wanted to meet newcomers as well as people who had lived and worked in Euljiro for a long time. I also made it my goal to do in-depth interviews with people working in different fields. Only then would I be able to illustrate the wide spectrum of this place. How has your perspective changed? When I was writing the book, I was a bit skeptical about the winds of change blowing in Euljiro. But now I think the transformation is appealing. It’s good that commerce is flourishing and attracting younger visitors. I’ve grown hopeful about embracing the old and inviting new vitality. At the same time, when I see something completely at odds with what Euljiro used to look like, I stop and say to myself, “What is this?” My mind is fickle. I think if I were to write the book again, it might turn out quite different. Could you give an example? Up until a while ago, the rooftop of Sewoon Plaza offered an unobstructed view from Cheonggyecheon to Namsan Tower. But the view has changed because new buildings went up in the vicinity. It’s a pity I can no longer enjoy the old cityscape I was fond of, but I want to try drawing the new one as it is. Seol uploads the photos and traces them digitally. Notebook-sized drawings typically take a couple of hours, but larger works may require several days. What inspires the scenes you draw? It’s fun discovering individuals in the crowd, and people often tell me that each character appears to have their own story. My drawing of Nogari Alley is a good example. Isn’t it interesting to see so many people of different ages and occupations dressed all differently but all eating the same food? If you look closely at the drawing, you’ll notice things like couples on a date and foreign tourists. I even hid a self-portrait somewhere in there too. When I started out with pen drawings, I wanted to draw breathtaking cityscapes. But gradually, I wanted the people who saw my drawings to feel complex emotions. I think carefully about how to depict people in my cityscapes. How many I add and where I place them differs in every drawing. Why do you call yourself a “city trekker”? I’ve drawn Euljiro, New York, Tokyo, and Fukuoka, among other cities. I’ve admired Paris since I was a child and want to draw and photograph the city as soon as I get the chance. Traveling through cities, I capture the essence of everyday moments. The cityscape and those ordinary moments tell our stories and shape our lives. Any final comments? For those interested in Euljiro, I recommend exploring nearby areas such as Dongdaemun, Jongno, and Chungmuro. They each have their own charm and interesting atmosphere.    Nam Sun-woo Reporter, CINE21 Heo Dong-wuk Photographer

A Time Capsule of Modern Architecture

Features 2024 SPRING

A Time Capsule of Modern Architecture Euljiro’s architecture serves as a time capsule of Seoul’s modern history. The evolution of this area into a commercial district in the center of the capital can be seen in its small workshops, commercial-residential complexes, and soaring office towers. Sewoon Plaza, with a history of over half a century, was the first commercial-residential complex in Korea. It was an emblem of Korea’s rapid economic growth in the 1970s. In 2023, the Seoul Metropolitan Government announced plans to demolish the complex and turn the area it occupies into a public park. This photo shows the rooftop of Jinyang Plaza, the southernmost of the seven remaining buildings. © Roh Kyung Euljiro is a six-lane street that bisects the downtown area of Jung District in the heart of Seoul. Stretching east to west, it begins at a public park close to Hwangudan, an altar from the Korean Empire (1897–1910), and ends at Hanyang Technical High School in Sindang-dong. Using more familiar landmarks, Euljiro runs from Seoul City Hall to Dongdaemun Design Plaza, the futuristic cultural complex known colloquially as DDP. The 11-kilometer-long Cheonggye Stream lies to the north, and Myeong-dong, the major retail hub, to the south. When Seoulites speak of Euljiro, they usually mean the thoroughfare and its surrounding neighborhoods, not just the street itself. At first glance, Euljiro may seem like a forest of skyscrapers, but a closer look reveals an architectural potpourri. Towering glass and steel giants are interspersed with much simpler buildings from the mid-20th century and old, sheet-roofed workshops. Collectively, they tell the story of the commercial district’s history. A CHORUS OF STYLES The origins of Euljiro are rooted in the Joseon Dynasty (1392–1910), when the street belonged to Myungcheol-bang, an administrative district formed after Seoul was designated as the capital. The district’s proximity to the royal palaces turned it into the city center almost overnight. Euljiro thrived throughout the late Joseon era and the Japanese occupation (1910–1945). In 1909, it saw the construction of Gwangtonggwan, a Western-style, two-story branch office of Daehan Cheonil Bank (now Woori Bank). The building, declared a Seoul Metropolitan Monument in 2002, serves Woori Bank customers to this day, making it the oldest continuously operating bank building in Korea. Design specialist dmp remodeled the Daeil Building in Euljiro 2-ga. The glass giant’s durable finishing materials were chosen to harmonize it with Gwangtonggwan, completed in 1909. © Yoon Joon-hwan In 1925, Gyeongseong Stadium — later renamed Seoul Stadium and then Dongdaemun Stadium — was completed on the site now occupied by Dongdaemun Design Plaza. The following year, Seoul’s former City Hall opened its doors. After the Seoul Metropolitan Government moved into a newly built 13-story, eco-friendly structure in 2012, the original building was transformed into the Seoul Metropolitan Library. Large municipal structures continue to anchor both ends of Euljiro today. Elsewhere, Western-style buildings began to appear in the early 20th century. They clustered around Euljiro 2-ga (“ga” meaning “street”), the busiest part of the entire area. In 1928, the headquarters of what is now the Korea Electric Power Corporation was built at the entrance to Myeongdong. Its features broke the mold in commercial construction: a then-towering five stories, Korea’s first fire- and earthquake-proof design, and an elevator. This imported architectural style eventually spread to other parts of the street. It began with a group of two- and three-story concrete commercial buildings in the 1930s. From the end of the Korean War through the 1960s, Korea underwent massive reconstruction. Many of the surviving buildings of this era are huddled shoulder to shoulder between Euljiro 3-ga and 5-ga, separated by gaps less than 50 centimeters wide. Another noteworthy aspect of the area is its abundance of buildings clad with tile, an exterior material seldom used today. This alone makes them rare architectural reminders. In Euljiro 3-ga, it is easy to notice the stark contrast between the low-rise structures covered in the dust of time and Pine Avenue, a 25-story glass edifice towering over its older forerunners. Euljiro, with its kaleidoscope of buildings representing different eras and architectural styles, is a veritable time capsule of modern Korean architecture. The area teems with concrete commercial buildings, erected during the 1950s and 1960s. Their wall-to-wall construction adhered to building codes at the time. The tile façades are unique to the period’s architecture. © Park Yong-jun   FIRST COMMERCIAL-RESIDENTIAL COMPLEX One of the symbolic starting points of Korea’s post-war economic growth is Sewoon Plaza, the nation’s first commercial-residential complex. It was designed by Kim Swoo-geun (1931–1986), a leading figure of modern Korean architecture. Sewoon Plaza was built in phases from 1966 to 1968. The complex initially consisted of eight buildings, mostly named after their respective construction companies, and spanned one kilometer, from Jongmyo toward Mt. Nam. Today, seven remain; the first completed structure, the Hyundai Mall Apartments, was demolished in 2009. Sewoon means “ to at tract all the world’s energy.” True to its name, the lower floors of this novel mixed-purpose complex quickly developed into a sprawling electronics hub. Here you could find components for all manner of appliances alongside machinery and tools, or take a break at one of the cafés and restaurants nestled between the shops. The upper floors boasted high-end apartments, equipped with steam heating, bathtubs, and elevators — rarities in housing at the time. The complex, which featured an indoor golf course, a sauna, and even an elementary school, quickly became a Seoul landmark. A saying arose: “See Sewoon Plaza, and you’ve seen Seoul.” Among all eight buildings, the one built by Daelim best showcases Kim Swoo-geun’s artistic vision, illustrating the architect’s often-used structuralist style. The building is divided into three sections: the ground level; a pedestrian deck, which contains a sheltered balcony; and residential floors above. Each level is accessible independently. The ground floor features a unique staircase, and the balcony is supported by slim concrete columns, enhancing the structure’s visual appeal. The balcony’s center is decorated with pottery fragments, evoking the raw aesthetic of New Brutalism, then popular in the United Kingdom. After a new electronics market opened in Yongsan in 1987, the center of gravity in electronics retail shifted away from Sewoon Plaza, sending it into a long decline. In the 2000s, the metropolitan government considered demolishing the complex but ultimately opted to revitalize the buildings as part of its Seoul Urban Regeneration Project. Renamed Makercity Sewoon in 2017, parts of the complex now provide workshop space to entrepreneurs in creative industries. Electronics vendors continue to work and live there, serving as custodians of Seoul’s economic legacy. However, the government recently revived its plans, and the landmark is earmarked for demolition to make room for a public park. The buildings in the complex all feature a symmetrical, rectangular courtyard on the 5th floor, where residential apartments begin. This central courtyard exudes an ambiance that reflects the pioneering spirit of architect Kim Swoo-geun. © Lee Kyung-hwan   UNIQUE SKYSCRAPERS During the 1970s and 1980s, a notable transformation occurred between City Hall and Euljiro 1-ga Station. A string of large, high-end hotels was built, followed by a wave of bank buildings, creating a financial street that began at the Bank of Korea headquarters in the south and ended at Gwangtonggwan in the north. The Eulji Hankuk Building, a 20-story office tower with four additional underground levels completed in 1986, embodies the era’s architectural zeitgeist. Its façade is equipped with a curtain wall, which confers an ultra-modern appearance upon the structure. This is complemented by granite-covered sides, imbuing stability. The middle of the building, pushed inward to create a balcony-shaped space, makes for a bold, eye-catching look. The space behind it, located on the 10th floor, is dubbed “Sky Plaza.” It is used for exhibitions and open to the public. The area between the Euljiro 1-ga and 2-ga subway stations is only a few hundred meters long, but with the start of full-scale urban redevelopment programs in the 2000s, it was filled with an array of glass and steel behemoths. Noteworthy among them is Ferrum Tower, which opened in 2010. This 28-story edifice featuring six levels below ground is based on hexahedrons and incorporates diagonals in its silhouette. Its modern exterior projects an appearance that varies depending on your vantage point. Neighboring buildings that closely surround the tower are reflected on its glass surface, creating an arresting mural. The angles of the rooftop contribute to an unusual skyline, making Ferrum Tower easily identifiable, even when observed from afar. Other architectural landmarks can be found just beyond the boundaries of Euljiro. They include the Gothic-style Myeongdong Cathedral and Youngnak Presbyterian Church, Korea’s first Protestant church with a large congregation, completed in 1898 and 1950, respectively. On the northern front, the Hanwha HQ, completed in 1987 and retrofitted in the late 2010s, adds to the architectural tapestry, calling attention to environmental protection with its solar panel façade. It continues Seoul’s heritage of reformulating architecture to fit the city’s needs.  Ferrum Tower near Euljiro 1-ga Station projects a dynamic corporate image, its appearance changing depending on the vantage point. Designed by Gansam Architects & Partners, it received Excellence Prizes of the Korean Architecture Awards and Seoul Architecture Awards in 2011. © Gansam Co., Ltd.

Seamless Blend of Old and New

Features 2024 SPRING

Seamless Blend of Old and New Seoul’s Euljiro area was shaped by Korea’s rapid industrialization during the latter half of the 20th century. Like a time capsule, the neighborhood retains many factories, workshops, and stores from its halcyon years. But it is also home to hip, understated places attracting young people. This juxtaposition of old and new is transforming Euljiro’s identity. Euljiro’s maze-like alleyways are lined with small workshops, factories, and stores that date back to the 1950s and 1960s. Euljiro 3-ga’s old, low-rise buildings reflect this cityscape best. © Seol Dong-ju At dusk, Euljiro 3-ga’s alleys come alive with young crowds flocking to old eateries that have become hotspots. Euljiro is home to many longstanding establishments that have shaped its history. © Seoul Tourism Organization Occupying central Seoul, the Euljiro area is packed with small timeworn factories, workshops, and hardware stores. Its subdued, narrow lanes are filled with motorcycles whizzing by, the sound of welding, the acrid smell of grinding metal, and the purposeful bustle of people going about their livelihood. This contrasts with other popular areas in Seoul, such as Gangnam, Myeong-dong, and Hongdae, which are known for their wide, neon-lit roads packed with retail, dining, and drinking establishments for all different budgets. Yet, Euljiro’s distinctive ambience and vintage charm, the vestiges of its past etched in its byways and buildings, draw in young people all the same. Spreading the word on social media, they often attach “#hotspot” to posts they make from this neighborhood. EPICENTER OF MANUFACTURING During the Japanese occupation of Korea (1910– 1945), Seoul’s administrative districts were reorganized and its center named Hwanggeumjeong. Blossoming textile, food, and printing industries turned the area into a commercial and industrial hub. Following Korea’s liberation, the area was renamed after Eulji Mundeok, a famous general of the Goguryeo Kingdom (37 BCE–668 CE). After the Korean War (1950–1953), much of Seoul laid in ruins, but people from all corners of the country still flocked to the capital, hoping to eke out a living during its wide-scale reconstruction. At night they curled up in the cramped shanties of Euljiro, and during the day sold whatever they could on the streets. Machinery and tools from the U.S. Army and scrap metal that was rendered obsolete after the war ended up in Euljiro. Local merchants gradually acquired the expertise to repair or manufacture machinery themselves, gaining Euljiro a reputation as a place where expert craftsmen could make practically anything from scratch. People even joked, “You could build your own tank in Euljiro,” a testimony to the advanced manufacturing skills that had evolved there. The area flourished. Alleyways turned into light-industry corridors producing an array of items, including electrical and electronic goods, metal, glass, light fixtures, pottery, and furniture. The 1970s saw the peak of Korea’s rapid urbanization and industrialization, which forever changed the course of the nation. Businesses in Euljiro were said to be flooded with so many customers every day that the owners barely had time to count their money. By the late 1980s, government officials decided that manufacturing electric appliances and electronics — the area’s lifeblood — was unsuitable for urban centers. This, in addition to deteriorating residential housing, prompted the government to designate Euljiro for redevelopment. Seoul was quickly turning into a forest of office buildings and apartment complexes, and with three subway lines crisscrossing through Euljiro, its convenient location made it an inviting target for city planners and property developers. Business owners and residents were told to relocate, but negotiations stalled over the division and ownership of land lots, driving up property prices and putting a hold on Euljiro’s redevelopment. Sewoon Plaza was the center of the electronics industry for decades. After undergoing a complete makeover, it reopened in 2017. An underground boiler room was transformed into Sewoon Basement, a multifunctional space used for classes, exhibitions, and workshops. © Roh Kyung RESPECT FOR TRADITION Among the area’s customers were young creatives who needed materials for their art, film, and theater projects. As craftsmen filled orders, they would interact with the artists, discussing specifications, giving technical advice, and even providing consultation, thereby serving as quasi-collaborators on their projects. Euljiro’s industrial craftsmen and their technical skills help realize the creative ideas of young artists. The photograph shows KNOT, SOUND ABOVE, a vacuum tube Bluetooth speaker launched by above.studio in collaboration with Ryu Jae-ryong, a veteran electronic controls and sound systems engineer. In its design, Euljiro-based above.studio pursues formative beauty based on logical processes. © above.studio It was these young artists who engendered a wind of change in the deteriorating neighborhood, shining new light on its intrinsic value. From the mid-2010s, those looking for a studio, exhibition space, or performance venue were drawn to Euljiro. Affordable rents made it an attractive choice, but a bigger reason was the particular atmosphere created by its aging buildings, labyrinthine alleyways, and the energy of laborers toiling away. The artists all shared a commitment to creating spaces that did not clash with the surroundings. Rather than opting for a complete makeover to suit studios or exhibition venues to their purposes, most chose to preserve the original interiors. This consideration paired nicely with the budding retro trend. New occupants refrained from tearing down brick façades and discarding old furniture, in vogue decades ago, and in most cases, they even retained the signboards of the old stores and factories. This respect for Euljiro’s place in history and the desire to preserve its character allowed for a harmonious balance of new and old. N/A Gallery, which opened in 2018, is one of Euljiro’s hidden gems. Tucked inside an alleyway, it sits between blacksmith workshops in Euljiro 4-ga. Despite not having a sign, the gallery is at the forefront of the local art scene. Photographed here is the exhibition Dinosavr by Yesul Kim and Rémi Lambert, held earlier this year. © N/A Gallery The inside of Eulji Darak, established by KOLON FnC in 2020, was conceptualized as a multi-brand flagship store. LimTaeHee Design Studio prioritized blending in with the surrounding area. The 20-year-old building’s original exterior was preserved while its interior was decorated with old furniture, decor, and flooring. Courtesy of LTH; Photo by Yong Joon Choi   BIRTH OF “HIPJIRO” The artists who settled in Euljiro boldly pursued innovative ideas, even if it meant that their exhibitions or performances weren’t financially lucrative. They engaged in artistic experimentation, integrating the area’s geographical and architectural characteristics into their work. This is why certain events staged in Euljiro are referred to as “site-specific content.” The art and culture projects that revitalized the area gradually permeated its food culture as well, with coffee shops and bars popping up one by one. The owners of these establishments also chose not to erase the vestiges of their predecessors, with many restaurants not even displaying their name out front. Some have evolved into multipurpose cultural spaces; on a given day, restaurants, cafés, and pubs may serve as studios, galleries, and performance venues. A restaurant will play host to an art exhibit while a café is turned into a concert hall. Only in Euljiro do metal workers and cocktail-sipping hipsters coexist in shared spaces. This is the charm of an area that has been transformed into a cultural hotspot through word of mouth, earning it the nickname “Hipjiro,” a compound of the English word “hip” and the last two syllables of Euljiro. This historic neighborhood is shedding its long-established image associated with labor and manufacturing and reshaping its identity. Roaming the maze-like alleyways just to chance upon a one-of-a-kind spot is a special experience that you can only have in Euljiro.  59 Stairs Wine Bar, 5th Floor, 130-1 Sallim-dong. Byun Kyoung-rang. 2021. Pigment Print. 51 × 34 cm. One of the works on display at Euljiro 2021, a photo exhibition by the Seoul Archive Photographers Group held at Y ART Gallery in Chungmuro in 2021. Byun Kyoung-rang showcases where the past and present intersect, with a focus on Euljiro’s new restaurants. © Byun Kyoung-rang Café and bar Ace Four Club replaced a 60-year-old coffee house near Euljiro 3-ga Station. The new owner chose to preserve vestiges of the past, such as the front door, for the sake of old regulars. © Seol Dong-ju A hotspot among young visitors, The Ranch Brewing sells craft beer and pizza in an alleyway behind Euljiro 3-ga Station. Its colorful mural and entrance, resembling a vending machine, catch the attention of passersby. © Seoul Tourism Organization

Technology – A Value for Humans

Features 2023 WINTER

Technology – A Value for Humans Digital content brings imagination to life, offering inspiration and wonder. Against this backdrop, a growing number of Korean companies are attracting attention by enriching the arts with their technological prowess. The Meta Music System, an AI-based mobile application, was developed by the music-tech startup Verses and honored with the CES 2023 Best of Innovation award. The app has changed the paradigm of enjoying music by enabling users in the metaverse to participate in the music of their favorite musicians. © Verses Technological advances have placed digital means at the center of the creation, dissemination, and appreciation of arts and culture. Among the numerous factors contributing to the mainstreaming of artistic and cultural content, the most important seems to be the way it is received by the public. A significant amount of it had already moved to the digital realm before the COVID-19 pandemic. This trend accelerated during the many months of self-isolation and social distancing, when face-to-face contact was extremely limited. At the forefront of this shift are mobile devices and the metaverse. Virtual World Users’ avatars pose for souvenir pictures at Hyundai Motorstudio, a brand experience hall built by Hyundai Motor Company on the ZEPETO metaverse platform in 2022. Through their avatars, users can play, shop, and work with others in ZEPETO’s virtual realm. © Hyundai Motor Group K-pop has transcended its Korean origins to captivate audiences around the world. The performance stage is no longer a mere platform for entertainment but has become a canvas for artistic imagination. This transformation has been facilitated by extended reality (XR) technology, which can turn massive LED displays into immersive backgrounds. With XR, artists can transport themselves and their audiences to places ranging from tourist attractions to outer space, and even imaginary futuristic environments. The backdrops dynamically adjust to camera movements, offering the audience the chance to experience the space as if they were physically present in it. METALOCAT, a leading provider of immersive content production solutions, creates virtual environments that blend seamlessly with physical stages, as demonstrated in MBC TV’s popular entertainment programs Show! Music Core and The King of Mask Singer. The company helps production teams reduce their workload by experimenting with bold imaging techniques. XR-based virtual spaces are mushrooming in the content production field. One example is the Virtual Production Stage at the CJ ENM Studio Center in Paju, a city in Gyeonggi Province. The state-of-the-art facility features large LED screens on all walls and ceilings, which enable the seamless integration of virtual backgrounds into live-action shots. This eliminates the need to shoot on location, saving a significant amount of time and money. Expectations are high for new and different forms of content because the quality of the final product can be improved quickly. Another notable trend is the virtualization of content itself. The technology for graphics-based virtual characters and backgrounds, already widely used in movies and K-dramas, poses a major challenge to producers due to the need for detailed and elaborate representation in a virtual environment. Dexter Studios, specializing in content planning and production, has clearly shown its expertise in works such as Space Sweepers (2021), a Netflix original by Jo Sung-hee, as well as Alienoid by Choi Dong-hoon (2022) and Kim Yong-hwa’s The Moon (2023), both CJ ENM productions. The achievements of Dexter Studios demonstrate that while imagination is at the core of science fiction, the immersive expression of ideas is essential to creating high-quality cultural products. The virtualization trend in pop culture content is undeniable, as evidenced by the steady growth of ZEPETO, a metaverse platform founded in 2018. Operated by NAVER Z, this immersive social universe allows users to create avatars and virtually interact with others without spatial limitations. Its primary user base comprises people in their 20s and 30s. Businesses in and outside of Korea use the platform to increase brand awareness. Creative AI Immersive content production company METALOCAT started as an in-house venture at MBC in January 2022 and became independent in 2023. The photo shows a scene from the MBC entertainment program The King of Mask Singer. A virtual stage was created using a 3D game engine. © METALOCAT Since the advent of computers, digital devices have become essential as creative outlets. Paraphernalia used for centuries have suddenly become virtually obsolete; paper has given way to screens, and pencils to keyboards and styluses. However, only a few short decades after the monumental shift from analog to digital input methods, another shift is already underway. We are now advancing into the uncharted territory of using artificial intelligence for creative expression. Painting is one of the fields at the forefront of the AI creativity revolution. Machine learning models, trained on vast amounts of artwork, can now mimic the masterpieces of famous artists. They can also draw in a variety of artistic styles at their users’ request, producing images so realistic that they are indistinguishable from photographs. Karlo 2.0, an image generation model developed by AI technology company Kakao Brain, can produce large, high-quality images in seconds by using a text-to-image database of about 300 million images. In addition to real-life details, the ability to create high-quality images with ease is attracting worldwide attention. While Karlo’s work inspires admiration, it also sparks debate about its use and AI-generated images in general. Who owns the copyright? The AI developer, the user, or the original artists whose works were fed into a database? As some AI-generated images have even been recognized and awarded as pieces of art, an answer to this and other questions must be found. Verses, an entertainment software company, developed an AI-centered music platform called the Meta Music System. AI can code, compose, and arrange tunes, but the Meta Music System allows users to participate directly in the production of music videos, adding a layer of imagination. Users can not only enjoy music but also meet and chat with artists. The opportunity to produce music and share ideas opens new channels that make music a less passive form of entertainment.   Value of Technology Shooting of video content at CJ ENM’s Virtual Production Stage. The state-of-the-art facility has large LED screens on all walls and ceilings, which eliminate the need for repeated set installation and dismantling and allow for the seamless integration of virtual backgrounds into live-action shots. © CJ ENM The purpose of combining technology with artistic and cultural content is a quest for greater creativity in expression. The barriers surrounding music have already been broken down decades ago by the Musical Instrument Digital Interface (MIDI), a communication protocol that connects devices that make and control sound, such as electronic musical instruments and computers. Meanwhile, the spread of the web has opened the door for anyone to become a webtoon creator. Likewise, YouTube has made it possible for anyone to share creative output with a global audience, and the metaverse provides a space where viewers can enjoy artworks without limitation. The direction of technological progress is clear. It is now expanding the scope of creative activity beyond the confines of the conventional art world, dominated by experts and enthusiasts, to something for anyone to enjoy. One of the goals of publicly available internet services is to break down barriers between social groups. It is only natural that it should do the same for cultural content. The divide between creators and audiences is becoming increasingly blurred, empowering everyone to express themselves freely and equally. This is closely related to the raison d’être of arts and culture. After all, the value of all artworks and cultural content comes from people. The arts and culture ecosystem will further flourish as more people appreciate works of art, understand the intentions of artists, and contribute to the cycle of artistic development by expressing their own perspectives.

Collaborative Energy Boosts Tech Art

Features 2023 WINTER

Collaborative Energy Boosts Tech Art Visual arts teams are breaking down barriers between genres and exploring new art forms. These avant-garde artists present new sensations and ways of thinking through the use of advanced technology. The Factory. teamVOID. 2021. Robotic arm, conveyor, drawing machine, PC, display, AL frames. Variable dimensions. Part of teamVOID’s solo exhibition Factories, held in 2022 at ONE AND J. Gallery in Cheongdam-dong, Seoul, showcased the changing relationship between humans and machines as factory operations have become automated and upgraded. © ONE AND J. Gallery Gajaebal (left) and Jang Jae-ho formed Tacit Group, an audiovisual performance duo that draws artistic inspiration from digital technology and expresses it through multimedia performances, interactive installations, and algorithmic art using computer programming. © Heo Dong-wuk Tacit Group - Using Ambiguity Tacit Group is an audiovisual performance duo consisting of composer Jang Jae-ho, who studied classical and electronic music, and Gajaebal (Lee Jinwon), an electronic musician who also dabbles in popular music. The duo, which formed in 2008, primarily experiments with algorithms, whose results are hard to predict. The approach lends itself to an innovative system that yields a different outcome every time. Tacit Group finds its artistic possibilities in the contemporary technological environment and realizes them in the form of multimedia performances, interactive installations, and algorithmic art. They also integrate seemingly insignificant everyday moments into their work. How did your partnership start? We were teacher (Jang Jae-ho) and student (Gajaebal) when we first met. Around the time when kinetic art was taking off, we both took an interest in algorithmic art. Back then, it was a very difficult genre because of technical limitations of developing algorithms. We formed Tacit Group because we wanted to create something that we could enjoy ourselves but also share with the public. Morse ㅋung ㅋung is a work in which the consonants and vowels of the Korean alphabet are replaced with sounds. When the letters are distorted, the sounds also become distorted. The letters and sounds are meshed on three large screens that contain 2000 LEDs. Tacit Group’s artworks are created through complex algorithms. Courtesy of Tacit Group What is Tacit Group’s vision? We took our name from John Cage’s famous musical composition 4’ 33”, which consists of four minutes and 33 seconds of silence with ambient sound of a concert hall. The manuscript for the work had one word written on it: “Tacet.” It’s a musical direction indicating that a musician is not to play for a certain amount of time. We wanted to create a sensation in the 21st century just like John Cage did back in 1952. Fifteen years ago, people were unfamiliar with the term “audiovisual” with respect to the arts, so we felt the need to explain what it meant before we could introduce our work. Now it’s no longer a strange concept, and we feel proud of our hard work that got us to this point. Your artworks often include sounds. The Korean alphabet is often described as a system with an almost architectural structure. As a group that studies systems, we thought it would be interesting to combine Hangeul with sound, which led to the creation of Hunmin-jeong-ak and Morse ㅋung ㅋung. We displayed Korean consonants and vowels on a huge digital screen, where syllables would form and disintegrate, as if they were dancing. Music often starts with inspiration rather than theory. An idea strikes you out of the blue, as was the case with Game Over. The shapes of the game Tetris seemed to overlap with musical notes. So we used the game to create sounds whose electronic notes change depending on the player and the shape and height of the blocks. What about CRYPTO Heol Heol Heol? It was a continuation of our work with Hangeul. The interjection we make when the stock price goes up is “heol,” and we make the same sound when it collapses. “Heol,” a Korean slang term meaning “what the…?” is an exclamation that expresses positive and negative feelings. The characteristic of containing so many emotions made it a good fit for an NFT (non-fungible token). Heol itself is a sound, a medium that conveys meaning, a score, and a syllable that serves as material for music. Interestingly, if its shape is distorted a bit, it looks like a polygon. Why use algorithms? A wind chime hanging under a roof is the perfect analogy to explain algorithmic art. Someone builds the chime, and something produces the sound. The wind cannot build a chime, but when it blows, it can create sound with it. Likewise, even if the audience doesn’t know the system underpinning our works, it can still engage with our art. Our goal is to build a system that allows that to happen, although we can’t predict who will play or what tones will be produced. That’s why we put more emphasis on the process than the results. A scene from Game Over, a performance of Tacit Group that is based on the game Tetris. The gameplay is displayed overhead and different sounds are produced, depending on the location and shape of the blocks piling up. Courtesy of Tacit Group Hun-min-jeong-ak Just like Morse ㅋung ㅋung, Hun-min-jeong-ak was created based on the principles behind the invention of Hangeul, the Korean alphabet. The algorithm was embedded in the consonants and vowels to produce sounds.   What has kept you going? The common denominator that binds us together as Tacit Group is that our work is motivated by ambiguity. It’s not easy to define our work as music, art, or something else entirely. It’s the journey not the answer that’s meaningful to us.   eobchae – Giving Insights The audiovisual production collective eobchae was founded in 2017 by Kim Na-hee, Oh Cheon-seok, and Hwang Hwi. Kim and Oh were friends at university; when they met Hwang, they began planning joint projects. Today, the trio creates works using various media, such as video, web art, sound, and performance, focusing on contemporary technological and cultural environments. Each member also pursues individual activities. eobchae focuses on digital products that make modern life more convenient—smartphones, AI speakers, and the like. The collective virtually develops fake digital products to critically examine the monopoly over digital devices held by large corporations. Why did you choose the name eobchae? When we began our creative work, the focus wasn’t on art but on creating actual products. We decided to name ourselves “eobchae” as a playful reference to commercial projects. Rather than sitting around waiting for someone to contact us, we started planning interesting work on our own. What was your motivation? Being in a tech-related industry, we were naturally interested in digital products. However, rather than creating real products, we wanted to create fakes that competed with reality. We noticed that certain digital products and apps quickly monopolized the market, making it difficult for users to escape that ecosystem. They standardize numerous aspects of modern life, like phone communications, messaging services, and payment systems. We thought, “Let’s compete with deep-pocketed big data companies. Let’s r un at their pace.” But we knew we couldn’t actually compete with them, so we wanted to at least try to throw eggs at them by imagining fake users using fake products. Why fake products? The process of creating illusions is fascinating—pretending something is there when it isn’t, and showing how something works when it doesn’t. Ultimately, we also want to move beyond the realm of meta-cognition and into the actual market. Your work seems to focus a lot on the basics. We’re not interested in right and wrong, or good and evil. We’re more interested in anthropology and social sciences than in philosophy, in how much technology changes people, and what communication methods they use to pursue their desires. Today’s technological environment can be seen as another form of nature. We aim to go beyond the phenomena that lie in front of us and dig deeper into the context and background of what drives modern individuals to behave the way they do.   A scene from video artwork eoracle, shown at Doosan Gallery in 2022, that conveyed the world of new technologies through attractive graphics and sounds as well as storytelling. Courtesy of eobchae eobchae is an audiovisual production trio that includes Kim Na-hee, Oh Cheon-seok (right), and Hwang Hwi (left). Kim Na-hee is not in the photo as she is currently active in New York. Respecting each other’s critical perspectives, the trio leverages individual interests and skills to showcase original works. © Heo Dong-wuk Teaser for eoracle. teamVOID was formed by Bae Jae-hyuck (left) and Song Jun-bong. They utilize interactive media, kinetic sculptures, light formations, and robots to create visual experiences from a systems perspective. © Heo Dong-wuk What does art mean to eobchae? We’re primarily focused on capturing how technology shapes reality. Fake products that mimic reality are essentially useless, but art provides a useful space and time for them. This allows us to work with a sense of security without having to confront the risks of reality. However, we don’t want to confine our work solely to the language of art, since our work did not emerge from the established art world. We’re not a collective that creates works; rather, we discover the most horrifying aspects of today’s technological environment. And yet, in tr ying to make these aspects visible to a larger audience, we seem to end up creating beautiful, interesting, and horrifying things. teamVOID - A Balanced Art System teamVOID is a media art collective of engineering majors Bae Jae-hyuck and Song Jun-bong, who began their collaboration in 2014. They blend technology and art to create their works, which include interactive media and kinetic sculptures. One of their notable creations is The Malfunction, a play involving industrial robots. The duo’s keyword is “systems.” This covers both general, surface-level properties and the complex social phenomena that arise from them, which can be understood as “relationships” and “rules.” For a society to function properly, areas such as politics and culture need to maintain balanced relationships and adhere to their respective rules. Similarly, teamVOID envisions an “art system” where topics, devices, data, and logic integrate harmoniously. How did you first start out? We were both interested in art from an early age, and we had a creative urge, like many other engineering students. In 2014, I hit on an interesting concept and happened to meet Song in a research lab at school. Working independently can be challenging, especially when you’re not sure where to start or whom to turn to for help. But when you find someone who shares your vision, you often come up with better ideas. Why call yourself teamVoid? Void is a function in programming. For us, it means a very free and completely uncluttered state of mind. Since neither of us had a visual arts background, we saw ourselves as voids in the field and chose our name with the intention of filling them. While we may not work as extensively as painters or sculptors, we believe that we can challenge the art world through media technology. Why use robots? It’s fascinating to watch the movements of something neither human nor animal. Tools often reflect people’s desires in a given era. For instance, the desire for mass production is embedded in the conveyor belt, the symbol of the Second Industrial Revolution. Robots represent the contemporary system, and they’re the most common means of production in the Fourth Industrial Revolution. So, what human desire do robots represent? The desire not to work. We go beyond seeing machines as mere tools and instead look at the entire system that makes up a society and represent it through our work. What about the “backside” of media art? Profound work is often revealed in the “backside,” the part of the work people usually don’t see. The effort creators put into their work may not always be visible on the surface, but when you look deeper, you can feel the passion driving them. We often look at our work and reflect on the thoughts and concerns we had while creating it. Which new technologies appeal to you? All of them. We try to stay on top of emerging tech trends whenever possible. But we don’t impulsively apply new technologies to our work; first we think about whether they fit the content we want to express. That’s why in some of our works, we’ve used technologies that were introduced several years ago. Adopting a new technology just for the sake of attracting attention is risky. What is the driving force behind your work? Probably experience and balance. When you experience something new, it satisfies your curiosity and motivates you to try different things and move on to new projects. We’re maintaining our balance as a team by taking on realistic challenges. We owe the past ten years together to a good balance between work and art as well as our teamwork. To keep teamVOID going for the next ten years, it’s important to set long-term directions and strategies.

Businesses Join Hands with the Art World

Features 2023 WINTER

Businesses Join Hands with the Art World Lately, there has been a remarkable increase in support for Korean artists from tech giants and other companies. These collaborations are part of their corporate philosophies, aimed at enhancing the value of their respective brands. The newfound partnerships make it easier for artists to express their imagination and allow people to enrich their everyday lives with innovative art experiences. A Guest in Paradise. Jeon Byeong Sam. 2023. Projection mapping on a concentric layer of photographs. Diameter: 300 cm. This work, exhibited at the 2023 Paradise Art Lab Festival, depicts an alien microorganism enlarged three billion times to a diameter of about three meters. The Paradise Art Lab is a project organized by the Paradise Cultural Foundation to spotlight works that fuse art and technology. © Paradise Cultural Foundation Legendary video art pioneer Nam June Paik once cited the old adage, “Art is short, and life is long,” when asked about the deteriorating condition of The More, The Better, his famous tower of TV sets. Paik knew that art based on technological means can be transient—sometimes lasting less than a generation—especially as more advanced technologies emerge year after year. Paik’s response could also be seen as a declaration that art and technology no longer last forever. Today, media art is riding the wave of technology, transcending the borders among art genres, with businesses frequently entering the realm of artistic innovation. Corporate Philosophy On a day in September 2023, a meteorite crashed into the indoor plaza of Paradise City. So imagined a group of artists whose works filled the art space of the luxurious resort situated on Yeongjong Island off Korea’s west coast. By donning VR goggles, visitors could closely observe the fictional meteorite and appreciate the vastness of the cosmos. They could also immerse themselves in music and light inspired by the mineral composition analysis of the meteorite. The works featured in this experience included ECHOSPHERE by Kim Dong-wook and Jeon Jin-kyung of media artist duo ROOMTONE, Meteorite Appraisal by new media artist Park Keun-ho (Chamsae), and Transmitting Wave Signals into the Cosmos by computer music composer and audiovisual artist Jeho Yun, among others. They were part of the 2023 Paradise Art Lab Festival. The Paradise Art Lab, organized by the Paradise Cultural Foundation since 2018, is a project for exploring contemporary art and envisioning its future. It supports the creation, production, and distribution of interactive artworks that engage with the public. Why would a resort company sponsor media art? The answer lies in the Paradise Group’s concept of leisure, which goes beyond mere relaxation and enjoyment. The belief that artistic experiences encountered in leisure destinations can inspire and captivate people is rooted in its corporate philosophy. Fresh Experiences Meteorite Appraisal. Park Keun-ho (Chamsae). 2023. Crystal Beads, steel frame, motors, and LEDs. 600 × 240 × 240 cm. This work, exhibited at the 2023 Paradise Art Lab Festival, depicted a meteorite that has fallen to Earth. Artist Park Keun-ho (Chamsae) is known for his media works that fill space with physical properties. To create the meteorite, he installed modules made of crystals and light that resonate with energy particles to study how a meteorite radiates energy. © Paradise Cultural Foundation Echosphere. ROOMTONE. 2023. Virtual reality and video installation. 4 minutes. This work by ROOMTONE, a duo comprising Kim Dong-wook and Jeon Jin-kyung, uses metaphorical images and narratives to depict the interconnectedness of humans and the universe and the meaning of existence. The artists focus on the immersive experience that arises from the interaction between real and virtual senses by using virtual reality and digital games as their medium. This work also appeared at the 2023 Paradise Art Lab Festival. © Paradise Cultural Foundation Around the same time as the festival, Frieze Seoul and KIAF Seoul, two global art fairs, were taking place at Coex, Korea’s largest exhibition and convention center in Gangnam. Amid a sea of expensive masterpieces, one particularly luminous work captured visitors’ attention: a piece by Kim Whanki (1913–1974), a master of Korean abstract art, brought to life on an OLED TV screen by LG Electronics. Crimson dots, forming concentric circles in his 14-III-72 #223, radiated brilliantly on the large wireless screen, seemingly surpassing the limits of sharpness and depth perception. Viewers found themselves instantly immersed in the world of this artwork. If the late artist, who dedicated his life to exploring the waves, sounds, and movements generated by color and form, had witnessed this work, he may have been filled with amazement. LG OLED, under the umbrella of LG Electronics, joined as the headline partner for this year’s Frieze Seoul, an extraordinary development given that Deutsche Bank, the main sponsor throughout the art event’s 20-year history, made the unusual decision to step back. Art fairs typically find their most enduring partnerships with banks—Art Basel with UBS, the TEFAF New York and Maastricht fairs with the Bank of America, or Frieze with Deutsche Bank—in recognition of the fact that the banks’ VIP clients often overlap with high-net-worth individuals who view works of art as valuable investments. However, in forging connections with the art world, LG OLED, a technology company rather than a financial institution, is now closely linked to the transformative change brought about by the Fourth Industrial Revolution in the manufacturing sector. “Companies can no longer thrive by just selling products; now, they must market their unique culture. Some economists even argue that businesses focusing solely on sales may eventually become subcontractors for more culturally conscious companies,” notes Seo Jin-seok, the director of the Busan Museum of Art, who previously spearheaded the development of the Ulsan Art Museum that specializes in media art. Seo champions the “Neo-Bauhaus era,” which refers to the revival of the early 20th century Bauhaus movement that sought to combine artistic aesthetics with technological functionality. “As technological advances become an integral part of our daily lives, they transform our very existence,” he emphasizes. “When companies materialize technology into devices or appliances, it’s not enough to assign them merely technical or functional roles. Rather, imbuing them with artistic sensibility allows these devices to seamlessly integrate into consumers’ lives.”   Infusion is Key Visitors at the SHOUT Art Hub & Gallery in Hong Kong’s Hysan Place shopping mall view the digital art exhibition The Frame Digital Art Gala, which used Samsung Electronics’ lifestyle TV “The Frame.” The exhibition, a collaboration between Samsung Electronics and SHOUT Gallery, was held in 2022. © Samsung Electronics Vibration Club 2020. Oh Do-hahm. 2020. PVC airball, tactile transducer, bass shaker, variable dimension amplifier. Artist Oh Do-hahm, who is active in music, performance planning, and fine arts, has developed a device that allows you to enjoy music by tactile means. In the process, he was inspired by how a hard-of-hearing person feels music through the vibration of a speaker attached to a mattress. It is one of the works exhibited at the Open Studio held by ZER01NE, a creative talent platform sponsored by Hyundai Motor Group in 2020. © ZER01NE Technological progress in and of itself creates functional environments, but it is the infusion of art that fosters a cultural atmosphere. Therefore, companies with technological expertise are advocating “fresh experiences” over the “cutting-edge” cliché. Examples of the use of thin and transparent OLED technology can now be found in several museums. From May to October 2023, the National Museum of Korea in Seoul hosted an exhibition titled Companions on the Eternal Journey: Earthenware Figurines and Vessels from Ancient Korea. The event featured a large collection of pottery items excavated from tombs of the ancient Silla Dynasty (57 BCE–935 CE) and the Gaya Confederacy (42– 532 CE). The museum displayed images of people’s daily lives from 1,600 years ago on a 17 mm-thick transparent LG OLED screen, which appeared to form the glass panel of a display case. Adults were filled with awe and children approached with wonder. In the museum’s permanent exhibition of Greek and Roman art, displays such as a bust sculpture of Zeus appearing amidst lightning and clouds are also brought to life through LG OLED technology. In 2022, LG Electronics embarked on a five-year partnership with the Guggenheim Museum, launching the LG Guggenheim Art and Technology Initiative to promote the fusion of art and avant-garde technology while enhancing its brand value. The LG Guggenheim Award, established as part of this project, annually bestows $100,000 to an artist who has created an outstanding innovative work of art using new technologies.   Expanding Breadth Meanwhile, Samsung Electronics has harnessed its technological expertise to bring masterpieces from renowned art museums into the living room. Subscribers to the Samsung Art Store can display works of art on “The Frame,” one of the tech giant’s lifestyle TV lines. The database includes approximately 2,300 artworks in various genres, including paintings from world-renowned art museums and galleries such as the Prado Museum in Madrid and the Belvedere in Vienna, as well as photographs, illustrations, and digital art, all in 4K resolution. This strategic approach aims to increase access to art through TV technology, enabling people to forge a closer connection with the world of art in their daily lives. Hyundai Motors is another key player at the intersection of technology and media art. The company maintains a separate division known as Hyundai Artlab, through which it engages in discourses on global change. The automaker partners with institutions such as the Los Angeles County Museum of Art (LACMA) for the LACMA Art + Technology Lab, and runs programs in collaboration with Bloomberg Media, including Bloomberg ART + TECHNOLOGY. Also gaining recognition are its support programs for media artists, such as the VH AWARD, the ZER01NE Creative Talent Platform, and the Hyundai Blue Prize Art + Tech, a project aimed at assisting media art curators. A company official commented on these efforts, “Technology is no longer just a tool; it is evolving into the very environment that surrounds us. The present age demands a redefinition of the relationship between humans and machines.” She added, “In an era of dazzling advances in artificial intelligence technology, the ability to pose creative questions has become even more important. Under these circumstances, it is crucial to look into the present and prepare for the future at the confluence of art and technology.”   Art Shifts Competition Companies that once competed on the basis of manufacturing expertise have shifted their focus to changes beyond technology. Han Yeo-hoon, a professor at Hongik University’s Graduate School of Arts and Cultural Management, has conducted research on consumer psychology and arts marketing. In Han’s view, business competition before 2000 was based on performance, but now that technological gaps have been minimized, only perfect innovation sets companies apart. “Contemporary artists are no longer fixated on replicating art based on technique but are using technology to infuse their philosophy and values into new forms of artwork,” says Han. “It is precisely in this area that art is converging with the concept of corporate innovation.” Han also points out that while you can produce TV sets by applying OLED technology to products, its integration into artworks opens up greater possibilities. She explains, “For technological innovation to be captivating, it requires the imaginative and creative process of harnessing that technology. The scope of technology’s application becomes boundless when this task is given to artists.” This is why art shines even brighter when it teams up with technology.

Technology Reconfigures Plastic Art

Features 2023 WINTER

Technology Reconfigures Plastic Art Technology has taken on a central role in the visual arts, not only reshaping artistic forms and content but also redefining the meaning of art itself. In today’s digital ecosystem, this is seen in the evolution of plastic arts, which involve the manipulation of material for paintings, sculptures, and handicrafts. A view of Jackson Hong’s solo exhibition Autopilot, held in 2016 at the Perigee Gallery in Seoul’s Seocho District. Blurring the boundaries between design and fine art, Hong’s creations aim at eliciting social, political, and economic interpretations. © Jackson Hong Golden Mermaid. Kim Han-saem. 2022. Glass, gold leaf, pigment print, resin, and aventurine. 7.5 × 7.5 × 6 cm. Come on. Kim Han-saem. 2022. Glass, gold leaf, pigment print, resin, and mookaite. 5 × 9.5 × 8 cm. The Jewels in the Forest. Kim Han-saem. 2021. Acrylic, gold leaf, pigment print, and resin. 54 × 31 × 16 cm. Kim Han-saem’s works draw upon subculture elements that he encountered in his childhood. He primarily focuses on transforming data to convert fantasy game narratives into pixel graphics. © Kim Han-saem The Devil in Iron. Kim Han-saem. 2021. Aluminum leaf, pigment print, and resin. 97 × 80 × 11 cm. The integration of digital technologies into the visual arts can be traced back to the 1990s, when Apple’s Macintosh revolutionized desktop computing. The decades following saw the emergence of 3D printing and computer numerical control (CNC) technology, which automates the control of machines through software programs. Since 2020, the commercialization of artificial intelligence imaging has ushered in a new era of visual arts. There is no question that digital technologies have brought about the digitalization of the physical world and a departure from the material realm. This dramatic shift may give the impression that plastic arts, which deal with the material qualities of objects, have grown out of sync with the times. However, those engaged in classical art forms constantly seek new approaches and actively reinterpret and engage with technology to produce their works. With the potential of data to reduce the need for manual labor and streamline the artistic process, it should come as no surprise that a growing number of artists embraces digital technologies. In fact, many of those born in the 1980s and 1990s have started testing the limits of what can be done with digital technology, giving rise to all sorts of inventive artistic creations. The use of technology undoubtedly blurs the boundaries between different art forms. On the surface, technology may seem to pose an existential threat to traditional art forms; but in reality, it reinforces their raison d’être by encouraging a reexamination of what constitutes art. Paintings can now be turned into sculptures, sculptures into data, and handicrafts into paintings. The current landscape of traditional art forms includes an increasing number of works that depart from artistic conventions revolving around traditional materials and techniques. The gap between the digital and analog realms—the virtual and the physical—is becoming increasingly narrow. Where Software Meets Art Artist Kim Han-saem, who majored in painting at university, once confessed in an interview that he is not accustomed to working with oil on canvas. Having grown up in the digital age, he found himself more at ease creating paintings on the computer. After completing his academic studies, he focused on using the techniques with which he felt most comfortable. Kim’s artistic process involves creating digital drawings in the style of 16-bit RPG (role-playing game) graphics. First, he uses software to draw an image on the computer and prints it on a sheet of paper, bringing his digital creation into the analog world. He then fuses the printed image onto physical material, such as stone, crystal, or medium-density fiberboard (MDF). Next, he crafts a frame by hand, adding a layer of depth to the work’s narrative. Kim’s approach introduces a tactile dimension to his work, giving it a unique quality that can be described as “touchable data.” With a degree in industrial design, Jackson Hong pushes the boundaries between design and art. His work explores the malleability of objects and how they can be interpreted differently, as well as the relationship between objects and people. He also explores the visual representation of the manufacturing process of objects through the use of data. Much like an industrial designer creating a product, he begins by gathering the data required to bring an idea to life. This data must then be refined through a process that requires a high level of skill and expertise. For example, Hong uses CNC machines to cut metal sheets to size based on the data he feeds into the machinery’s software program, and then expertly shapes, bends, and welds them by hand into the desired form. The data in Hong’s works serve as a precise tool but are also a reflection of the artist’s intention to break free from the constraints of norms and conventions. This is evident in the architectural floor plans for his Cross Hatching series, which he produced by deliberately employing digital errors. It was an act of defiance against standardization and expectations of perfection meant to encourage different interpretations. Hong’s drawings are—beyond their functional purpose—like X-rays of his imagination. 3D Printing A look into the Drawing and Playing with Jackson Hong exhibition, held in 2018 at the Buk-Seoul Museum of Art (SeMA). Geared toward children, this exhibition encouraged creative thinking and challenged preconceptions by reinterpreting various objects. Courtesy of Buk-Seoul Museum of Art (SeMA); Photo by Kim Sang-tae MANJOY Project. Kim Ji-min. 2021. PLA filament and stainless-steel wire. Variable dimensions. A work on display at Kim Ji-min’s solo exhibition ENVy⁷, held in 2021 at UARTSPACE in Cheongdam-dong, Seoul. Kim relied on 3D printing to create artworks intended to serve as a satirical critique of consumerism. Courtesy of Kim Ji-min Kim Ji-min, who majored in sculpture, long relied on a labor-intensive stitching technique for sewing brand labels together to produce artworks. But he abandoned this method while completing a recent project that examines the psychological factors behind consumerism. The project, called “MANJOY,” demonstrates an effective application of 3D printing. The use of digital technology enabled Kim to quickly reproduce identical icons, allowing him to convey his message about consumerism in a humorous way. The limitations of 3D printing have prevented Kim from fully embracing it, so he continues to incorporate traditional methods into his work. To produce his serial work Skull, he used traditional sculpting techniques, which he then converted into digital data with a 3D scanner to create a separate 3D printed work titled Coloring N. 108. Thanks to the versatile nature of digital data, which allows it to be easily adapted to different scales, Kim later used the same data to produce larger works such as Inside Out. Serin Oh, who studied traditional East Asian painting, metalwork, and jewelry, combines various elements and techniques in her works to create surreal visual effects. Her 2022 solo exhibition Forest Temperature Bunker, at the BYFOUNDRY gallery in Hannam-dong, featured artworks that seamlessly blended ceramics and 3D prints. They were meant to serve as a metaphorical interpretation of human contradictions in the face of environmental issues, a theme closely related to the one explored in her previous exhibition, Imitation and Deception (Mobanggwa sogimsu). From a distance, it is not easy to discern which parts in Oh’s work are ceramic and which are 3D printed. To produce the latter, the artist relies on open-source 3D modeling data available on the internet. She uses 3D software to combine and modify the data, and then prints it using a Fused Deposition Modeling (FDM) printer, which works by heating a raw material at a temperature above its melting point and stacking it in uniform layers to create different shapes. The resulting artwork possesses a surreal quality due to the printing of different elements with varying resolutions under uniform conditions.   Weaving Pixels Serin Oh has long been interested in how original artworks are replicated and transformed in the context of capitalism. She recently expanded into combining traditional craft techniques with technology. This photo shows one of her works at her solo exhibition Forest Temperature Bunker, held at BYFOUNDRY in Hannam-dong in 2022. © Roh Kyung Sudden Rules-Bay-2. Cha Seung-ean. 2017. Polyester filament yarn and dye. 230 × 455 cm. Cha Seung-ean’s works appear to be two-dimensional paintings but they are woven. By navigating the boundaries between East and West, the visual and the tangible, as well as the spiritual and material realms, Cha aims to re-examine the legacy of 20th century art in an exploration of what constitutes meaningful abstract paintings today. © Cha Seung-ean Cha Seung-ean is an artist who specializes in reinterpreting traditional weaving techniques within a contemporary context. Cha, who has a background in fiber art and painting, says she uses weaving to recreate 20th-century abstract paintings that are of particular interest to her. Her most famous work, Sudden Rules-Bay-2, is a fusion two paintings: American abstract expressionist artist Helen Frankenthaler’s The Bay and Korean artist Rhee Seund Ja’s Subitement la Loi (A Sudden Law). The process involved digitizing Rhee’s painting and converting it into data based on its pixel configuration. The data was then used to weave a sheet of fabric with a Jacquard loom, onto which Cha skillfully applied Frankenthaler’s soak-stain painting technique. Through this experiment, the artist sought to combine weaving and dyeing to symbolize the coexistence of order and chance on the same canvas. Another pivotal theme in Cha’s work is the interplay between language and weaving. For example, she uses a converter to encode phrases, such as “Before your birth” or “Your love is better than life,” and reconfigures them into weaving design drafts that she can incorporate into her works. Cha’s experimentation is an attempt to blur the lines between language and art. As technology continues to evolve, Korean artists will no doubt find ways of combining traditional arts and the latest technology to create something new and unexpected.

Pioneers Who Shaped the Media Art Scene

Features 2023 WINTER

Pioneers Who Shaped the Media Art Scene In the past, media art was a largely unfamiliar genre on the periphery of the Korean art world. Today, it takes center stage of the mainstream arts and culture scene, as innovators employ cutting-edge technology to explore its potential to understand the world through a different lens. Delivery Dancer’s Sphere. Ayoung Kim. 2022. Single-channel video. 25 minutes. The video is about a parcel delivery employee who meets a version of herself. Ayoung Kim is a media artist who uses video, VR, and performance art, to create works that focus on migration, refugees, and the contradictions of capitalism. © Ayoung Kim In June 2023, Ayoung Kim’s video work Delivery Dancer’s Sphere earned her the Golden Nica in the “New Animation Art” category at Prix Ars Electronica, the longest-running annual competition for electronic and interactive art, computer animation, and digital culture. It has been a part of Ars Electronica, the world’s largest media art festival, since 1987. Around the same time that Kim became the first Korean to win one of the festival’s top prizes, traditional Swiss watchmaker Jaeger-LeCoultre invited Yiyun Kang as the first Asian digital media artist to Made of Makers. Through this program, launched in 2022, the luxury brand commissions artworks from artists, designers, and craftspeople in disciplines outside watchmaking. The theme for 2023 was “Golden Ratio” for which Kang created a large-scale 3D video sculpture titled Origin. The growing number of Korean media artists in the global spotlight is the result of systematic support given to the genre’s active and leading figures. The foundation they laid is a source of inspiration and creativity for young artists today. Vanguards Untitled (TV Stone Tower). Park Hyun-ki. 1980. TV & 17 stone pieces. Variable size. One of the representative works of Park Hyun-ki, known as one of the pioneers of Korean video art. Park structured the dichotomous boundaries between the natural and artificial, the real and the virtual world. Courtesy of Busan Museum of Art Rehabilitation of Genghis-Khan. Nam June Paik. 1993. One CRT TV monitor, ten steel TV cases, neon tube, bicycle, diving helmet, gasoline pump, plastic pipe, cape, rope, single-channel video, color, silence, LD. 217 × 110 × 211 cm. The work is a visual representation of a broadband electronic highway, a modern version of the ancient Silk Road used by Eurasian traders. © Nam June Paik Estate, Courtesy of Nam June Paik Art Center With his innovative imagination, Nam June Paik (1932–2006) was undoubtedly one of the greatest new media artists and a profound influence on the field. He began to explore incorporating new media into art while studying European philosophy and modern music in Germany, where he mingled with contemporaries in the avant-garde and counterculture movements. He made his debut in 1963 with an exhibition titled Exposition of Music – Electronic Television, held at Galerie Parnass in Wuppertal, Germany. Paik’s work often involved the manipulation of televisions and the distortion of images. This signified the dismantling of the monopolistic power of mass media through the one-way transmission of information and its reception by the public. Paik forged an extraordinary artistic path with works that combined video footage, sculpture, and installation, or fused music and performance with the human body. In collaboration with Shuya Abe, he also created a one-of-a-kind video synthesizer that allowed him to edit seven different video sources simultaneously—in real time. He envisioned a cybernetic world where humans and machines would coexist in a mutually influential relationship. Paik also explored digital communication in situations requiring interaction among multiple parties. He translated this into a project, titled Good Morning, Mr. Orwell, that achieved the convergence of nature and technology and the integration of Eastern and Western cultures. The live international satellite installation linked New York and Paris and was intended as satire on the vision of a dystopian future as described in George Orwell’s seminal work, 1984. Paik’s creations and statements, which today seem almost prophetic, are still relevant and talked about because of their clear connection with the future. Park Hyun-ki (1942–2000), a pioneer of Korean video art who debuted in the 1970s, took a different approach to creating artworks, using TV sets. He created installations made of televisions and natural materials such as rocks and wood. The televisions displayed images of rocks or trees, showing the connection between the real and the virtual world. By questioning what is real, he expanded people’s awareness and consciousness. A notable aspect of Park’s works is his method of stacking materials, an adaptation of a traditional Korean construction technique. Through the juxtaposition of natural materials and objects of civilization, he sought to deliver novelty and stir new ways of looking at art. This perspective is still valid in contemporary media art. Dedicated Institutions Universal Manufacture. Zin Ki-jong, Cha Dong-hoon, Kang Ji-young. 2023. Single-channel video. 6 minutes 36 seconds. Universal Manufacture was part of the Pale Blue Dot exhibition held at the KF XR Gallery in 2023. It contemplates biodiversity and sustainability with a state-of-the-art virtual 3D printer and traditional pottery as the medium. The environment was the main theme of the gallery’s inaugural exhibition. © Korea Foundation Argos. Yunchul Kim. 2018. Geiger–Müller tube, glass, aluminum, microcontroller. 48 × 40 × 40 cm. One of the artworks showcased at the exhibition Cabinet of the Ephemeral – Collecting Media Art hosted by Art Center Nabi in September 2023. It is a muon particle detector consisting of 41 channels that flash whenever it detects a muon particle emitted from space. Kim explores the artistic potential of fluid mechanics and metamaterials. Courtesy of Art Center Nabi; Photo by Seoul Metropolitan Government, Seoul Council of Art Museums The year 2000 marked a watershed for Korean media art, with the inauguration of venues and events dedicated to the genre, such as the Seoul Mediacity Biennale hosted by the Seoul Museum of Art; Art Center Nabi, formerly the SK Walkerhill Art Museum; and Ilju Art House, which was located in the Heungkuk Life Insurance building in Seoul’s Gwanghwamun area. The Seoul Mediacity Biennale highlights the contemporaneity and experimental spirit of art amid a changing media landscape. This year saw the 12th edition of the event, initially called Media City Seoul. At the time of its inception, a controversy arose regarding the government’s policy objective of promoting Korea’s rapid progress in the ICT and technology sectors. However, with a newly defined focus on media art, the event has helped to raise public awareness of the importance of media art as a contemporary art genre. The SK Walkerhill Art Museum focused on traditional art genres, but since its rebirth as Art Center Nabi, it provides fertile ground for the diversity of media art to flourish. With a critical eye on the latest technologies, it sponsors creators in the field. In the early 21st century, when media art was still a somewhat unfamiliar genre, the venue played an important role as a space where pioneers pursuing innovative ideas could network, inspire one another, and engage in diverse artistic explorations. Early on, it supported the establishment of the media art community INP (Interactivity & Practice), which included many of today’s established artists. Likewise, Ilju Art House offered resources and networking opportunities for media artists at a time when the art form lacked a firm footing and recognition. It consisted of a media gallery that displayed interpretations of digital culture; an archive of video materials and publications on media art; and a studio that furnished media equipment, which most people could not afford to own, as well as related educational programs. Until its closure in 2006, it focused on exploring the potential of media art in the public sphere and providing practical support to creators. It also launched the “Media Raiders” program to discover promising artists and help them establish their careers.   Support Initiatives Drawing Suit 02. Inkang Lee. 2022. Remote multi-connected drawing suit with wearable exoskeleton technology. An interactive drawing was performed with a 3-channel video lasting 15 minutes. After sustaining an injury as an amateur boxer, Inkang Lee began to experiment with wearable technology that could perform body movements. The photo is from the Unfold X 2022 festival, which highlighted innovative artistic creations incorporating cutting-edge technology. The interactive performance involves the artist and participants producing a drawing using digitized motion data. © Seoul Foundation for Arts and Culture In 2015, the Asia Culture Center (ACC) opened in Gwangju, South Jeolla Province, with the goal of promoting cultural exchange and collaboration with other Asian countries. Its Arts & Creative Technology Center (ACT) is responsible for the research, production, exhibition, and distribution of arts and cultural content that creatively expresses and combines cutting-edge technology, cultural diversity, and Asian traditions. It serves as a platform for artists, designers, engineers, and researchers to stretch their imaginations. In 2010, the Da Vinci Idea Contest was launched at Seoul Art Space Geumcheon, which is operated by the Seoul Foundation for Arts and Culture (SFAC). What sets it apart from other publicly funded competitions is its focus on technology-based creative ideas with commercial potential. Starting in 2014, it expanded its scope to include a media art festival featuring lectures, workshops, and guest appearances by foreign artists. It has since been renamed Unfold X and is hosted directly by the SFAC as an art and technology festival. The Nam June Paik Art Center; Hyundai Motor Company’s ZER01NE DAY, a platform for creative talents; and the Paradise Cultural Foundation’s Paradise Art Lab also play a key role in enriching the domestic media art scene. The rapid growth of the media art market has raised concerns that it may be a passing fad or result in the mass production of kitschy creations. But it is important to explore the significance and potential, as well as the risks, of contemporary technologies and their profound impact on our daily lives. Media art is a meaningful art form that visualizes this exploration process and its outcome. It has been and continues to be at the forefront of the art scene, especially in a country as technologically advanced as Korea.

Young Shop Owners Revitalize Market

Features 2023 AUTUMN

Young Shop Owners Revitalize Market More and more young people open their own stores or take over their family’s businesses in traditional markets. This new generation of shop owners is elevating the markets’ competitiveness by using online platforms and offering both time-honored and new goods that combine high quality and attractive design. The 1913 Songjeong Station Market in the southwestern city of Gwangju, boasts a 110-year history. It underwent a major facelift in the mid-2010s. The renovation, a joint project of the local government, Hyundai Card, and Philobiblon Associates, has succeeded in attracting young merchants. © Hyundai Card, Philobiblon Associates The Dongbu Traditional Market in Seosan, South Chungcheong Province, is home to a family store whose history spans nearly 70 years. Specializing in dried products such as laver and gamtae, a green seaweed with a nutty flavor, the store has been passed down through three generations. The current owner left his hometown of Seosan following high school. After working in an array of jobs, he returned to continue the family enterprise. To gain a firm grasp of the business, he committed to learning about all the intricacies of production and distribution for more than a decade. There are about twenty such young vendors at this market—the heirs of a broad range of family businesses. Ranging from fried chicken restaurants to seafood stores and butcher shops, they have helped the market enjoy a resurgence. At the Jeil Market in the city of Uijeongbu in Gyeonggi Province, a store specializing in ready-made banchan, or side dishes, has been passed down over three generations. The present owner joined the business to assist his mother. Today, he continues to prepare various side dishes by hand, including kimchi, in the same way his mother and grandmother used to do over the nearly seven decades of the store’s existence. In the past, children of shop owners in traditional markets were reluctant to carry on their family’s business. But now, a major shift is underway. Equipped with creative talent, business instincts, and technological skills, the young generation of today is recognizing the markets’ potential as platforms to realize their ambitions and goals. They do not simply regard them as a means of livelihood but as an opportunity to create brands that reflect their identities and values. By reconciling old traditions with the modern world, the new crop of young shop owners is helping traditional markets finally shake off outdated perceptions about them. They are no longer regarded as places catering solely to an older demographic where young and affluent consumers are rarely seen navigating the aisles. The new generation has introduced more diversified products and services that both reflect and reshape the character of traditional markets. PROMOTING CHANGE The Youth Mall on the second floor of Nambu Market in Jeonju features atypical businesses for a traditional market, including a bookstore, souvenir shop, and craft workshop. Established in 2012 through public and private cooperation, the mall is a nationwide model for the revitalization of traditional markets. © Twinkia The increasing number of young people embracing the opportunity to preserve their family legacy melds with proactive government efforts to breathe new life into traditional markets. The Jeonju Nambu Market, one of the most important traditional markets in North Jeolla Province, boasts a space especially designed to bring together young vendors under one roof. It is called the “Youth Mall” and represented the first of its kind when the government launched the initiative in 2012 to boost the struggling market. Today, the modest-sized mall offers a diverse range of businesses, from restaurants, bars, and cafés to bookstores and souvenir shops. The motto “Earn Modestly, Live Abundantly,” displayed at the Youth Mall’s entrance, encapsulates the mindset of these young vendors. They prioritize creating a vibrant space filled with captivating stories over being fixated on maximizing profits. The atmosphere at the market has undergone a drastic change since their arrival, leading other vendors to adopt a more customer-centered approach by offering new services such as delivery and shipping. Moreover, the arrival of young shop owners has fostered a mutually beneficial relationship among all vendors who have agreed to buy and sell raw materials together at a lower cost. Many young vendors who have found success at Nambu Market’s Youth Mall have expanded their businesses by opening stores in other locations. Some of them have even embraced the role of mentors by offering guidance to new entrepreneurs at the Youth Mall. By sharing their experience and know-how with them, these vendors actively contribute to the greater prosperity of the entire market. MODERN MODE Driven by a clear vision, younger generations perceive traditional markets as blue oceans of untapped opportunity, as their business strategies suggest. Thanks to being tech-savvy, they have no trouble using the internet and social media to reach far beyond their local community and connect with customers all over the country. Moreover, since they are not firmly attached to old ways, they are also more open to exploring new business ventures that may not have been conventionally associated with traditional markets. Ever since its opening in 1912, the Central Market in Sangju, North Gyeongsang Province, has played a pivotal role in the local economy. A few years ago, as the city’s aging population and residents’ migration to other places became an existential threat to the market’s future, ten young vendors decided to move in. They set up businesses not ordinarily associated with a traditional market, with their eclectic mix including a flower shop, a vegan dessert café, and a photo studio. Not only have they chosen unusual ventures, but the same could be said of their business models. The owner of the clothing store Lounge Ju, for example, conducts livestreams to showcase the store’s own merchandise as well as products from other brands. In today’s business environment, where promotional tools like social media, live commerce, and YouTube abound, this group of young vendors strives to captivate consumers through a mixture of content, such as vlogs, which allow them to share glimpses into their daily lives. This kind of innovative marketing approach not only helps them grow their own businesses but also works as a driver of change within the market. ATTRACTIVE OPTION Daehyeon Sanghoe at Mangmi Central Market in Busan is a store specializing in dried goods, including different types of flour. Thanks to her entrepreneurial spirit, the young owner established her own brand by selling high-quality, elegantly designed products online. Courtesy of The Korea Federation of Small and Medium Business Even young people who do not have family ties to traditional markets see them as a compelling option. Those in need may qualify for government and local assistance such as reduced rent costs, start-up funding, and consultancy services, all of which have proven to be very effective. That makes it much easier for them to realize their dream of starting their own business than if they had to wrestle with the high cost and logistics of commercial real estate. Vendors in the Youth Mall at Sabuk Market in Jeongseon, Gangwon Province, sell products inspired by the region’s history as a coal-mining center. A coal briquette-shaped keychain is a bestseller at Dahee Market, a souvenir shop in the Youth Mall. © Dahee Market The Youth Mall at the Central Market in the city of Samcheok is a popular east coast destination thanks to its quaint workshops, hip cafés, and trendy restaurants. This photo shows a gift set sold at a store called Chou Chou Macaron. © Chou Chou Macaron Many in the growing league of young owners use online shopping platforms and web portals to expand their customer base beyond their local area. They also organize events that benefit the greater community. While not all of them succeed, young vendors perceive traditional markets as fertile ground for opportunities and continuously seek new ways to overcome obstacles through trial and error. Many challenges remain to keep traditional markets thriving, such as expanding operating hours and upgrading infrastructure, including parking capacity. However, the influx of young people seeking to forge their own paths will contribute to the revitalization of local economies and the sustainable growth of traditional markets. Thanks to the innovative ideas brought forth by this new cohort of young vendors, there is every reason to be optimistic about the future of traditional markets in South Korea.
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