Seoul cultural spending hits $157 per person as live arts overtake cinema
In 2024, the average Seoulite spent 214,000 won ($157) on arts and cultural experiences. Last year's figure is up 27 percent from 2022, when pandemic-related restrictions still lingered. People also went out more often, attending an average of 7.2 events over the year, up from 4.6 two years earlier.
The foundation surveyed over 10,000 residents aged 15 and older for its latest biennial report, which tracks how citizens interact with the arts. The 2024 figures show that 76.1 percent of people attended a cultural event in person, a full recovery to pre-COVID levels and slightly higher than 2018's 75.6 percent.
One of the biggest shifts is in what people are choosing to see. For the second time in the survey's history, attendance at live performances and exhibitions has surpassed moviegoing. In 2024, 65.2 percent of respondents said they visited a theater or gallery, while 47.9 percent went to the movies. That's a notable jump from 2022, when those numbers were 56.2 percent and 48.4 percent, respectively.
Digital consumption of culture is also on the rise. More than 8 in 10 people said they had accessed cultural content online in the past year, including films, dramas, animation, music, webtoons and novels. Most users (69 percent) reported doing both online and offline cultural activities. Just 7 percent said they stuck to in-person events only.
Interest in AI-generated content is emerging, though opinions remain mixed. About 46 percent of respondents said they would attend an AI-produced performance or exhibition, while 36 percent said they'd pay for one. Roughly a third were undecided, and around 23 percent ruled out participating entirely.
The survey also highlights persistent gaps in access. Among respondents with physical, hearing, or visual disabilities, 64.5 percent said they had not attended any cultural event in the past year. That contrasts sharply with the 23.9 percent of the general population who reported the same. Only 0.7 percent of people with disabilities said they went to cultural events once a month or more, compared to 13.3 percent of nondisabled respondents.
When asked what matters most in making cultural spaces accessible, 45 percent of respondents with disabilities pointed to the ability to move freely through a venue without obstacles.
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Korea Herald
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- Korea Herald
Why record numbers flocked to MMCA Seoul for Ron Mueck
Korean audiences moved by exhibition's hyperrealist sculptures When a 29-year-old Seoulite, surnamed Jung, arrived at the National Museum of Modern and Contemporary Art, Seoul at 2 p.m. for a last chance to see the exhibition on Ron Mueck on Sunday, she was surprised to see the crowd waiting to enter the gallery. 'It was quite impressive to see the hyperrealistic details of each figure, such as the wrinkles on their faces. The documentary about the artist's process of creating handcrafted works was even more striking, especially in this age when digital technology makes hyperrealism easier,' she said. 'Ron Mueck' drew more than 530,000 visitors during its three-month run, marking a decade-high attendance of 5,671 people per day. The exhibition ran from April 11 to Sunday, showing Mueck's iconic hyperrealist sculptures such as 'Man in a Boat,' 'In Bed' and 'Mask II,' among others. The popularity of Mueck's works in South Korea is attributed to two elements: hyperrealism and the medium of sculpture. Rarely seen in contemporary art exhibitions here, the combination offers a fresh experience to audiences. These qualities were further amplified by social media: A popular Instagrammable installation of 'Mass,' which comprises 100 giant human skulls, went viral. Created in 2018, the title of the installation can refer either to a heap of something, a crowd of people or a religious ceremony. 'I first came across the exhibition on Instagram, and I found it compelling. I did not know much about the artist before I went to the show last month,' said Kim Sung-hyun, 27, from Seoul. 'I go to exhibitions from time to time, and sculpture exhibitions are sort of rare in Seoul, so I enjoyed it a lot, although it was extremely crowded. It made it hard to focus on the show.' Another Seoul resident surnamed Yoon saw the exhibition twice, in both April and May. 'I find contemporary art a bit difficult, but I found myself more connected to Ron Mueck's works than other conceptual art, as it is expressed realistically,' she said. The exhibition was the artist's first major show in the country. Mueck is known to have created sculptural works by sticking to the time-intensive, traditional sculptural process of clay molding and casting in silicon, according to the museum. 'Ron Mueck's works immediately evoke emotional responses and empathy from viewers, as they depict familiar forms and universal aspects of the human experience. Audiences seem to be drawn to their overwhelming scale and astonishing realism," said Hong Iji, a curator at MMCA Seoul. "Interestingly, the absence of wall text in the exhibition space is thought to have allowed for full immersion for the audiences," she added. Park Young-sin, a Korean-language instructor in her late 30s, said she was curious how hyperrealism could be interpreted in visual art, in comparison to hyperrealism and realism in literature. 'I also really appreciated one particular piece that seemed to depict a couple on a date. I felt the emotional tension and pressure the woman was experiencing. The narrative I found in the sculpture was subtle, yet powerful,' she said.
Korea Herald
14-07-2025
- Korea Herald
Ron Mueck's hyperrealistic works draw record numbers to MMCA
Exhibition appeals to Korean audiences with heart-touching hyperrealist sculptures When a 29-year-old Seoulite, surnamed Jung, arrived at the National Museum of Modern and Contemporary Art, Seoul at 2 p.m. for a last chance to see the exhibition on Ron Mueck on Sunday, she was surprised to see the crowd waiting to enter the gallery. 'It was quite impressive to see the hyperrealistic details of each figure such as the wrinkles on their face. The documentary about the artist's process to create handcrafted works at the museum was even more striking ― especially in this age when digital technologies make hyperrealism easier,' she said. 'Ron Mueck' drew more than 530,000 visitors during its three-month run, marking a decade-high number of daily visitors at 5,671 people per day. The exhibition ran from April 11 to Sunday, showing Mueck's conic hyperrealist sculptures such as 'Man in a Boat,' 'In Bed' and 'Mask II,' among others. The popularity of Mueck's works in South Korea is partly attributed to the combination of two elements: hyperrealist quality and the medium of sculpture, which have rarely been seen in exhibitions here, offering a fresh experience to audiences. Such qualities of the exhibition were further amplified by social media. A popular 'Instagrammable' installation of 'Mass,' which comprises 100 giant human skulls, went viral. Created in 2018, the title of the installation can refer either to a heap of something, a crowd of people or a religious ceremony. 'I first came across the exhibition on Instagram and I found it compelling. I did not know much about the artist before I went to the show last month,' said Kim Sung-hyun, 27, from Seoul. 'I go to exhibitions from time to time, and sculpture exhibitions are sort of rare in Seoul, so I enjoyed it a lot ― although it was extremely crowded. It made it hard to focus on the show.' Another Seoul resident surnamed Yoon saw the exhibition twice, in both April and May. 'I find contemporary art a bit difficult, but I found myself more connected to Ron Muech's works than other conceptual art, as it is expressed realistically,' she said. The exhibition was the artist's first major show in the country. Mueck is known to have created sculptural works by sticking to the time-intensive, traditional sculptural process of clay molding and casting in silicon, according to the museum. 'Ron Mueck's works immediately evoke emotional responses and empathy from viewers, as they depict familiar forms and universal aspects of the human experience. Interestingly, the absence of wall text in the exhibition space allowed for full immersion,' said Hong Iji, a curator at MMCA Seoul. Park Young-sin, a Korean-language instructor in her late 30s, said she was curious how hyperrealism could be interpreted in visual art, in comparison to hyperrealism and realism in literature. 'I also really appreciated one particular piece that seemed to depict a couple on a date. I felt the emotional tension and pressure the woman was experiencing. The narrative I found in the sculpture was subtle, yet powerful,' she said.
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Korea Herald
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- Korea Herald
[Graphic News] Seoulites' cultural participation rebounds
A survey of 10,024 Seoul citizens aged 15 and older shows a steady rise in cultural spending and participation in theaters, galleries and concerts since 2022, according to data released by the Seoul Foundation for Arts and Culture. Average annual cultural spending increased from 168,000 won in 2022 to 214,000 won in 2024. Likewise, the average number of cultural event attendances rose from 4.6 to 7.2 times per person per year. Offline cultural participation rates reached 76.1 percent in 2024, surpassing pre-COVID levels from 2018, when the rate was 75.6 percent . The survey also expanded its focus on culturally vulnerable groups, such as individuals with disabilities, with the number of participants rising from 313 in 2022 to 755 in 2024.
