Abu Dhabi hosts first joint exhibition of Korean art with SeMA

Korea Herald

24-06-2025

'Layered Medium: We Are in Open Circuits' introduces modern and contemporary Korean art to UAE with narrative that resonates across cultures
ABU DHABI, United Arab Emirates — Seeing familiar artwork presented in a novel manner, in a different context and a different environment, might be what is needed to awaken one to new possibilities and stimulate new thinking.
'Layered Medium: We Are in Open Ciruits,' an exhibition of modern and contemporary Korean art running at Manarat Al Saadiyat in Abu Dhabi, UAE, through June 30, succeeds in doing just that.
The exhibition, co-organized by Seoul Museum of Art (SeMA) and Abu Dhabi Music and Arts Foundation and presented as part of Abu Dhabi Festival 2025, is a thoughtfully curated show of works by some of the best-known modern and contemporary Korean artists today, flown nearly 7,000 kilometers and assembled in a new way.
The exhibition's co-curators, SeMa curator Yeo Kyung-hwan and UK-based curator Maya El Khalil, have created a narrative that is both fresh and thought-provoking.
The Abu Dhabi exhibition is inspired by the SeMA exhibition 'At the End of the World Split Endlessly,' curated by Yeo, which revisited modern and contemporary Korean works in the city museum's collection last year.
For "Layered Medium," the co-curators added several works that were not in the Seoul exhibition with the aim of easing visitors into Korea's modern and contemporary art. The new arrangement of the works and the scenography by Formafantasma, a Milan- and Rotterdam-based design studio, enrich the exhibition experience for those newly introduced to the works and perhaps even more so for those already familiar with them.
The exhibition, whose title borrows from a statement by video art pioneer Paik Nam-june, opens with the artist's 'Self-Portrait Dharma Wheel' (1998) and an archive table showing how artistic innovations of the 1960s and 1970s occurred alongside Korea's economic and political developments, and how Korea's growing connection to a wider world shapes artistic practice today.
Also shown in this first section, 'Open(ing) Circuits,' is Paik's 'Moon is the Oldest TV' (1965-1976) that links looking at the moon, an ancient practice, to contemporary screen-watching.
Works by Kim Ku-lim, one of the first Korean artists to utilize electricity and light in challenging artistic conventions, are another important addition to the exhibition, giving a fuller account of the development of modern and contemporary art of Korea.
A piece notable for the absence of the body, 'Method of Drawing' by Lee Kun-young, marks the start of the next section, 'Body as Medium.' The body is used as the medium, the paintings display the movements, and the negative space created results in an unintended figurative image, the artist said of the series begun in 1976.
Lee Bul's 2006 work, 'Untitled (Crystal Figure),' gets a space of its own where 'feminine' materials such as crystals sparkle as they outline a female form, questioning how female bodies have been represented and understood.
The question of how contexts influence cultural translation is the subject of 'Society as Medium' section. 'Under the Sky of Happiness' (2013) by Hong Young-in draws many young women visitors, according to a docent, who discover several historical women figures for the first time. Depicting Korean women hailed for being the 'first woman' in their respective fields, the work brings to the fore the marginalized history of women through embroidery, a practice that is often associated with low-wage labor. Background knowledge of the work — it reimagines a 1974 film about Korean laborers stranded in Sakhalin after World War II, replacing the male protagonists with female pioneers — is not necessary to appreciate the modern history of women in Korea.
Three video works by Jun So-jung — 'Early Arrival of Future' (2015), 'Eclipse' (2020) and 'Green Screen' (2021) — explore the state of division of the Korean Peninsula.
'Early Arrival of Future' depicts two pianists, one a North Korean defector and the other a South Korean, as they collaborate in performing popular works from the two countries divided by the Demilitarized Zone. 'Eclipse,' meanwhile, juxtaposes the North Korean version of the ancient 12-string Korean instrument gayageum and the harp, an ancient Western instrument. The 21-string North Korean gayageum was created so that it may be used to perform Western music. The irony of the primordial forests of the Demilitarized Zone, the most heavily fortified border in the world, will not be lost on those watching "Green Screen.'
An installation that may not be easily understood by non-Korean audiences is Bahc Yi-so's 'The UN Tower' (1997). An addition to the Abu Dhabi exhibition, the installation reconstructs the pedestal of a nonexistent monument — an image familiar to the Korean audience who have seen it on matchboxes once ubiquitous in Korean homes. 'We included this work because it articulates the impossibility of true cultural translation,' El Khalil says in the curatorial statement.
While some works may be impossible to translate across different cultural contexts, on display in the last section "Space as Medium," Yang Hae-gue's 'Yes-I=Know-Screen' (2007), a set of 10 wood screens with wooden lattices that challenges boundaries between artworks, inside and outside, has resonated with the audiences here. Visitors often comment on the similarities between the lattice patterns and patterns found in Islamic art, said ADMAF Executive Director Michel Gemayel. The experience of attempting to extract similarities in the unfamiliar is a universal one.
The exhibition ends on a positive note for cross-cultural translation and comprehension. The last work in the exhibition, 'Dancing Ladders' (2022) by Kwon Byung-jun, has visitors linger in front of the slow-moving inverted robotic ladders. The feeling of being stuck in the arduous condition the work depicts and elicits in viewers is a sentiment easily shared by people everywhere living in today's hyperconnected, globalized world.