SHINee's Minho returns as OCD-stricken scientist in rom-com play ‘Rendezvous'
The SHINee member and actor takes on the role of Tae-seop, a rocket scientist with obsessive-compulsive disorder stemming from childhood trauma. His meticulously structured life is disrupted when he forms an unexpected bond with Ji-hee (played by Kim Ha-ri), the daughter of his go-to Chinese restaurant's owner. As their interactions deepen, Tae-seop gradually confronts his long-standing fears of change and isolation.
'The moment I read the script, I was completely captivated,' Choi said during a press conference on Tuesday. 'I remember ordering food while reading, and when it arrived, I was still so immersed in the script that I barely noticed."
Written and directed by South Korean director Kim Jung-han, who goes by the name Yossef K. Junghan, the two-person play's minimalist yet dynamic staging features a long runway reminiscent of a fashion show catwalk, complete with two moving treadmills. With no off-stage exits, Choi and Kim remain in full view for the entire 100-minute run time, creating an intimate theatrical experience.
'The production is both experimental and demanding, which makes it all the more exciting,' Choi said. 'I'd be lying if I said I wasn't nervous ahead of opening night, but I can't wait for audiences to see it and hear their reactions.'
The play premiered at LG Arts Center in 2024. The latest run stars three different actor pairings: Choi and Kim; Park Sung-woong and Lee Soo-kyung; and Park Geon-hyung and Beom Do-ha.
The latest staging features three different pairs of actors portraying the central relationship: Choi Minho and Kim Ha-ri; Park Sung-woong and Lee Soo-kyung; and Park Gun-hyung and Beom Do-ha.
'The same script can take on entirely different meanings depending on how an actor interprets and delivers the lines,' said Kim, a director and collaborator who has worked with the renowned Living Theatre in New York since 2009.
'This play isn't just a love story. It explores the universal themes of family, the search for belonging and the ways we fill the voids in our lives. The core emotions and motivations remain relatable across all age groups.'
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Korea Herald
10 hours ago
- Korea Herald
Mourning in waterdrops: Kim Tschang-yeul's art chronicled at MMCA
Korean art master Kim Tschang-yeul is known for his paintings of waterdrops that appear as real as photographs — as if they might burst if touched — yet relatively little is known about his artistic journey. The retrospective "Kim Tschang-yeul" at the National Museum of Modern and Contemporary Art, Korea reveals the depth of the artist's fascination with waterdrops, following the artist's path from post-Korean War (1950-1953) to New York and France. Kim, born in South Pyeongan Province in today's North Korea, not only witnessed numerous deaths during the Korean War, but he also narrowly escaped death when a bullet passed right under his ear. The artist used to say 'surviving the war was a miracle,' according to Seol Won-ji, who curated the MMCA exhibition. The exhibition starts by showing the back of the painting 'Rite,' created in 1967. On the back of the canvas are the words 'Flesh and Spirit.' The painting, featuring rough brushstrokes and dark-toned colors reminiscent of tank tracks, is displayed in the space alongside other early works of the informel, or informalism, movement. 'For the artist, informel became a language for articulating his inner trauma. Certain works recall bullet holes tearing through flesh. Wounds and trauma from the war ultimately evolve into the motif of the waterdrops later on,' Seol said. For the first time, the museum collaborated with an overseas designer on spatial design; French designer Adrien Gardere, founder of Studio Adrien Gardere, worked with the MMCA curatorial team to visualize the storytelling. At the center of the space, surrounded by informel paintings, is a group of glass sculptures of waterdrops titled 'Ceremony." First created in 1993, it was recreated in 2025 for the exhibition, according to the museum. 'From the perspective of a designer, I felt it was important to persuade the curator that visitors should see images they are familiar with, while also conveying a storytelling element that anticipates how the artist's art might unfold,' Gardere said. Walking down the staircase to the basement, visitors follow Kim's journey to New York. He left for the city in 1965, following the recommendation of his mentor, artist Kim Whan-ki, and with the support of the Rockefeller Foundation. His works in New York take a different style from his earlier works, featuring geometric form. The change in his artistic style was perhaps inevitable; informel had lost its appeal in the city as new artistic movements such as pop art gained fame. 'The image of a geometric circle that emerged at this time becomes the symbolic key form in Kim Tschang-yeul's oeuvre,' Seol said. Exiting the room dedicated to the New York period, one encounters three paintings of a waterdrop in yellow, white and black hues. This space, set up like Kim's studio, sheds light on his time in France, where the artist started to develop the images of waterdrops into the iconic droplets for which he would become best known. 'The studio was a nearly 100-square-meter horse stable with a tiny heater that barely warmed the space. I crouched there like a monk, like a hermit, living no differently from someone in spiritual training. My state of mind was almost religious. 'That was where the 'waterdrop' was born. In that moment of deepest hardship — both financial and spiritual — the drop burst forth,' reads the artist's words displayed on a wall. In a dark room, waterdrops painted on linen or hanji, Korean mulberry paper, seem to flow or to be on the verge of flowing, offering viewers a moment of meditation. The exhibition continues on to the 'Recurrence' series, which was begun in the mid-1980s. This was when Kim began incorporating text into his paintings. He adapted "Cheonjamun," or the Thousand Character Primer, for his paintings by repeating the characters across the canvas with the waterdrops juxtaposed on the characters. The exhibition concludes with informel-like paintings on newspapers, created in his late years with yellow hues. These works are being shown to the public for the first time. Yellowish colors appear throughout his paintings, and the artist's color choices need to be further researched, the curator said. The show is the first retrospective to explore the late artist's work on a major scale, according to the museum. Kim died in 2021 at the age of 91, leaving the last words: "There are countless waterdrops I have yet to paint," according to the curator, quoting the bereaved family. The exhibition runs through Dec. 21.
Korea Herald
12 hours ago
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From Ancient Splendor to Future Tech: Liaoning Week Illuminates China Pavilion at Expo 2025 Osaka
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Renowned for its robust industrial foundation and sustained innovative capacity, it holds the distinguished title of "the eldest son of China's industrial sector". This "Liaoning Week" aims to present a three-dimensional portrait of a new Liaoning – open, inclusive, and brimming with opportunity. As one of the significant cradles of Chinese civilization, the Niuheliang Hongshan Culture possesses immense historical weight. Having weathered five millennia, it will take the Expo stage to narrate to the world the resilience of the Chinese nation and the enduring, fervent vitality of Chinese civilization. The Niuheliang Archaeological site has been confirmed by the Chinese Civilization Origins Project as crucial archaeological evidence of an ancient state-level civilization dating back 5,000 years. During the Week, experts from China's Archaeological Park initiative will conduct dedicated presentations. Shenyang Ligong University will employ naked-eye 3D holographic technology to create exhibitions without physical artifacts, enabling the public to transcend time and space and experience the awe-inspiring power of this ancient cultural spark. Cultural performances and intangible cultural heritage demonstrations promise equal splendor: the enchanting melodies of folk music, the exquisite skills of acrobatic performances, the richly distinctive "Radiance of Liaoning: Qipao Meets Expo" fashion show featuring traditional Chinese dresses, the captivating charm of Tieling Errenzhuan folk opera, the harmonious blend of strength and grace in Jinzhou Shaobei martial arts, the intricate artistry of Xiuyan paper-cutting, and the unique technique of paper knife-painting. These diverse art forms will bloom upon the stage, vividly interpreting the millennia-old heritage and dazzling multicultural tapestry nurtured by Liaoning's fertile land. Transitioning from "industrial eldest son" to "innovation frontier", Liaoning is transforming its profound heritage into surging momentum for innovation. Liaoning Week will spotlight the region's core strengths in high-end manufacturing and information technology: Shenyang Siasun's Doco collaborative robots will demonstrate their prowess in human-machine interaction through live calligraphy; models like Aero Engine Corporation of China's "Taihang 110" gas turbine, Neusoft Group's portable X-ray machine, and Shenyang Feixingchuan's one-pass double-sided digital printing technology will highlight Liaoning's scientific and technological innovation capabilities. The trilingual (Chinese, English, Japanese) Liaoning promotional film, "Liaoning: Poetic landscapes, Boundless vitality" will screen at the China Pavilion, inviting audiences to witness Liaoning's steady strides in high-quality development and its open embrace of the world. As a crucial hub in Northeast Asia, Liaoning consistently leads the way in global connectivity with an open and inclusive stance. During Liaoning Week, an Economic and Cultural Exchange event featuring a banquet will be held to build bridges for in-depth dialogue. This forum will focus on promoting Liaoning's superior business environment, formidable industrial base, and key open platforms such as the Shenfu Reform and Innovation Demonstration Zone and the China (Liaoning) Pilot Free Trade Zone Shenyang Area. Representatives from Japan's business community, Fortune 500 companies, and renowned enterprises worldwide are cordially invited to engage in deep exchanges with the Liaoning business delegation to explore collaborative opportunities. Furthermore, meticulously curated "Liaoning Premium Products" will make a dazzling appearance, showcasing nationally recognized "China Fine Gifts" selections from Liaoning and high-quality seafood products from Liaoning Fishery Group Co., Ltd., propelling Liaoning brands onto the global stage. The Week will also exhibit eco-friendly technologies like biodegradable materials, intelligent sewage management systems, and green fertilizers. An innovative "Carbon Footprint Calculator" mini-program will be launched, inviting visitors to interactively experience and visually understand the environmental impact of personal travel choices, thereby raising public awareness of green transportation and fully demonstrating Liaoning's steadfast commitment to green development. Through the globally prominent platform of Expo Osaka, "Liaoning Week" will present a multi-dimensional image of a new Liaoning – seamlessly integrating a venerable history with surging innovative vitality – to the world, joining hands to unfold a new chapter of exchange and cooperation.
Korea Herald
12 hours ago
- Korea Herald
Kep1er to hold first K-pop concert in China in 9 years, fueling hopes of easing Hallyu ban
Industry eyes potential easing of Beijing's Hallyu ban ahead of Xi Jinping's expected visit to Korea in October Expectations are growing in Korea's music industry that China may ease its yearslong ban on Korean entertainment, with Kep1er set to hold the first K-pop gig in mainland China in nine years, next month. The girl group, managed jointly by CJ ENM's music subsidiary WakeOne and Klap Entertainment, will perform in Fuzhou, Fujian Province, on Sept. 13. The group plans to present around 15 songs at the Fujian Meeting Hall, a venue that can hold up to 1,500 people. Klap Entertainment told The Korea Herald, however, that the show will be limited to about 1,000 attendees. According to Korean media reports Wednesday, the performance was officially approved in July by Fujian authorities, with the schedule listed on the Ministry of Culture and Tourism of the People's Republic of China's website. The outlet also cited a government notice stating the event would draw large crowds and therefore require cooperation from public security authorities. Kep1er debuted in early 2022 through Mnet's audition program 'Girls Planet 999.' The seven-member act includes one Chinese and one Japanese member, and has previously performed in Japan, Macao and Taiwan, giving it recognition overseas. The concert is drawing particular attention as it takes place two months before Chinese President Xi Jinping is expected to visit Korea for the Asia-Pacific Economic Cooperation summit in late October — his first visit in 11 years. Industry interprets the timing as a sign that Beijing could begin to ease its restrictions on Hallyu, or the Korean Wave. China imposed an unofficial ban on Korean cultural content in 2016 in retaliation for Seoul's decision to deploy the US-led THAAD missile defense system. Since then, K-pop groups have been barred from staging concerts in the country, though fan meetings and pop-up stores have occasionally been allowed. Blackpink recently launched a large-scale pop-up tour in China, starting in Shanghai on Aug. 2 and extending to major cities including Shenzhen, Wuhan and Chengdu on Aug. 3 and Beijing on Aug. 5. Fans gathered at the shopping mall events, but no concerts were permitted. Industry watchers caution against assuming the ban has been fully lifted. In May, boy group EPEX announced a concert in Fuzhou — the same city where Kep1er will perform — only to cancel three weeks before the date. Korean indie band Say Sue Me also canceled a planned Beijing concert last July under similar circumstances. 'People in the industry are hopeful, especially with talk of Xi's visit later this year, that the restrictions could finally be lifted,' an executive at a major K-pop agency said. 'But the Chinese market remains unpredictable. Even if doors open, political issues could cause them to close again at any time.'
