![[Herald Gallery] Cloud's Tail](/_next/image?url=https%3A%2F%2Fwimg.heraldcorp.com%2Fnews%2Fcms%2F2025%2F02%2F10%2Fnews-p.v1.20250209.8f11464a3e2d4208afe947bec1eb4f1f_T1.jpg&w=3840&q=100)
[Herald Gallery] Cloud's Tail
The solo exhibition 'I Saw a Hummingbird' by artist SoJin Kwon (born 1991) is being held at Artside Gallery in Jongno-gu, Seoul, until Feb. 28.
Kwon explores the authenticity of existence through a world of absence, presenting around 16 paintings. Her works, which blur the boundaries between reality and imagination, offer viewers a new visual experience through delicate brushstrokes and an original approach to representation. She captures everyday moments with precision and expresses them in a dreamlike atmosphere.
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Korea Herald
30-05-2025
- Korea Herald
Novelist Kwon Yeo-sun, cellist Yang Sung-won, Lee Tae Seok Foundation receive Musan Cultural Awards
Continuing legacy of eponymous Buddhist monk-poet, second Musan Awards celebrate art, empathy, pubic service The Manhae Musan Foundation held its second Musan Cultural Awards ceremony Friday at the Grand Hyatt Seoul in Yongsan, central Seoul, presenting prizes to three winners: writer Kwon Yeo-sun, cellist Yang Sung-won and the Lee Tae Seok Foundation. The Musan Cultural Awards were established to honor the life and legacy of the late poet and Buddhist monk Cho Oh-hyun, known by his pen name Musan. Each prize carries a cash prize of 100 million won ($72,500). In the literature category, novelist Kwon was recognized for what the committee described as her "sensitive perception and unique rhythm that cut through social issues and illuminate the unspoken contours of life," as well as for her ability to confront pain with compassion. Speaking to reporters ahead of the ceremony, Kwon shared that she was recently rushed to an emergency room, went into shock and had to undergo surgery. "I still go to the hospital daily for follow-up treatment. Pain and sorrow have always been eternal themes in literature. But when I'm overwhelmed by my own suffering, I realize that my ability to empathize with others may not even amount to a fistful," said Kwon. "But I believe literature has the power to bridge that gap, even if only slightly. I hope my novels can expand the boundaries of what pain can touch. Sadly, I cannot write at the moment, and that breaks my heart. I want to return to writing as soon as possible." In the arts category, the foundation recognized cellist Yang for his contributions to cultural exchange and artistic inspiration through music. 'The values that Musan emphasized — respect for humanity, introspection expressed through silence and a return to traditional values — deeply resonate with the direction that arts should take," said Yang. 'Arts open hearts, connect emotions, and help us understand one another,' he added. The Lee Tae Seok Foundation, represented by Chair Goo Soo-hwan, received the award for its ongoing humanitarian efforts. Established in 2012, the nonprofit carries on the legacy of the late Catholic priest from which it takes its name, who devoted his life to medical and educational service in South Sudan. The foundation provides medical supplies and essentials to communities in need, including leprosy villages in Tonj, South Sudan and war-torn regions such as Ukraine. 'I have come to believe that the greatest form of social critique is love,' said Goo, who was formerly a documentary producer at KBS. 'When we think about how to change society for the better, it's not just about laws and systems — it's about people. The most powerful message we can send is a message of compassion.' The life and legacy of Lee were previously captured in the acclaimed 2010 documentary "Don't Cry for Me Sudan." A follow-up film, "Resurrection" (2020), screened at the Vatican last year. Goo added, 'Later this year, we hope to release the third film of the trilogy, offering guidance on the direction our society should take.'
Korea Herald
10-04-2025
- Korea Herald
Professor G-Dragon says, 'Question, explore, enjoy'
Musician envisions new future for art in age of AI at Innovative Korea 2025 "I like to think of myself as a medium that connects new technology with the public through art — creating content that makes innovation more approachable and fun. I'm grateful for the opportunity to be part of that journey." K-pop artist G-Dragon shared this vision on Wednesday during his first lecture as a visiting professor in the Korea Advanced Institute of Science and Technology's mechanical engineering department, speaking at the Innovative Korea 2025 event. The appearance marked his first lecture as professor Kwon Ji-yong since being appointed to the role at last year's Innovative Korea 2024, part of the university's push to pioneer what it calls "enter-tech" — a field that merges art and artificial intelligence. The yearlong wait appeared to pay off, with the K-pop artist offering remarks shaped by reflection and exploration. Taking part in a panel discussion about 'The Future of AI and Enter-tech," Kwon spoke candidly about stepping into teaching as being uncharted territory for the 36-year-old artist, who has spent most of his life creating music on- and off-stage. 'I've felt a sense of pressure and responsibility since last year. I wanted to be the first to experiment with new ideas — and share that journey with the public," Kwon said, opening up about his decision to step into an entirely new realm. Any initial hesitation, however, was quickly overtaken by curiosity — a force he described as the driving value of his life — ushering him into a new world of imagination. 'I believe science and art converge at a single point: in their pursuit of creating something new,' he said. 'Both strive to offer something meaningful to people, whether it's sparking joy or improving their lives in some way.' For Kwon, technology has become a key part of expanding his creative potential. Working with an AI program, he said, has allowed him to speed up the creative process without sacrificing quality. 'It almost felt like having multiple versions of myself brainstorming together,' he said. That same mindset extended to his live performances. 'When I design a stage, I'm always thinking about how technology can help me connect with everyone in the audience, since I can't physically be everywhere at once,' Kwon said. 'At my last concert, I tried to incorporate cutting-edge technology — staying true to the KAIST spirit — and create an experience where art and technology come together to spark new emotions.' Kwon, who appeared visibly shy at first — barely capable of lifting his head as he stepped onto the stage, still adjusting to the unfamiliar title — gradually grew more comfortable as he shared his thoughts on his greatest passion, art, and his growing curiosity for technology. Toward the end of the lecture, Kwon even expressed his hopes of getting closer to the students, saying, 'I'd love to have the chance to talk directly with the students,' before asking with a smile, 'Where's the classroom?' — drawing loud cheers from the packed audience. Kwon used the lecture as an opportunity to share his philosophy with young scientists. 'Life doesn't come with an instruction manual or a set direction. It's about figuring out how to turn the abstract ideas in your head into something real,' he said. 'For me, that's music, and I've spent my life doing just that. It's in those moments of creation that I feel most alive.' For Kwon, it's asking questions, not finding answers, that has guided him -- a mindset he described as his personal motto. 'It's more like exploring than studying — driven by curiosity or just for fun,' he said. 'I hope you all live life that way, too. And if you keep imagining — I can tell you this from experience — there comes a moment when that imagination turns into reality. Keep expanding your imagination.' On Wednesday, Kwon also unveiled a series of 'enter-tech' projects, including a collaboration with KAIST to beam sound into space for the first time. His song "Home Sweet Home," originally released in 2009 by his group Big Bang and re-released last November by the rapper-singer, was transmitted via an antenna aboard a next-generation satellite launched on Korea's Nuri rocket in May 2023. He also premiered an AI-generated music video for the song during the session.
Korea Herald
06-03-2025
- Korea Herald
Gwon Dong-hyun, Kwon Sea-jung trace tales of our oldest, beloved companion
Gwon Dong-hyun principally works with sculpture and Kwon Sea-jung with documentary filmmaking, but since forming a two-person collective in 2020, their modus operandi has been transdisciplinary in terms of thought experiment and production. Their works of art combine video, sculpture and installation, and some are often shown at film festivals. Their aesthetic interests lie in the entanglement of beauty and disfiguration, the transformation of bodies with regards to emotional layers, and historical speculation and speculative history. Most of Gwon and Kwon's projects are based on long-term research, whose starting point is in their everyday lives. "Seddy, How to Meet Dodo" (2021) began from the personal story of their dogs, Bamse and Dodo. After the death of Bamse, Dodo -- an old dog -- had a hard time, so the artists decided to bring in a pet care robot named Seddy to look after Dodo when no one was at home. They purchased a device that can be controlled via Wi-Fi, accessible through a mobile phone, and fitted it with a face cast of a family member with whom the dog felt familiar. The metamorphosis of the appbot into Seddy, an avatar-like being, contributes to a restructuring of the field of vision. Seddy's lens has a shorter focus distance than human eyes and sees the home environment from a low angle. In remarks accompanying the work, the artists wrote, 'It can reduce the focal distance to less than 3.5mm, which human eyes can manage. It's the opposite of a bird's-eye view. This is a bug's-eye view.' The super-wide-angle macro lens that enables the bug's-eye view, gives humans a dog's point of view. Gwon and Kwon scrutinize the dog-human relationship further by tracing it back to early 20th-century Joseon in "Love Death Dog" (2023). They encountered a dry plate photograph featuring a dog, taken by Japanese anthropologist Torii Ryuzo in 1914 -- 'A Jindo dog at the Navy camp in Haenam, South Jeolla Province," housed in the National Museum of Korea. A technique invented in the late 19th century, dry plate photography allows the camera to capture images in motion, with a shorter shutter speed than the wet collodion process that was more common back then. The photographer did not need to develop the plates immediately and could load them into cameras at any time after exposure, which was especially convenient for those doing fieldwork. Torii sought to document Korean folkloric customs and the local landscape, excavating archaeological remains, and measuring Korean people's bodies within the frame of eugenic anthropometry. The survey, conducted with the support of the Japanese Government-General of Korea, left a wide range of images, including photographs of Korean native dogs. Gwon and Kwon looked into how the dogs came to be part of the so-called scientific ethnography of colonialism. In the film "Love Death Dog," the artists, inspired by the archival images, superimpose the relationship between the human and the non-human onto that of the colonizer and the colonized, and at the same time lay historical research over speculation, namely, the forming of a conjecture premised on the autonomy of the non-human world. The first half of the film is like an allegorical clipping of historical photographic images, while the latter part is like an essay-film with today's images of dogs unfolding a speculative perspective in which the unknown narrator is neither human nor animal, neither ancestral nor contemporary. When Gwon and Kwon show this filmic work in the context of exhibitions, they push forward with their imaginative conjecturing by placing a series of sculptures throughout the gallery. "Woman with Dog, Dog with Woman" (2024) shows moments of a woman caring for and caressing her sick dog at home, in which a human and an animal become a single sculptural entity. "Spectator" (2022), a silicone forearm with artificial hair and nails interlocked with a metal C-stand and a humidifier, represents the ambivalent state of humanness and animality. In this way, the artists conjoin rigorous investigation and audacious imagination, and historical conjunctures and present-day states of affairs, all to problematize anthropocentrism. They are fluent in merging their mediums, transcending the confines of each one, to develop an artistic language to dig into the intricacies of asymmetrical power relations and hierarchical domination and objectification involved in human-centered vantage points. Before anything else, they let you learn how to self-reflexively think about your dog. Kim Seong-eun, managing director of the Buk-Seoul Museum of Art, is an anthropologist in art and technology. She was previously the director of the Nam June Paik Art Center. -- Ed. koreadherald@
