Damien Hirst Exhibition Draws Record Crowds but Faces Fierce Criticism for MMCA

The National Museum of Modern and Contemporary Art (MMCA) in Seoul is facing significant backlash despite its Damien Hirst exhibition, "The End of Innocence," drawing a record 540,000 visitors over 96 days. The exhibition surpassed the previous record held by Ron Mueck's show, with thousands attending even on its final day.

Visitors were captivated by Hirst's shocking installations, such as a bull's head covered in flies and a preserved shark. Many described the works as uniquely and intensely presenting the reality of death in a tangible way. However, the exhibition's apparent success masks deep controversy within the art community.

The MMCA is reportedly being ridiculed for its decision to spend over 3 billion won (approximately $2.2 million) of taxpayer money on an exhibition primarily featuring Hirst's works from 20-30 years ago. A substantial 70% of this budget was reportedly used for transporting large installations like the shark carcass. This spending stands in stark contrast to the museum's stagnant acquisition budget, which has struggled to keep pace with rising art market prices over the past decade.

Critics question the justification for using substantial public funds to promote an artist whose international standing has significantly diminished. Hirst, once hailed as a revolutionary figure in the late 1990s and early 2000s, has seen his reputation decline due to repetitive themes, alleged fraudulent practices like mixing fake and real artifacts in his "Treasures from the Wreck of the Unbelievable" exhibition, and accusations of labor exploitation in his studio. Many in the Western art world now view him as a figure of art history rather than a contemporary innovator.

Art critics argue that public museums should focus on identifying and contextualizing new artistic meanings and re-establishing art history. Given Hirst's current standing, the MMCA's exhibition should have aimed to uncover new art historical significance in his past works. Instead, the exhibition offered little new discourse, with only minor additions like sketches from his studio floor. The museum's silence on protests from animal rights groups regarding Hirst's alleged animal cruelty further fuels the criticism. The decision to reassign the exhibition's curator mid-show has also been called baffling.

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Although I don't know much about art, it uniquely and intensely showed the reality of death in a tangible way.