The purpose of consumed exhibitions [Critique]
Translated from Korean, summarized and contextualized by DistantNews.
TLDR
- The article critiques the National Museum of Modern and Contemporary Art (MMCA) in Seoul for prioritizing commercial appeal over artistic context in its exhibitions.
- It highlights the Damien Hirst exhibition as an example of a commercially successful but critically debated show, contrasting it with the museum's permanent collection of Korean modern art.
- The author argues that the museum's "Korean Modern Art Highlights" exhibition incorrectly categorizes experimental works alongside traditional paintings, driven by market trends rather than curatorial integrity.
The Hankyoreh, a South Korean daily known for its critical cultural commentary, questions the direction of the National Museum of Modern and Contemporary Art (MMCA) in Seoul. In a piece titled 'The Purpose of Consumed Exhibitions [Critique],' art historian Kang Hye-seung argues that the museum is increasingly prioritizing commercial success and blockbuster appeal over genuine artistic exploration and contextualization.
If Damien Hirst had drawn it? Then the story changes.
The article uses the highly publicized Damien Hirst exhibition as a prime example. While acknowledging its popularity and ability to draw crowds—a feat previously seen with the Ron Mueck exhibition—Kang suggests that such shows, driven by the 'brand power' of star artists, risk turning the museum into a mere 'consumption space.' This focus on marketability, the author implies, overshadows the museum's core mission of fostering a deeper understanding of art.
The exhibition of star artists' brands is great for drawing crowds.
This critique extends to the MMCA's permanent collection, specifically the "Korean Modern Art Highlights" exhibition. Kang points out the cramped space and the problematic curatorial choices, such as placing experimental works alongside traditional monochrome paintings ('Dansaekhwa'). The author contends that this grouping, exemplified by Ha Chong-hyun's spring-adorned panel 'Untitled 73-1' being displayed within an 'abstract' section alongside Park Seo-bo's 'Ecriture,' reflects a market-driven logic that categorizes works based on superficial similarities or commercial appeal rather than their historical or artistic significance. The Hankyoreh, through this piece, champions the role of art institutions in providing critical discourse and contextualization, urging museums to prioritize artistic merit over fleeting trends and commercial pressures.
The exhibition space is cramped to digest about 90 works. The flow of movement that only allows for viewing has already made the artists sigh.
From a South Korean perspective, this critique is particularly relevant as the nation's art market gains international prominence. The article implicitly calls for a more robust and independent curatorial voice within national institutions, one that can safeguard the integrity of Korean art history against the homogenizing forces of global art trends and market speculation. The Hankyoreh's piece serves as a reminder that museums should be spaces for critical engagement and education, not just venues for popular entertainment or commercial transactions.
Works outside of painting were called 'experimental.' For example, there was a small avant-garde group called the Korea Avant-Garde Association (AG) formed in 1969.
DistantNews Editorial
Originally published by Hankyoreh in Korean. Translated, summarized, and contextualized by our editorial team with added local perspective. Read our editorial standards.
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