Opinion
- With Frieze Leaving COEX, Kiaf May Have an Opportunity to Build a Stronger Identity
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By Jason Yim
Aug 23, 2026
- Korean Traditional Arts: From Symbolic Success to a Sustainable Global Market
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By Jason Yim
Aug 20, 2026
- When the Art Fair Becomes the City
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By Maria Kim
Aug 9, 2026
- Beyond the Label of Asian Contemporary Art
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By Maria Kim
Jul 28, 2026
- Frieze Seoul’s Real Test Begins Now
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By Maria Kim
Jul 23, 2026
- The AI-Native Generation Is Building Before Asking Permission
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By Maria Kim
Jul 21, 2026
- When AI Learns to Sing in Someone Else’s Voice
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By Maria Kim
Jul 14, 2026
- When K-Pop Tickets Become a Luxury Good
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By Maria Kim
Jul 13, 2026
- Art Holds Us Up
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By Sayart
Jun 17, 2026
- BTS Deserved a Better Stage. So Did ARMY.
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By Jason Yim
Jun 17, 2026
- A World at War, A Silence in Song: Why We Need a New “We Are the World”
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By Jason Yim
Mar 28, 2026
- When Global Icons Stay Silent: Why Artists Like BTS Matter in Times of War
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By Jason Yim
Mar 24, 2026
- What Should Gwanghwamun Say — and in Whose Script?
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By Sayart
Mar 3, 2026
- Robots Are No Longer Workers. They Are Becoming Mirrors.
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By Jason Yim
Feb 3, 2026
- What K-Pop Demon Hunters’ Golden Globe Recognition Really Means
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By Jason Yim
Jan 14, 2026
- Farewell to Ahn Sung-ki, a Master Actor and a Moral Center of Korean Cinema
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By Jason Yim
Jan 5, 2026
- Frozen Politics, Frozen Art: Hoping for a Thaw in Korea’s Art Market Next Year
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By Sayart
Dec 23, 2025
- Why Lee Byung-hun Deserves to Win the Golden Globe
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By Kang In sig
Dec 9, 2025
- Why Korea’s Language Archives Deserve a Place in UNESCO’s Memory of the World
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By Maria Kim
Nov 25, 2025
- It’s Time for the Grammys to Let K-pop Win—Fairly
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By Jason Yim
Nov 14, 2025
