“Future Present: Contemporary Korean Art” cover of book. ©SONGEUN Art and Cultural Foundation

Skira editore and SONGEUN announced the publication of Future Present: Contemporary Korean Art by Andy St. Louis, a survey of Korean artists from the Millennial Generation.

The 25 artists introduced in this book comprise a representative cross-section of the key figures at the forefront of a generational shift in Korean art. By examining their distinctive art practices in anthology format, Future Present: Contemporary Korean Art foregrounds the social, political, economic and technological contexts that have shaped the trajectory of Korean culture throughout these artists’ lifetimes. The featured artists are Hejum Bä, Jungki Beak, Haneyl Choi, Yun Choi, Heemin Chung, Soyoung Chung, Jongwan Jang, Hyunsun Jeon, Sojung Jun, Suki Seokyeong Kang, Ayoung Kim, Dew Kim, Heecheon Kim, Kyoungtae Kim, Seeun Kim, Sylbee Kim, Eunsae Lee, Eunsil Lee, Heejoon Lee, Kang Seung Lee, Woosung Lee, GaHee Park, Gwangsoo Park, Min Jung Song and Hyangro Yoon.

Contents of “Future Present: Contemporary Korean Art” ©SONGEUN Art and Cultural Foundation

Encompassing fields of painting, sculpture, installation, video and photography, this book spotlights the diversity of contemporary Korean art practices, focusing on artistic methodologies that range from abstract to figurative, speculative to allegorical, poignant to ironic.

In addition to the book’s 25 individual artist presentations, an introduction by Andy St. Louis overviews the recent surge of international interest in contemporary Korean visual culture and delineates the distinguishing characteristics of Millennial artists from Korea. Two newly commissioned essays by Korean curators Joowon Park and Hyo Gyoung Jeon offer critical insight into the cultural factors that have influenced the personal and creative development of this generation of artists.

Future Present: Contemporary Korean Art serves as an essential resource for international readers seeking to discover the brightest young talents from Korea’s rich and dynamic art scene. By introducing a new generation of Korean artists to a global audience, this book tap into the zeitgeist of this pivotal moment in Korean art history and builds upon the global interest in Korean visual culture that has steadily increased throughout past decade.

References