Kwak Yung-bin
He is an art critic and visiting professor at Yonsei University’s Graduate School of Communication, and holds a PhD from the University of Iowa, USA, with a “The origin of Korean Trauerspiel”. In 2015, he was awarded the inaugural SeMA-Hana Art Criticism Award, the first national art criticism award established by the Seoul Museum of Art (SeMA). His recent publications include “The Blind Past and the Eternal Return of Global Civil War: Difference and Repetition in Omer Fasth and Lim Heung-soon,” Waves and Garage Sales (co-authored, Moonji Publishing, 2023), “Infrastructure Humanism: Caring for Nature, Technology, and the World After the Pandemic” (co-author, MMCA, 2022), “Art Museums and VR between Windows and Screens, Films and Architecture”, Hallyu-Technology-Culture (co-authored, KOFICE, 2022), ‘Replicants, Holograms, and the (Voice) of AI’ (co-author, KOFICE, 2022), and ‘A Deep Reading of Blade Runner’ (co-author, Psyche’s Forest, 2021).
Kim Won-young
She worked as a lawyer at the National Human Rights Commission of Korea and Law Firm Deoksu. Since 2013, she has been involved in performing arts research and creation, and since 2019, she has been directly participating in performances as a choreographer, playwright, and dancer. She has published books and papers dealing with disability and the relationship between human rights, art, and technology. She wrote books including Defense for the Disqualified (2018) and Becoming a Cyborg (2021), and performed in productions such as “Anti-Discrimination Law in Love and Friendship,” “Recognition Struggle: Artist Edition,” and “Becoming-a-Dancer.”
Yoon Hei-jeong
Yoon Hei-jeong has been at the forefront of culture and art since the 1990s, writing about the work, philosophy, and lives of contemporary artists. She began her editorial career as a founding member of the film magazine Film 2.0, then worked as a feature director for Harper’s Bazaar and Vogue, and in 2009 founded Bazaar Art, a publication that explores the coexistence of fashion and art. She is the author of Life, Art (2022), a book about contemporary art as experienced in everyday life, My Private Artists (2020), a collection of interviews with 19 artists in various fields, and co-author of Kim Jung-up Seosan Gynecologist: A Flower that Bloomed Through Modernity (2019). She has written for Vogue, Harper’s Bazaar, and Bazaar Art, and has lectured at various venues. She currently works as a writer and KUKJE GALLERY director.
Sim So-mi
Sim So-mi is an independent curator based in Seoul and Paris, interested in exploring the relationship between urban space and artistic practice through exhibitions, public projects, and research, and reproducing it in curatorial discourse. She received the Young Artist Award from the Ministry of Culture, Sports, and Tourism in 2021, the Hyundai Blue Prize Design 2021, and the Lee Dong Seok Award for Exhibition Planning 2018. She is a member of the editorial board of the cultural research journal Culture/Science and is active in the collective ‘Retracing Bureau.’ Her books include Curating Pandemic and Drifting to the Periphery: Transforming Publicness in the Post-Pandemic City.
Lim Dae-geun
Im Dae-geun graduated from the Department of Western Painting and the Graduate School of Art Theory at Seoul National University and completed the Ph.D. coursework in Art History at the University of Melbourne. Since 1997, he has been primarily responsible for exhibition planning at the National Museum of Modern and Contemporary Art (MMCA), organizing notable exhibitions such as «Multiple/Dialogues∞» (2009), «Untitled» (2015), «Cracks» (2018), «Park Iso: Records and Recollections» (2018), «MMCA Hyundai Motor Series 2019: Park Chan-kyong – Gathering» (2019), and «Masquerade» (2022). He currently oversees exhibition operations at MMCA Gwacheon.
Chung Dah-young
Chung Dah-young is a curator at the National Museum of Modern and Contemporary Art, specializing in architecture and design exhibitions and writing. She has curated significant exhibitions, including Diary of Drawings: Chong Ki-yong Architecture Archive (2013), Itami Jun: Sculpting the Wind (2014), Experiments of Architopia (2015), Paper and Concrete: Korean Modern Architecture Movements 1987–1997 (2017), Kim Chung-up: Dialogue (2018), The Olympic Effect: Korean Architecture and Design of the 80s and 90s (2020), and Young Architects 2023: Annotations for a Museum (2023). She has also contributed as a co-author and planner to books such as Pavilions: Filling Cities with Emotions (Hongsi, 2015) and Architecture, Exhibition, Curating (Mati, 2019). She served as a co-curator for the Korean Pavilion at the Venice Architecture Biennale (2018) and was an adjunct professor in the Department of Industrial Design at Konkuk University (2019–2021).
Choi Sung-min
Choi Sulki and Choi Sung-min are graphic designers working around Seoul, South Korea. They met at Yale University where they both earned their MFA degrees. After working as researchers at the Jan van Eyck Academie in Maastricht, they returned to Korea in 2005 to start their own practice. Since then, they have created graphic identities, promotional materials, publications and websites for many cultural institutions and individuals. From 2010 until 2013, they worked as graphic designers of the BMW Guggenheim Lab, an ambitious project jointly initiated by the Guggenheim Foundation and BMW, for which they designed an interactive identity system driven by online public participation.
