The article discusses a recent exhibition at the Seoul Museum of Art, titled "Séance: Technology of the Spirit," which explored the role of spiritual experience in the development of modern and contemporary art. The exhibition was part of the 13th Seoul Mediacity Biennale and featured works by artists who have turned to alternative forms of knowledge for inspiration.
The article highlights how the exhibition treated the supernatural as part of everyday life, reflecting a more fluid worldview within many Asian cultural frameworks where science, transcendence, and spirituality are not considered separate. The show examined how specters have been imagined culturally, psychologically, technologically, and artistically.
The author suggests that the exhibition signals a wider institutional interest in art that engages spiritual, mystical, or occult frameworks, as well as a renewed focus on rereading historical and contemporary art through more psychic and spiritually charged lenses. This shift should be understood as a meaningful response to the limitations of purely rational, techno-capitalist narratives.
The article also mentions other exhibitions and biennales that have explored similar themes, such as the Kunstmuseum Basel's "Ghosts: Visualizing the Supernatural" and the Jewish Museum's tribute to Wilfredo Lam. These exhibitions signal a broader cultural and institutional interest in rethinking the relationship between imagination, technology, and the physical world.
Overall, the article suggests that the exhibition at the Seoul Museum of Art is part of a larger trend in art history, where artists and institutions are exploring new ways of engaging with spirituality, technology, and the supernatural. This shift offers a meaningful response to the limitations of purely rational, techno-capitalist narratives and opens up legitimate domains of artistic inquiry as well as timely cultural and existential reflection.
Some key points from the article include:
* The exhibition "Séance: Technology of the Spirit" at the Seoul Museum of Art explored the role of spiritual experience in modern and contemporary art.
* The show treated the supernatural as part of everyday life, reflecting a more fluid worldview within many Asian cultural frameworks.
* The exhibition examined how specters have been imagined culturally, psychologically, technologically, and artistically.
* The show was part of the 13th Seoul Mediacity Biennale, which featured works by artists who have turned to alternative forms of knowledge for inspiration.
* The exhibition signals a wider institutional interest in art that engages spiritual, mystical, or occult frameworks.
* Other exhibitions and biennales are exploring similar themes, such as the Kunstmuseum Basel's "Ghosts: Visualizing the Supernatural" and the Jewish Museum's tribute to Wilfredo Lam.
The article suggests that this trend offers a meaningful response to the limitations of purely rational, techno-capitalist narratives and opens up legitimate domains of artistic inquiry as well as timely cultural and existential reflection.
The article highlights how the exhibition treated the supernatural as part of everyday life, reflecting a more fluid worldview within many Asian cultural frameworks where science, transcendence, and spirituality are not considered separate. The show examined how specters have been imagined culturally, psychologically, technologically, and artistically.
The author suggests that the exhibition signals a wider institutional interest in art that engages spiritual, mystical, or occult frameworks, as well as a renewed focus on rereading historical and contemporary art through more psychic and spiritually charged lenses. This shift should be understood as a meaningful response to the limitations of purely rational, techno-capitalist narratives.
The article also mentions other exhibitions and biennales that have explored similar themes, such as the Kunstmuseum Basel's "Ghosts: Visualizing the Supernatural" and the Jewish Museum's tribute to Wilfredo Lam. These exhibitions signal a broader cultural and institutional interest in rethinking the relationship between imagination, technology, and the physical world.
Overall, the article suggests that the exhibition at the Seoul Museum of Art is part of a larger trend in art history, where artists and institutions are exploring new ways of engaging with spirituality, technology, and the supernatural. This shift offers a meaningful response to the limitations of purely rational, techno-capitalist narratives and opens up legitimate domains of artistic inquiry as well as timely cultural and existential reflection.
Some key points from the article include:
* The exhibition "Séance: Technology of the Spirit" at the Seoul Museum of Art explored the role of spiritual experience in modern and contemporary art.
* The show treated the supernatural as part of everyday life, reflecting a more fluid worldview within many Asian cultural frameworks.
* The exhibition examined how specters have been imagined culturally, psychologically, technologically, and artistically.
* The show was part of the 13th Seoul Mediacity Biennale, which featured works by artists who have turned to alternative forms of knowledge for inspiration.
* The exhibition signals a wider institutional interest in art that engages spiritual, mystical, or occult frameworks.
* Other exhibitions and biennales are exploring similar themes, such as the Kunstmuseum Basel's "Ghosts: Visualizing the Supernatural" and the Jewish Museum's tribute to Wilfredo Lam.
The article suggests that this trend offers a meaningful response to the limitations of purely rational, techno-capitalist narratives and opens up legitimate domains of artistic inquiry as well as timely cultural and existential reflection.