Arko, Getty forge partnership to exchange research programs
Arts Council Korea, a national institution dedicated to promoting arts and culture, and Getty Research Institute, a US-based center for historical art research, conservation and scholarship, announced partnership on Thursday to collaborate on art history research, exchanging research projects and scholars.
The announcement was made ahead of the 100th anniversary of the birth of Korean-born video artist Paik Nam-june in 2032, according to Arko. Starting from fall 2025, a delegation of Arko staff members will visit Getty to learn about their archival holdings, research projects and history of international exchange.
Getty staff will pay a reciprocal visit to Arko and the Nam June Paik Art Center in Yongin, Gyeonggi Province, to discuss their next steps, according to Getty Research Institute.
'The Arts Council Korea will put forward full efforts to function as a foothold for Korean art to be heralded globally with diverse international partnerships,' said Choung Byoung-gug, chairperson of Arko, Thursday.
Arko will fund a pilot program in 2026 for Korean guest researchers to embark on a summer residency at Getty to explore the topic of Paik with a focus on his connections with a wider international circle of artists and his legacy in contemporary art.
'Fluxus was an absolutely seminal moment in Paik's career. We have one of the largest collections in the world of Fluxus art, and it came through the first collector of Fluxus art, named Jean Brown. We also have the archive of David Tutor, who was a frequent collaborator with avant-garde, and he was John Cage's closest collaborator,' Andrew Perchuk, deputy director of the Getty Research Institute, told The Korea Herald.
Arko is a public institute under the Ministry of Culture, Sports and Tourism. It operates arts platforms including the Arko Art Center and participates in the Korean Pavilion for the Venice Biennale. Getty Research Institute in Los Angeles is a leading international center with special collections and an array of programs. It forged its first official collaboration with a Korean institution, the National Research Institute of Cultural Heritage, in 2024.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
9 hours ago
- Korea Herald
Global entertainment and media industry revenues to hit US$3.5 trillion by 2029, driven by advertising, live events, and video games: PwC Global Entertainment & Media Outlook
LONDON, July 24, 2025 /PRNewswire/ -- The global entertainment & media (E&M) industry edged towards US$3 trillion in revenue in 2024 and is forecast to hit $3.5 trillion in 2029 as advertising spend surges across platforms, according to PwC's Global Entertainment & Media Outlook 2025-29, released today. The E&M industry is projected to grow at a compound annual growth rate (CAGR) of 3.7% until 2029 – a rate above the projected global economic growth average, but below pre-pandemic highs. Economic uncertainty and anaemic consumer spending growth, amid heightened domestic and international competition in the industry, is expected to weigh on E&M growth rates through the forecast period until 2029. Bart Spiegel, Global Entertainment and Media Leader, PwC US, said: "As the E&M industry continues to be impacted by broader economic uncertainty and constrained consumer spending, advertising is emerging as the leading powerhouse of the global entertainment and media industry's revenues – a transformation expected to continue as AI transforms delivery models, democratises content production, serves highly curated content experiences, and reduces barriers to entry. The E&M industry has always been at the forefront of technological innovation, but companies will need to remain nimble and proactive to embrace the future and satisfy consumers in an ecosystem that rewards creativity and tailored content." Advertising to serve as industry engine for revenue growth as AI transforms advertising models As growth for paid or subscription products slows amid heightened industry competition and constrained consumer spending – particularly in mature markets – advertising is forecast to represent a significant driver of revenue growth for the E&M industry at-large. Of the three major E&M categories analysed (connectivity, advertising, consumer), advertising is expected to grow fastest – three times as fast (6.1% CAGR) as the consumer category (2%). The fastest growing E&M revenue metrics over the next five years are all advertising driven – including retail advertising (15%), social and mobile on-stream video advertising (15%), and connected TV in-stream internet advertising (14%). Digital formats, which account for 72% of overall ad revenue in 2024, will rise to 80% in 2029, with new technologies including AI and hyper-personalisation expected to drive this even further. High growth areas include retail search advertising in e-shopping (rising from 32.7% in 2020 to 45.5% in 2029) and advertising in video games (rising from 32.8% in 2024 to 38.5% in 2029). AI is impacting the E&M industry in many ways. One of the areas in which it is likely to influence revenue growth is in connected TV (any television that connects to the internet to stream video content). In 2020, connected TV advertising revenue equated to just 5.9% of total traditional broadcast TV advertising. In 2024, this figure had jumped to 22%. But with the rise of digital engagement and the prospect of AI-assisted hyper-personalisation, which may lead to greater end-user uptake, connected TV ad revenues will rise to $51 billion in 2029 – equal to 45% of traditional broadcast TV advertising. For now, connectivity remains the largest category, with spending reaching $1.3 trillion in 2029, growing at CAGR of 2.8% and driven mainly by mobile internet service revenue. However, advertising's pronounced growth rates are set to see the gulf between connectivity and advertising spend rapidly narrow by 2029. Non-digital revenue – including live music, events and cinema box office – lead consumer spending Consumers may spend more of their free time online, but they continue to spend more of their entertainment budget offline. In 2024, non-digital formats accounted for 61% of consumer revenue – a level of spend expected to broadly continue through the forecast period. While global cinema box office spending is expected to rise from $33 billion in 2024 to $41.5 billion in 2029, consumers' preferences are continuing to shift toward locally produced films. Globally, the top five US studios' market share has dropped from over 60% before the pandemic to 51% in 2024. Video gaming remains an industry bright spot The global video gaming industry continues to be an engine of E&M growth, with the global video games market exceeding the movie and music industry combined. Total revenues were $224 billion in 2024, with the industry expected to grow to nearly $300 billion in 2029 at a CAGR of 5.7%. Developing markets continue to lead E&M industry growth rates Excluding connectivity revenues (e.g., mobile service subscriptions), the US comfortably leads as the world's largest E&M market by revenue. It is forecast to grow at a CAGR of 3.8% until 2029 – lagging below the global average of 4.2%. Looking elsewhere, E&M revenues in China – the second largest market – will rise at a CAGR of 6.1%, powered primarily by its internet advertising segment, with a CAGR or 8.9%. The fastest growing markets globally continue to be in developing markets, including India and Indonesia, all with CAGRs above 7.5%. In India, much of the growth will stem from internet advertising – which is growing at a CAGR of 15.9% – driven by expanding internet penetration, rising 5G connectivity, and the popularity of social media and short-form video content. Wilson Chow, Global Technology, Media and Telecommunications (TMT) Leader, PwC China, said: "Consumers have never had as numerous or diverse choices of entertainment services on offer, but this competition, paired with economic uncertainty and rising costs, is seeing consumer spend growth stagnate. If entertainment and media businesses are to capture new audiences and generate growth, they must be thinking about the connected ecosystems in which they operate, leveraging the power of advertising and AI, the combination of which is allowing for far more cost-effective and personalised content creation and engagement models." Notes to Editors About the PwC Global Entertainment and Media Outlook 2025-2029 The PwC Global Entertainment and Media Outlook is an annual report covering the industry. A total of 54 countries and territories, spread across North America, Western Europe, Central Europe, Middle East & Africa, Latin America and Asia Pacific, are represented within the Outlook. The 'Rest of MENA' grouping is treated as a territory and comprises Algeria, Bahrain, Jordan, Kuwait, Lebanon, Morocco, Oman and Qatar. This year, it expands its coverage with the inclusion of Mauritius and Oceania as a reported region. These 54 territories account for around 74% of the global population, and the sum of all territories generates the 'total' estimate. The forecasting process begins with the collection of accurate and comprehensive historical data from publicly available sources such as trade associations and government agencies, which are cited when used directly. To supplement this, proprietary insights are gathered through interviews with industry associations, regulators, and leading market players. This combination of public and private data ensures a robust foundation for building forecasts. About PwC
Korea Herald
12 hours ago
- Korea Herald
Liquid Sound strips traditional street performance to its core
Performance collective reimagines pungmul through contemporary movement In pungmul, a traditional Korean form of folk music and dance, the performer leading the troupe wears a hat called sangmo topped with a long paper streamer known as piji that can stretch nearly 180 centimeters. As the drumming builds and the rhythms swell, the streamer whirls in perfect arcs and waves, never tangling, serving as a kinetic emblem of pungmul's identity. But what happens when you take away that visible identity, wondered Lee In-bo, director of the performance collective Liquid Sound. What remains in the body? And how can it expand from there? To find an answer, Liquid Sound deconstructs elements of pungmul and rebuilds them through the language of contemporary dance in 'OffOn: Yeonhee Project 2,' presented Friday and Saturday at Seoul's Sejong Center for the Performing Arts as part of its summer festival, Sync Next. Yeonhee, also spelled yeonhui (literally "play" or "performance" in Korean), is a broad term for traditional performing arts such as pungmul, mask dance, shamanistic rituals, puppet theater, traditional circus and folk music, and dance often rooted in folk rituals and community celebrations. 'From the very beginning, we asked our performers, 'What if we took away your instruments, your costumes — everything you're most confident in. Could you still exist onstage, purely as movement?'' Lee said in an interview with The Korea Herald last week. He called their creative process the 'OffOn' approach: taking something 'off' from traditional performance and attaching it 'on' to something new, in search of what Lee calls the DNA of traditional performance. It is the group's second contemporary dance project following 'Long: Yeonhee Project 1,' which they showcased last year at the Aurillac International Street Theatre Festival in France. In this genre-crossing Yeonhee Project series, traditional pungmul artists and dancers deconstruct movements that once flowed instinctively, studying them bit by bit, without the familiar music, rhythms, costumes or instruments. 'It's challenging even for seasoned performers,' said choreographer Shim Ju-young. 'They have to search for the movement itself — down to the core of their bodies. But it's also fascinating: you realize that spinning the sangmo requires precise, rhythmic head movements executed in distinctly different ways.' The show draws on various elements of pungmul and folk performance. One segment focuses on seoljanggu, traditionally a solo janggu drum showcase, reinterpreting its rhythmic footwork through hand gestures. Another segment references piroji, a moment in folk performance when female dancers take the stage, but here, male dancers join them, layering the rhythm with new textures. Shim, who trained in both Korean and contemporary dance, said she was fascinated by the possibilities. 'Even just visually, there's so much to play with. Each traditional element holds endless creative potential once you break it apart.' Founded in 2015, Liquid Sound aims to explore traditional Korean arts with diverse genres, from melding avant-garde gugak with electronic music, to contemporary dance, installation art and Western classical traditions. The name Liquid Sound reflects the group's sensory ambition of merging tactile fluidity with the auditory experience of music. 'It's about how we meet the audience,' Lee said. 'Traditional performers used to approach audiences in very direct, interactive ways. We're asking how to do that now — whether by adopting new methods or, sometimes, returning to older, simpler ones.' Next year, the company plans to continue its experimental exploration of traditional performance with the third edition of the Yeonhee Project. The two envision a future performance in which yeonhee artists and dancers blend so seamlessly that they create an entirely new genre. 'Rather than a technical blending of traditional and modern elements, I hope for a day when the fusion is so natural that you can't tell them apart," Shim said. Liquid Sound will take its work to several major festivals later this year, including the Busan Street Art Festival in September, the Performing Arts Market in Seoul in October, and an outdoor performance in Myeongdong hosted by the National Theater Company of Korea.
Korea Herald
16 hours ago
- Korea Herald
Why 'My Daughter is a Zombie' could be summer's pleasant surprise
A feel-good zombie comedy juggles horror, heart and humor with dexterity Korean cinema showed up fashionably late to the zombie party. But when it finally arrived with 2016's "Train to Busan," it more than proved it could hold its own. Now we're dealing with an even quirkier subspecies: The so-called zom-com, a hybrid genre as awkwardly constructed as its shambling subjects. From cult favorites like "Shaun of the Dead" to "Warm Bodies" and "Zombieland," this mash-up of horror and comedy has staked out real cinematic territory — one that turns blood-soaked chaos into unexpected belly laughs. Korea's earliest foray into this space might be 2019's "Zombie for Sale," which spun the undead into a get-rich-quick scheme gone predictably sideways. Enter "My Daughter is a Zombie," based on the popular webtoon of the same name. It takes the zom-com formula one step further by throwing earnest family melodrama into an already volatile mix. The story centers on Jung-hwan (Jo Jung-seok), a zookeeper and devoted single father raising his teenage daughter Soo-ah (Choi Yu-ri) through the familiar turbulence of adolescence. She's got the classic puberty playbook on display — rolling her eyes at her dad, brushing off his well-meaning questions, and delivering dry comebacks with teenaged flair. Their occasional moments of connection come through a shared love of dance. Jung-hwan, once an aspiring performer, now bonds with his daughter by helping her rehearse K-pop routines for her school talent show — including, rather quaintly, BoA's 2002 hit 'Number One.' But the everyday bickering comes to a halt when the zombie apocalypse strikes. The two watch in disbelief as their neighbors begin devouring each other in the street — mistaking the carnage at first for passionate lovemaking. The reality hits when a zombified neighbor crashes through their apartment window, and emergency broadcasts confirm their worst fears. Jung-hwan grabs Soo-ah and makes a run for his mother's home in the countryside, but the escape takes a devastating turn when Soo-ah is bitten during their frantic getaway. Despite its sunny title and cartoonish promotional materials, "My Daughter is a Zombie" doesn't shy away from legitimate horror tropes. Soo-ah's transformation sequence is surprisingly intense — bulging veins, clouded pupils, basically the full undead makeover. After a chaotic slapstick scuffle in the car that ends with Jung-hwan knocking his daughter unconscious, he straps her in and speeds toward his hometown, dodging military helicopters and roadblocks along the way. Once they arrive at grandmother Bam-soon's (Lee Jung-eun) house, Jung-hwan tries to keep the truth under wraps. But when Bam-soon discovers her granddaughter's condition, she's more irritated than alarmed. Wielding a wooden back scratcher like a weapon and armed with a sharp tongue, she instantly asserts dominance. The zombified Soo-ah, cowed by her grandmother's presence, behaves like a scolded puppy. Still, the question lingers: What now? After agonizing over whether to put his daughter down, Jung-hwan starts noticing glimmers of humanity in her behavior. Most strikingly, Soo-ah responds to familiar K-pop songs — reflexively moving through bits of choreography. Encouraged by a dubious YouTube clip suggesting that memory triggers can reverse zombie symptoms, Jung-hwan launches a desperate, increasingly bonkers rehabilitation mission: Retraining his daughter like one of the animals at his zoo. He's soon joined by childhood friend Dong-bae (Yoon Kyung-ho), a well-meaning but somewhat hapless pharmacist who offers comic relief and steady support. Things grow more complicated when Jung-hwan crosses paths with his childhood crush Yeon-hwa (Cho Yeo-jeong), now a middle school teacher. Yeon-hwa, still traumatized by her own zombie-related past, is now a militant anti-undead crusader determined to stamp out any infected survivors. As suspicions grow and the authorities close in, Jung-hwan is forced to go to greater lengths to shield Soo-ah — while confronting long-buried family rifts along the way. At its core, "My Daughter is a Zombie" traffics primarily in anodyne feel-good vibes, following a predictable emotional arc that trades logic for crowd-pleasing sentiment. It isn't chasing profound insights into humanity — and to its credit, it doesn't pretend otherwise. Its shortcomings are fairly easy to spot: The film occasionally loses momentum in meandering slice-of-life interludes that feel more like a webcomic vignette than a feature film. And for a film billing itself as a comedy, the humor can be hit-or-miss — the slapstick is plentiful, but not always sharp. Still, it would be a mistake to dismiss the film outright. Some movies manage to transform their clunkiness into charm, and "My Daughter is a Zombie" comes close to hitting that sweet spot. The key lies in its bold tonal shifts — gripping suspense undercut by slapstick gags, gut-punch drama interrupted by biting one-liners — which sound ridiculous on paper but click in practice. In an early escape sequence, Jung-hwan and Soo-ah avoid detection by mimicking zombie movements through dance — a stunt so over-the-top it becomes unexpectedly delightful. Elsewhere, a tense debate over whether to mercy-kill Soo-ah is derailed by a cultural in-joke about MBTI personality types. These sharp left turns, rather than feeling disjointed, become part of the film's distinct comic rhythm. And when the film drops the comedy to lean into sincerity — especially in its audacious finale — it does so with just enough conviction to land the emotional payoff. Much of this tonal balancing act works because of the cast. Jo Jung-seok, a reliable box office draw ("Pilot" drew 4.7 million viewers; "Exit" pulled in 9.4 million), is in his element here. As the awkward but fiercely loving father, he moves fluidly between goofball gags and gut-punch emotion, grounding the film even in its wildest moments. Lee Jung-eun is equally convincing as Bam-soon, delivering a mix of crusty wit and tough love that's both hilarious and oddly touching — much of it reportedly improvised. And 16-year-old Choi Yu-ri gives a breakthrough performance, managing to project both feral intensity and lingering innocence from beneath layers of prosthetic makeup. Her zombie Soo-ah is part monster, part misbehaving pet — and somehow, still heartbreakingly human. Will "My Daughter is a Zombie" defy expectations and become one of the summer's surprise hits? While it's far from a genre reinvention, it's hard not to root for it. At a time when high-budget blockbusters are tanking one after another, a modest film with genuine laughs and heartfelt moments might be exactly what audiences need. "My Daughter is a Zombie" hits theaters July 30.
