logo
"MMCA×LG OLED SERIES" KICKS OFF TO BRING DIGITAL ART CLOSER TO THE PUBLIC

"MMCA×LG OLED SERIES" KICKS OFF TO BRING DIGITAL ART CLOSER TO THE PUBLIC

Korea Herald2 days ago
Featuring 88 LG OLED Screens, Inaugural Exhibition by Artist TZUSOO
Transforms MMCA's Central Seoul Box into a Gateway for Digital Art
SEOUL, South Korea, July 31, 2025 /PRNewswire/ -- LG Electronics (LG) announces "MMCA×LG OLED Series 2025 –TZUSOO," the inaugural exhibition of a multi-year partnership with the National Museum of Modern and Contemporary Art, Korea (MMCA). This forward-looking project explores the creative possibilities at the intersection of art and technology – beginning with a large-scale digital installation by Korean media artist TZUSOO, on view at MMCA Seoul's iconic Seoul Box from August 1, 2025, through February 1, 2026.
The "MMCA×LG OLED Series" transforms Seoul Box – a soaring, publicly accessible space at the heart of MMCA – into a dedicated platform for contemporary media art. Each year, the series will present a new work by a leading contemporary artist, with LG as the title sponsor providing technical support to help bring ambitious artistic visions to life.
For the inaugural edition, TZUSOO presents "Agarmon Encyclopedia: Leaked Edition," a multimedia installation comprising the sculpture "Agarmon" alongside the two-channel video work "The Eight Spirits of Flesh." Known for her distinct voice rooted in digital-native culture and her explorations of gender and identity, TZUSOO engages themes of life, desire, and generative cycles through a hybrid of organic forms and digital avatars.
The installation is powered by 88 55-inch LG OLED screens, arranged into two towering media walls specifically designed to fill the Seoul Box space. With perfect blacks and vivid colors, LG OLED displays enhance the visual intensity of "The Eight Spirits of Flesh," immersing viewers in a world where digital creatures shift and interact across screens. The scale and technical sophistication of the installation mark a significant moment for media art at MMCA – and underscore LG OLED's digital canvas as a powerful and creative medium.
"It's an honor to support the first of many exhibitions of the MMCA×LG OLED Series by helping bring the artist's bold visual experiment to life through the immersive power of our LG OLED technology," said Kate Oh, head of Experiential Marketing at the LG Media Entertainment Solution Company. "We hope this series offers audiences a deeper, more sensory experience of contemporary art and expands the possibilities for how it can be expressed and appreciated by art enthusiasts on a digital canvas."
"As the first artist selected for the MMCA×LG OLED Series, TZUSOO's multifaceted spirit of experimentation vividly reflects the creativity and innovation this project aims to foster," said Kim Sunghee, Director of MMCA. "We look forward to this exhibition introducing new possibilities for contemporary art at the intersection of technology and artistic vision."
LG OLED has a longstanding history of supporting artists at the intersection of art and technology. To learn more about LG's global art collaborations, visit http://www.LGOLEDART.com.
# # #
About LG Electronics Media Entertainment Company
The LG Media Entertainment Solution Company (MS) is a recognized innovator in televisions, audio, displays and smart TV platforms. The MS Company enhances the media entertainment experience with its OLED TVs, renowned for perfect black and perfect color, and premium LCD QNED TVs, all powered by the personalized webOS smart TV platform. The MS Company also offers Information Technology solutions (gaming monitors, business monitors, laptops, projectors, cloud devices and medical displays) as well as Signage solutions (Micro LED signage, digital signage, hospitality displays and signage software solutions) that are designed to maximize customers' work efficiency and deliver strong value. For more news on LG, visit www.LGnewsroom.com.
About LG OLED ART
LG OLED celebrates the merging of ground-breaking technical essence and top-line artistic creativity to inspire the art we see around us today and tomorrow. Under the LG OLED ART initiative, artists reinvent or reinterpret their artform through LG OLED's digital canvas. We redefine the artist's canvas, by introducing the brilliance of LG OLED as their ideal medium with stunning color precision and unrivaled clarity. Our motto, "We inspire art," reflects our vision to support all artists who seek to engage with digital art, embrace new forms of creativity and transcend traditional artistic boundaries. LG OLED ART has collaborated with over 40 globally acclaimed artists, including Anish Kapoor, Damien Hirst, Suh Do Ho, Kim Whanki (1913–1974), Barry X Ball, Kevin McCoy, and Six N. Five. To follow the journey of LG OLED ART, visit www.LGOLEDART.com.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports
'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports

Korea Herald

time14 hours ago

  • Korea Herald

'Baby Shark' Pinkfong eyes management buyout alongside IPO: reports

The Pinkfong Company, creator of the global children's sensation "Baby Shark," is reportedly pursuing a management buyout in parallel with its planned market debut, according to industry sources on Friday. In May, the company filed for a preliminary review to list on the Kosdaq, marking a renewed push for an initial public offering six years after it first floated the idea in 2019. Multiple industry reports suggest that Pinkfong is in talks with potential buyers regarding a management sale. According to Maeil Business Newspaper, the deal may involve major shareholder stakes, with a potential price tag in the hundreds of billions of won. Major shareholders include CEO Kim Min-seok with an 18.44 percent stake, Editorial Samsung with 16.77 percent and telecom giant KT holding 9.1 percent. Editorial Samsung is Pinkfong's parent company, and Kim is the son of Editorial Samsung CEO Kim Jin-yong. Founded in 2010 as an entertainment subsidiary producing animations, songs and films, Pinkfong shot to global fame in 2016 with its breakout hit "Baby Shark." The song and its accompanying video became a viral sensation among children worldwide, with "Baby Shark Dance" holding the title of YouTube's most-viewed video at over 16 billion views to date. The company was once valued at over 1 trillion won ($714 million) during its Series B funding round in 2021, reportedly becoming the first Korean content firm to achieve unicorn status. However, its valuation is believed to have declined in recent years amid weakening performance. Annual revenue dropped from 117 billion won in 2022 to 94.6 billion won in 2023, with operating profit swinging from 3.7 billion won to a 3.2 billion won loss. Earnings recovered in 2024, with revenue rising to 97.3 billion won and operating profit rebounding to 18.8 billion won. Pinkfong recently opened its fifth overseas subsidiary in Japan and is expanding its global footprint while growing its YouTube consulting and intellectual property businesses. The company's flagship YouTube channel has racked up 51.3 billion cumulative views and boasts 82.6 million subscribers. Its content is now available in 25 languages across 244 countries.

Japanese version of 'Marry My Husband' becomes Prime Video Japan's most-watched series
Japanese version of 'Marry My Husband' becomes Prime Video Japan's most-watched series

Korea Herald

time16 hours ago

  • Korea Herald

Japanese version of 'Marry My Husband' becomes Prime Video Japan's most-watched series

The show's success highlights the global appeal of culturally reimagined storytelling The Japanese adaptation of the hit Korean drama "Marry My Husband" has become Amazon Prime Video Japan's most-watched series. Having premiered on June 27, the series soared to the top of the platform's viewership charts, drawing the largest audience in Japan within its first 30 days, from June 27 to July 27, 2025, according to data provided by Amazon Prime Video. As of Thursday, the drama also clinched the No. 1 spot on Prime Video's Top 10 chart in Japan, based on rankings compiled by FlixPatrol, a global streaming analytics firm. Keisuke Oishi, head of Amazon Prime Video Japan's local content division, said in a press release, 'The Japanese adaptation of 'Marry My Husband,' which reinterprets the universal appeal of the original from a uniquely Japanese perspective, has achieved the highest viewership record in our history. This accomplishment proves that the first collaborative effort between outstanding creators from both Korea and Japan has borne fruit.' Son Ja-young, executive producer at Studio Dragon -- the production house behind both the Korean and Japanese versions -- added in the same release, 'It's meaningful that this first attempt by a Korean production team to plan and produce an original drama tailored to Japanese sensibilities and culture resonated authentically with local viewers.' She continued, 'I hope this project serves as an opportunity to show that K-dramas can evolve in diverse ways, transcending cultural and regional boundaries.' A localized reimagining of the original tvN series, the Japanese version of "Marry My Husband" was developed by Studio Dragon and CJ ENM Japan, and co-produced by Jayuro Pictures and the venerable Japanese studio Shochiku. The series stars Fuka Koshiba as Misa Kanbe, a woman who is transported back in time after discovering her husband's affair with her closest friend. Takeru Sato co-stars as Wataru Suzuki, her boss and a potential romantic interest in her second shot at life. CJ ENM, which produced the original Korean TV adaptation of "Marry My Husband," stated during a June 26 press conference that the Japanese version is not a remake of the Korean series, but rather a reimagining of the original web novel, customized for Japanese audiences and cultural sensibilities.

[Editorial] Take down hurdles
[Editorial] Take down hurdles

Korea Herald

timea day ago

  • Korea Herald

[Editorial] Take down hurdles

Korean platforms shut out global fans with outdated rules while Korean culture surges The global success of 'KPop Demon Hunters,' an animated film released on Netflix in June, has provided an unexpected boost to Korea's soft power. The film, in which a fictional K-pop girl group battles demons with music-infused powers, has topped streaming charts in over 30 countries and propelled its soundtrack to second place on the Billboard 200. But perhaps more telling than the film's entertainment value is what it revealed about Korea's export potential and its limitations. While fans from Singapore to the Netherlands eagerly bought Korean goods tied to the movie's characters — from folk-art-inspired souvenirs to traditional accessories — the process of buying those products was anything but smooth. Korean cultural products may now command a powerful emotional pull globally, but the infrastructure for overseas consumers to access Korean products, especially through e-commerce, remains strikingly inadequate. According to the Bank of Korea, South Korea's cross-border e-commerce exports to individual consumers overseas — often referred to in Korea as 'reverse direct purchases' or 'yeok-jikgu' in Korean — totaled 1.6 trillion won ($1.1 billion) last year. It was just one-fifth the volume of inbound direct purchases by Korean consumers from overseas retailers. The data shows that Korea's e-commerce platforms have failed to capitalize on foreign demand despite the surging popularity of Korean entertainment, beauty and food. Much of the problem lies in unnecessary procedural bottlenecks. Most domestic platforms still require identity verification through a Korea-registered mobile number, even though no legal obligation mandates this. International consumers, even if motivated to purchase, are routinely blocked during the sign-up process. Those who clear that hurdle often encounter another at checkout, where many Korean sites do not accept international payment methods like Visa, Mastercard, PayPal or Alipay. The result is a highly restrictive system that effectively turns away willing customers. By contrast, major platforms like Amazon, AliExpress and Temu allow foreign users to register and pay with minimal friction. These companies conduct their own verification using standard card information or global e-wallets, lowering entry barriers while managing fraud risks internally. Chinese e-commerce platforms operating in South Korea have even integrated domestic systems such as Naver Pay to localize their offerings. Yet Korean platforms have been reluctant to reciprocate even as global demand for Korean goods rises. This hesitation reflects both rigid regulatory constraints and an outdated culture of risk aversion, especially around identity theft, fraud and payment disputes. But technological solutions already exist. Viable steps Korean retailers can take include integrating payment systems that are popular in target markets, adopting user-friendly authentication procedures and expanding their overseas fulfillment capabilities. The Korean government and regulators have a critical role to play. The Bank of Korea's recent recommendation — to simplify account verification, provide legal clarity around non-Korean sign-ups and actively embrace global payment tools — is a necessary starting point. More broadly, failure to liberalize South Korea's e-commerce model may deepen the structural imbalance in digital trade. As global commerce increasingly revolves around platforms rather than physical intermediaries, the country cannot afford to remain digitally insular. Ironically, the very appeal of "KPop Demon Hunters" — its seamless fusion of traditional Korean motifs with contemporary music and lively animation — highlights what the country does best: Marrying heritage and innovation in ways that resonate globally. But turning cultural capital into economic return will require an equally imaginative overhaul of Korea's digital marketplace. Nearly a decade after the so-called 'Cheon Song-yi coat' moment, when a Korean drama ignited global fashion interest and prompted calls for easier reverse purchases, progress has been woefully limited. The nation's major platforms still operate largely as if their only customers are local. That must change. With global attention now fixed on Korean products, the least the country can do is avoid shutting the door on K-culture's global rise.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store