【首尔最新活動】熱門活動時間與地點、演唱會、展覽、門票優惠(July Updated)

The Korea International Safety & Health Show 2024 is a highly reputable safety exhibition that offers visitors the opportunity to make cost-effective investments in acquiring production bases within the Korean market. This event is focused on showcasing a wide range of safety goods at workplaces, health equipment at workplaces, fire fighting and rescue equipment at workplaces, disaster prevention products, environmental prevention products, prevention products for specific risks, measurement technology and equipment for accident prevention, as well as safety and health-related organizations. Taking place in Seoul at the Seoul COEX Convention & Exhibition Center, located at 513 Yeongdong-daero, Samseong 1(il)-dong, Gangnam-gu, South Korea, this event will run from July 1st to July 4th, 2024. With a serious, official, and calm tone, this show aims to attract professionals and businesses interested in the latest advancements in safety and health products and services. Whether you are looking to expand your production bases or simply stay updated with the latest industry trends, the Korea International Safety & Health Show 2024 is the ideal platform to meet your needs.

Yuko Higuchi is a professional painter living in Japan. The "Yuko Higuchi: Secret Forest" exhibition is held at ALT.1 on the 6th floor of the Hyundai Seoul Hotel in South Korea. Following Taiwan, this will be an overseas exhibition. In addition to 5 new works painted for the Korean exhibition, more than 1,000 works carefully selected directly by Higuchi will be exhibited.

After the United States, Germany, and the United Kingdom, it has landed in Korea first in Asia! The story of 100 years of Disney, where every moment is magical, has begun! The Walt Disney Archives opens its treasure trove to showcase hundreds of extraordinary items, including many of Disney’s “crown jewels” - more than 250 rare artifacts and artworks, costumes and props, and incredible memorabilia. Nine imaginative themed galleries showcase famous classics from Snow White and the Seven Dwarfs (1937) to Tangled (2021), including the newest members of the Disney family - Pixar, Star Wars, and Marvel! This is an opportunity for families, children, and loved ones to celebrate their love of Disney’s most timeless stories!

In order to repay the unchanging love of fans, we have prepared various appearances of actor Hwang Chan-sung. We sincerely invite you to visit our world 'Tea Bear Museum'!

Our first exhibition planned for 2025 will be a solo exhibition by Pierre Huyghe, a world-renowned artist who explores contemporary social issues from a multidisciplinary perspective, from ecology to technoscience. This is Pierre Huyghe's first solo exhibition in a Korean museum, and includes new works produced in collaboration with the Pinault Collection Punta della Dogana in Venice and the Leeum, Samsung Museum of Art. It presents the ecosystems where humans and non-humans coexist through video, sound, sculpture and installation.

Join us this Sunday for Dark De Gary's Comedy Open Mic at Lit Lounge Itaewon! Whether you're here to enjoy the show or eager to step up to the mic and try your hand at stand-up comedy, you're guaranteed a fantastic time. Don't miss out on an evening of laughter and fun. See you there! Doors open at 7:30pm Show starts at 8pm Information Source: Planet Hustle | eventbrite

PKM Gallery will hold a solo exhibition "LAZY" from April 12 to May 17 by pop artist SAMBY PEN, who reinterprets contemporary pop culture with humor and satire. This special exhibition, held to commemorate the artist's 10th anniversary of his debut, will feature about 20 new paintings on the theme of modern people's "troubles", as well as merchandise made using the icons of his works and music by young musicians inspired by his works.

As part of the "Inside White Cube" initiative, White Cube Seoul will host the first solo exhibition in Asia by American artist Alex Carver (b. 1984, Boise, Idaho) in April 2025. The author explores the inner world of humans wandering in chaos, drawing inspiration from biomedical diagrams, medieval manuscripts, and Botticelli's illustrations for Dante's Divine Comedy to depict the nature of human suffering and oppression. The exhibition will feature new works inspired by the opening of Dante's Inferno, the first part of Dante's 14th-century epic poem. "Inside White Cube," a project that showcases works by unaffiliated artists active in the contemporary art world but not exhibited at White Cube, aims to examine the multi-layered nature of contemporary art from various perspectives.

Plastic Art Seoul is an art fair for plastic arts (sculpture, glass, media art, installation, painting). It is held at COEX. The Large Sculpture Special Exhibition is a representative exhibition that displays large sculptures that can only be seen outdoors. By installing them in the exhibition hall, it provides visitors with a magnificent view. It has become the largest sculpture sample market in Korea. In addition, the exhibition curates fresh spatial compositions and colorful special topics with different themes every year. The goal is to contribute to the development of Korean art while contributing to the popularization of plastic arts.

When you are in Seoul, how can you miss such a shocking and dreamy graffiti show? There are handsome actors, exquisite painting techniques, funny plots, romantic love stories, all of which are in the graffiti show! Even if you don't understand a word of Korean, you can still enjoy the performance! The actors' wonderful painting techniques, interesting makeup, humorous performances, plus the music that fills the entire scene and the soft light will bring you Unlimited joy and shock! [Graffiti Show: Reappearing Heroes with Art] "Graffiti Show" is a stage play that combines three-dimensional images with live painting. The theme of the performance is "heroes". Through more than 10 art techniques, the heroic images in people's hearts such as Michael Jackson and Bruce Lee are "reborn" on the stage. The modern media used interspersed are dazzling. While being surprised and happy, it is the Unlimited touch of being with heroes. The performance venue is located at the Gwanghwamun "Gyeonghyang Art Theater", and it is very convenient to go shopping nearby before and after the performance. [You can resonate even if you don't know Korean] This play is a "wordless play" with no lines from beginning to end. The actors' humorous actions and expressions, coupled with artistic graffiti, make the audience completely happy. There is no difficulty for foreign audiences who are not familiar with Korean to understand. No matter men, women, young or old, from which country, you can find joy and resonance here. [Dazzling Art Forms] In the more than one-hour performance, you can see various art forms with different styles, such as [Colorful Painting], where the actors will draw colorful patterns on the water, which is very magical; [Action Painting] is a combination of dance and painting. Four actors will freely splash oil paint with a cheerful rhythm, and when they are put together, it turns out to be a complete picture; [Sketch Painting] is outstanding for its speed. In just a few minutes, a large Korean painting will appear on paper. [Amazing Stage Created by 3D Images] "Graffiti Show" creatively introduced projection technology in the performance, presenting realistic 3D stereoscopic images in front of the audience, with a feeling of both reality and fantasy, making people feel as if they have entered a fantasy world. [Light Sculpture Painting] Sculpting pictures! Faster and stronger! [Action Painting] Jump! Shake! Sprinkle! Amazing works created with only four drawing boards! [Dust Painting] What you see is not all, a mirage-like dust painting! [Sketch Painting] A moment not to be missed, a large Korean painting completed in an instant! [Cube Painting] A dreamlike simulated rubber and plastic art completed with more than 200 Rubik's cubes! [Luminous Painting] Depicting the peace of the night sky with a silver light pen! [Colorful Painting] There is no "impossible", a colorful painting drawn on the water! [Battle Painting] The charming touch of the three actors presented in the dark!

"Nanta Show" takes the traditional Korean culture "Four Things Game" as the theme, and interprets the stories that happened in the kitchen with humorous performances. It is also the first non-verbal performance in Korea. "Nanta Show" sublimates all kinds of kitchen props into musical instruments. It combines the rhythm of traditional Korean musical instruments and the rhythm of modern music, giving all the props vitality. Therefore, "Nanta Show" is a machine for men, women and children, surpassing It is a powerful performance of nationality and age, and it breaks the high box office record of Korean performances every year. "Nanta Show" has a history of 15 years since its successful premiere in 1997. In 1999, he participated in the Edinburgh Fringe Festival in the United Kingdom and was well received. After that, he successfully performed overseas performances in the United Kingdom, Germany, Austria, Italy, Japan, Singapore, the Netherlands and Australia, and finally settled on Broadway in New York. "Nanta Show" has over 7.4 million viewers so far. And it has toured in Beijing, Shanghai, Qingdao and other cities.

Saturday Myeong~Pum, the representative performance of the National Gugak Center It is held every Saturday at the National Gugak Center located next to the Seoul Arts Center with a colorful and rich high-quality stage ranging from court music to folk music, dance, and original Korean traditional music.

Time required: 75 minutes (no intermission) Language: English, Korean Payment method: Prepaid [19+ women only] A macho show with both artistic and aesthetic qualities! Blushing and heartbeating the whole time! ▪ A macho show specially created for women over 19 years old! Awesome stage effects and lighting design, a full range of audio-visual enjoyment! ▪ The hot, attractive and artistic performance and the more dreamy plot will allow you to experience the feeling of deers bumping into each other throughout the whole process! ▪ There are many opportunities for interaction among the audience. If you are lucky, you may be invited to the stage and make the audience scream with the Obamas! ▪ Release stress and liberate yourself! Here you don’t need to care about other people’s opinions, enjoy it and experience it to your heart’s content!

• Enjoy realistic and exciting kitchen performances and dazzling performances. • Expressing the classical rhythm of our traditional song ‘Samulnori’ through a performing art that combines acrobatics, comedy, and percussion instruments • Enjoy classical performances by a talented troupe, from traditional folk songs to contemporary songs. Founded in 1997, Nanta Show is Korea’s representative silent show and Asia’s first long-running Broadway show. It has been performed over 43,000 times in 322 cities in 60 countries and regions, entertaining over 13 million audiences worldwide. Come experience the captivating charm of the Nanta Show for yourself. △ Nanta Show is Korea's first non-verbal theater performance that can be enjoyed by people of all ages and genders, by comically dramatizing events that occur in the kitchen using the rhythm of Samulnori, a traditional Korean music. △ Since the work consists only of rhythm, beat, and situation, it is free from language barriers and can therefore be enjoyed and sympathized with by anyone, regardless of age or gender, around the world. △ Another strength that makes Nanta special is that the audience can come up on stage and participate in the show. Get excited and empathize with the actors, and experience the thrilling fun that is unique to “Nanta”! △ After establishing its own theater in Jeong-dong, Seoul, Nanta opened theaters in Jeju Island, Myeong-dong, and Hongdae, establishing itself as a must-see tourist attraction not only for domestic audiences but also for foreign tourists.

Widely dubbed an alchemist of disparate socioeconomic values, Pratchaya Phinthong often acts as an intermediary introducing an exchangeable currency through which distant realities reciprocate. Primarily through extensive traveling and dialogues - from Southern Africa to the South Pacific Ocean (1) - Phinthong finds and gathers materials and narratives for his art projects, allowing them to interplay in both ironic juxtaposition and fateful harmony. His works' minimal appearance and open-endedness correspond to his particular methodology, which openly invites all relevant partakers and coincidences rather than controlling them. As a result, Phinthong’s works encompass the fluctuation of meaning over time and the human agencies that shape their courses. The exhibition addresses a selection of important moments from 2012 onward in Phinthong’s expansive practice through which one could segue into some of his journeys. Examples include devising an ecological alternative to the eradication method of tsetse flies that transmit the deadly sleeping sickness in sub-Saharan Africa (, 2012); tracking the provenance of the ‘Broken Hill’ skull in the Lusaka National Museum collection, Zambia, after hearing a rumor that it’s a fake (, 2021); collaborating with villagers in Ban Napia located in northeastern Laos that remolds the UXOs (unexploded ordnance) left by the US army during the Vietnam War (, 2019-, , 2022-). For this exhibition, as an extension of project, he traveled to the Korean DMZ, an important habitat for an endangered species of cranes in paradoxical association with the recent test flight of the US Air Force’s B-21 stealth bomber (), 2024 and , 2024). The selection of works in particularly notes on the vast spatiotemporal distances Phinthong takes up between the diverse geographical locations and socioeconomic functions. They signify the notion of mobility - the capacity to shift grounds and cross borders - as one of the momentous instruments in his works that enables and manifests in both conceptual speculation and the act of traveling. Mobility expands the elasticity of the spatiotemporal range and hence one can formulate conceptual suppositions outside an individual’s reach. One can imagine scopes that seem undetectable and invisible because it is often beyond the human lifetime’s scale of time and space. Moreover, mobility challenges the abstraction often employed in modes of capitalist circulation and valorization via concrete interaction with the individual relations surrounding a story. Through mobility, each established autonomous system that Phinthong brings in for an exchange of values can be provoked and opened up for conversion. The subtle presence of his artworks may not visually convey the vast spectrum of geographies and subject matter Phinthong covers. The range is condensed to his continuous deployment of diptychs both literal and figurative in his works. The artist places two different systems in close proximity, which largely operate in two modes: pairing/doubling and exchange. In pairing/doubling, Phinthong presents two distinct subjects conventionally understood as opposites as a pair, in intimate, humble scale and form. They are so close to each other that it is uncanny, ironic, or even surreal. For example, in the photograph , a pair of dead tsetse flies simply lie on the artist’s hand. The flies that transmit sleeping sickness, fatal without treatment, are in direct contact with a very much alive person, observing the doom-cast past and future. In some cases, the works are duplicates of another work. For instance is a painting duplicate of documentation from Phinthong’s 2013 solo exhibition Broken Hill at the Chisenhale Gallery. It is part of a recent series in which Phinthong has been collaborating with a painter to copy online photo documentation of Phinthong’s works photorealistically. Here, a digital photograph, a reproducible material, is reproduced again but manually by someone other than the author; as a result, it becomes a unique work of art that cannot be reproduced again. This work questions the autonomy and ownership of art, contingent on its materiality and maker and its status as a commodity and documentation. Through the formal and conceptual usage of duality, Phinthong resists a singular authority and interpretation and instead advocates coexistence and collaboration. Furthermore, Phinthong mediates an exchange, a two-way correspondence in his artistic production and engagement sites. In the ongoing series and , he has been working with the villagers of Napia in northeastern Laos, who have been melting UXOs to create silverware and souvenirs to sell to tourists. Phinthong pays the villagers the production fee he received from galleries and institutions and as a result produces materials that extend bilateral fields and values. The villagers’ renewal of once a lethal munition, still a threat to many people in Laos, into something functional and tradeable is similar to Phinthong’s artistic gesture of transforming the original context into another. David Teh, a writer and curator, as well as a long- term collaborator of Phinthong, stresses that the gesture is not to merge the different systems but “..., the exchange always two-way: the artist sacrifices the symbolic and economic privileges of art in favor of nonart actors, but in return, appropriates their nonart material as an artwork.” (2) By transferring the seemingly bound values and resources from one system to another, another social route is paved that could unsettle the rigid, unilateral flow of means and recognize the tangible realities of abstract macro economies. Pratchaya Phinthong’s emancipatory as well as reductive strategies together coincide with an organic behavior that is cyclical, one that abides by natural law to self-regulate to stability. The dynamic approach, which oscillates between the macro and micro, community and individual, art and nonart, is further intensified in the variable placement of his works in this exhibition. Not the first time employing this tactic to integrate the nature of sociality of materials, (3) Phinthong has proposed two installation variations of , the newly commissioned work for the exhibition , to alternate periodically throughout the exhibition. This work is an extension of : five pairs of are rearranged in the shape that resembles a B-21 Raider in one iteration, and a selection of five poses a couple of cranes take to communicate with each other, in another. Like the forest in the video work, , which ironically can protect itself from illegal loggers due to the embedded metal shards damaging their machinery, one bird of destruction is repeatedly transformed into the other of hope and regeneration. Pratchaya Phinthong draws novel cartographies of meaning by revealing events and social relations hidden under generalized definitions. However this cartography is not merely a conceptual one, but it is through direct and concrete encounters in his travels. At times the problem seems too abstract and overwhelming in scale in the complex systems of neoliberal globalization and ongoing histories of trauma; Phinthong takes the basic method of exchange in an economic structure as a pragmatic opening to conversion. And soon enough, we see the world as interconnected structures, the local and global simultaneously. Like a kind of holistic but subtle transformation one experiences long after a good journey, a series of encounters unknowingly leave an imprint in time. But as the way nature heals itself, it is difficult to notice them as “evidence” because it takes a lifetime or even generations. As today takes care of tomorrow, it happens in time without us even having to try, and we may have to simply observe and listen today. (1) Although not exhibited here, a well-known artwork by Pratchaya Phinthong (2007), an installation including two photographs of a full moon, is a good example of his boundless traveling. Phinthong took a picture of the full moon in the Chatham Islands in the South Pacific Ocean because it was the place where he would land if he dug a hole straight through the Earth from Paris. The next day he went back to Paris to take a picture of the same moon. (2) David Teh, (Cambridge: The MIT Press, 2017), 78. (3) Pratchaya Phinthong, . Dec. 2, 2018 - Jan. 27, 2019, BANGKOK CITYCITY GALLERY, Bangkok. The arrangement of precast concrete parking curbs was adjusted daily throughout the show.

CI Korea 2024 is a highly anticipated event that is set to take place at the Seoul COEX Convention & Exhibition Center in Seoul, South Korea. From April 23 to April 26, this event will bring together industry professionals, experts, and enthusiasts from around the world. The focus of CI Korea 2024 is on the booming natural cosmetics and functional cosmetics markets, where the importance of high value-added raw materials is emphasized. With an extensive range of products on display, including product ingredients, pharmaceutical equipment, laboratory equipment and accessories, chemicals and compounds, medicines, specialized medicines, and more, CI Korea 2024 is the perfect platform to explore and discover the latest advancements and innovations in the industry. Whether you are a seasoned professional looking for new opportunities, a researcher interested in cutting-edge technologies, or a business owner seeking potential collaborations, CI Korea 2024 is a must-attend event. Mark your calendars for this exciting gathering of industry leaders and be a part of the future of cosmetic sciences.