"Asking About the Human Face of Technology"... The Next Chapter of Korean Art as Seen by the Tate Curator [How the Global Art Scene Views Korean Art] ③

Interview with Valentina Lavalia, Curator at Tate Modern

"Young Korean Artists Focus on Emotion, Empathy, and Connections Between the Human and Non-Human"

"Nam June Paik’s Legacy Is the Attitude of Humanizing Technology… Originality Must Be Understood Within Cultural Context"

"A Virtuous Cycle Where Firsthand Experience Leads to Coverage and Exhibitions Is Crucial"… Addressing Challenges Beyond Market Exposure

Where is Korean art headed in the era after Nam June Paik? After television came computers, and now artificial intelligence has arrived. Does this mean we must now seek out artists using ever newer technologies? Valentina Lavalia, curator at Tate Modern in the UK, observed that what she discovered among young Korean artists was less about technological advancement and more about the human concerns embedded within it.

Valentina Lavallée, curator at Tate Modern in the UK, who planned retrospectives such as Nam June Paik's, emphasized in a written interview with The Asia Business Daily that "if you understand the work superficially, questions about originality have no meaning," highlighting the museum's perspective of considering the cultural context. Arts Management Support Center

"I have found that many young Korean artists are creating work that explores emotions, empathy, and connections not only between people, but also beyond the human realm. They do this while engaging with technology, or using electronic and digital tools in their creative process," she said.

Having taken part in organizing the Nam June Paik retrospective, Lavalia shared that, on this visit to Korea, she experienced a vitality that exceeded her expectations. This was not merely about commercial interest. She encountered many artists pursuing experimental and critical practices, and noted that their sense of purpose raised important questions. During her recent visit to Korea for the '2026 Dive Into Korean Art' program, The Asia Business Daily sat down with her to discuss the work of young Korean artists and the acquisition criteria of global art museums.

Nam June Paik's Legacy Is Not Technology, but Attitude

Lavalia pointed out that young artists are addressing themes of emotion, empathy, and connection very clearly in this post-pandemic and technology-saturated age. She saw this as a continuation of Nam June Paik's attitude toward humanizing technology. For Paik, optimism about technology was always accompanied by scathing critique. "The fact that Nam June Paik is a foundational figure in Korean art has provided fertile ground for contemporary Korean artists to utilize and reflect on technology. His influence is evident."

This perspective differs slightly from the customary approach of looking for the 'descendants of Nam June Paik.' Instead of focusing only on which equipment is used or what new images are created, she asks what experiences are enabled or what relationships are reconsidered through technology. Even as technology changes, art's most essential questions always return to the human condition.

This viewpoint takes us beyond simply introducing Korean art as the art of a country adept at advanced technology. The mere use of digital tools does not explain the meaning of a work. One must examine how technology alters human senses and relationships, and what questions the artist raises in response to these changes.

Nam June Paik's 'TV Buddha' (1974) installed at the 2019 retrospective exhibition at Tate Modern, UK. The Buddha statue gazes at its own image reflected on a TV screen through a closed-circuit camera, exploring the relationship between technology and humanity, tradition and modernity. Curator Valentina Lavalia evaluated that Paik's attitude of humanizing technology has provided a rich foundation for the works of young Korean artists. Estate of Nam June Paik, Photo by Andrew Dunkley Tate

"If You Do Not Know the Context, Originality Becomes Superficial"

How, then, do leading museums like Tate evaluate artwork? Is it originality, regional context, or the work's relationship with the broader history of art? Lavalia answered that these elements cannot be considered in isolation. "The cultural context in which artistic practice emerges is fundamental to broadening our view of modern and contemporary art history. If you understand a work only at a superficial level, questions about originality are meaningless."

This does not mean that originality is unimportant. She made it clear that the intrinsic power of the artwork itself, and its ability to communicate sensually and emotionally, are also vital. She believes that understanding where and under what historical and social conditions a work was created is closely connected to evaluating its inherent power.

This does not return to the old maxim that "to be Korean is to be global." It does not mean that the place of origin guarantees a work’s value, nor that following internationally accepted forms automatically confers merit. Rather, she argues that understanding the specific context surrounding a work is key to judging what is truly innovative about it.

Lavalia also emphasized the need to move beyond viewing Western modernism as the yardstick for evaluating all modern and contemporary art. "When Western modernism is no longer the universal standard, the history of modern art appears quite different," she said.

This is a statement distancing itself from the notion that Korean artists must adjust themselves to the existing canon of Western art history to be included in major museums. Instead, she advocates for museums to broaden the scope of art history itself by engaging with work from a diverse range of regions.

Valentina Lavallée, curator at Tate Modern in the UK, is introducing the exhibition she curated titled "Electric Dreams: Art and Technology Before the Internet" as part of the 2026 Dive Into Korean Art program. She highlighted how young Korean artists explore emotions, empathy, and connections between humans and non-humans through technology. Arts Management Support Center

What Is Needed After the Price Tag

The recent market vitality of Korean art serves as an important catalyst for broadening artists’ activities. However, prices and sales figures do not adequately explain the historical context from which a work emerged, nor what new proposals it puts forward. Lavalia’s answers prompt us to consider the different kinds of efforts needed for market interest to translate into sustained museum exhibitions and acquisitions.

What she emphasized was the need for foreign curators and critics to have direct experience with Korea's art scene. The virtuous cycle of viewing works, conversing with artists and curators, and subsequently generating articles and exhibitions, which in turn stimulate renewed interest, is critical. "The more opportunities curators have to experience works in person and speak with local artists and curators, the more people will encounter their work through articles and exhibitions. This process, in turn, creates a virtuous cycle of curiosity and engagement," she said.

Lavalia remarked that her recent visit allowed her to better understand how past works are interconnected and how they relate to the creations of the younger generation. While she learned a great deal in a short period, she added that she wished she could stay longer to explore these layers in greater depth.

Of course, a single visit cannot be expected to immediately result in exhibitions or acquisitions. What she described is the process in which seeing works, engaging in conversation, and understanding their historical context leads to articles, exhibitions, and renewed interest.

There is a difference between Korean art becoming better known internationally and enriching the history of global art itself. In between lies the time spent closely examining artworks, researching their context, and explaining as-yet little-known works to others. While the market may ask for the present value of a piece, museums and critics question what meaning it might hold in the future. Lavalia’s visit to Korea was where these two questions converged.

This article was produced with support from the Arts Management Support Center.

This content was produced with the assistance of AI translation services.