Based in Seoul, Seihee Shon curates exhibitions and organizes learning programs, focusing on Media Art. She has been writing on contemporary art for various national and international journals. Her recent curatorial practice explores the blurry border between fantasy and reality, memory in relation to space/place, and environment and urban landscape. She has curated exhibitions including Remembering or Floating (Oslo, 2017), Shall We Dance? (Seoul, 2015), Illusionary Landscape: Hyewon Kwon (Seoul, 2015), and A View from the Other Side: New Media Art from Finland and Korea (Seoul, 2014). Shon studied history of art at the University of York, UK, and art museum and gallery education at Newcastle University, UK.

Dong-Yeon Koh received her PhD in art history and a doctorate certificate in film theory from the City University of New York in 2006. After returning to South Korea, Koh worked as a co-director of the Gallery Art 2021 (2008–2010) and served as a critic and mentor in numerous art residencies and museums in South Korea. Her academic and critical writings have been published in Inter-Asia Cultural Studies (Routledge, 2010, 2013), Flash Art, Modern Art Asia, and Photography and Culture (Bloomsbury, 2015). Her recent books include Respond! Artists (ONewWall, 2016) and Pop Art and American Society in the 1960s (Noonbit, 2015). She is currently working on the book From Softpower to Goods: Alternative Forms of Exhibitions and Populist Artistic Practices in Post-1990s East Asian Art.

Woo graduated from Korea National University of Arts with an MFA degree in 19th-century British design. Previously serving as a researcher at Art Center Nabi (2010–12); coordinator at the Incheon International Digital Art Festival; guest curator at Woomin Art Center (2012–14); and writer on fine arts for Space magazine (2015–17), she is now a senior researcher at the Korean National Research Center for the Arts. The exhibits she organized include Rediscovery of the Market, which was managed by Seoul Design Foundation in 2012, and Donghee Koo’s Night Theft (Audio Visual Pavilion, 2014). She also co-authored 13 Balls (2013) and co-translated Radical Museology (2016). Woo’s main interest is connecting social history with visual culture ranging from media art to design. 

Having entered the art world as a writer for an art journal in 1996, Juweon Kim has been a modern art curator at museums since 2003. Her organization and supervision of both exhibits and research stem from her keen interest in how Western modernism and avant-garde art are transformed, composed, developed and communicated in the non-Western world such as Korea and Japan. Earning her Ph.D. in aesthetics from Hongik University with a dissertation titled “A Study on the Discourses of Korea’s Avant-garde Art since 1945,” Kim has worked as an adjunct professor at Sangmyung University (2006–08); director of art and science research at Yoo Youngkuk Art Foundation; and chief curator of the 2009 Cheongju Craft Biennale. After heading the exhibit team at Daegu Art Museum between 2012 and 2014, Kim served as a visiting fellow of the Center for Contemporary Art Kitakyushu in Japan from July to December 2014. She now leads art and science research at the Daegu museum. 

Kim is a curator, writer, and researcher based in Seoul. She was Director at Arko Art Center, Seoul, in 2014‒2015 and a co-curator of the 7th Gwangju Biennale in 2008. Her curatorial and interdisciplinary practices consider disparate points of the regional modernity in plural forms. She has curated numerous exhibitions and projects, including Tradition (Un)Realized (Arko Art Center, Seoul, 2014), Brilliant Collaborators (Ilmin Museum of Art, Seoul, 2013), Perspective Strikes Back (L’appartement 22, Rabat, 2010), Movement, Contingency and Community (Gallery27, Uiwang, 2007), and Plug-In #3: The Undeclared Crowd (Van Abbemuseum, Eindhoven, 2006). Her published work includes contributions for the artists Seoyoung Chung, Jewyo Rhii, Haegue Yang, Nina Canell, Gao Shiqiang, Dolores Zinny, and Juan Maidagan. Kim currently teaches at the RAT School of Art in Seoul and is an advisor for the Asia Art Archive, Hong Kong.
http://www.tenyears2017.org/

Kim is an independent curator working in Seoul who also writes and contemplates new projects focusing on the use of time, movement, the human body, memory and records in media such as visual art, theater and dance. As a researcher for the National Theater Company of Korea from 2011 to 2012, she helped plan educational and curatorial programs in addition to handling publications. In 2008, Kim led a performance program for the opening festival of Nam June Paik Art Center as an assistant curator, after having worked as a coordinator for the Anyang Public Art Project (2005) and Busan Biennale (2006). In 2007, she completed a curatorial training program called Ecole du MAGASIN in Grenoble, France, and co-edited and published Harald Szeemann: Individual Methodology (2007, JRP/Ringier) based on the research of curator Szeemann’s archive. Kim also designed exhibits and performance programs such as Lotus Land (2017, Asia Culture Center, Gwangju); Moving / Image (2016, Seoul Art Space Mullae, Seoul); Place and Footnote (2016, Seoul Art Space Geumcheon, Seoul); Society of Choreography (2015, Nam June Paik Art Center, Yongin); The Decisive Moments (2014, Korea National Contemporary Dance Company, Arko Arts Archive, Seoul); Once is Not Enough (2014, Audio Visual Pavilion, Seoul); Memorial Park (2013, Palais de Tokyo, Paris); Theater of Sand (2012, Korea Craft & Design Foundation); and The Whales: Time Diver (2011, National Theater Company, Seoul).
http://audiovisualpavilion.org/exhibitions/once-is-not-enough/