Seoul X Gallery Woong

In May 2023, Gallery Woong participated in Craft Seoul with a total of nine exhibition rooms, taking on the role of a curator for Hall C, one of the three halls (A, B, and C). Collaborating with eight artists, we curated and designed nine exhibition rooms. As an Associate Director, I oversaw the entire exhibition for Gallery Woong, leading the overall planning and execution of the showcase This exhibition took place at "Sinsa House", a former residential space that was transformed into a cultural venue before its final demolition. By revitalizing an abandoned old building, the exhibition breathed new life into the space, turning it into a site for artistic expression.

My Role
Associate Director

Project
Gallery Woong

Timeline
4 weeks

_Overview
Background

Craft Seoul took place at "Sinsa House," a space that had been transformed into a cultural complex before its final demolition. Within this repurposed venue, Gallery Woong curated and managed the entire Hall C, one of the three buildings used for the exhibition.

With Craft Seoul focusing primarily on craft-based works, Gallery Woong aimed to create a dialogue between Korean contemporary art and traditional Korean craftsmanship. Showcasing works by eight artists, each assigned to a distinct space, the exhibition demonstrated that even in an abandoned, soon-to-be-demolished building, Korean contemporary art and craft could come alive and resonate with visitors.

_Research
Analyzing the Spatial Circulation

Research Insight

01     Space Limitation
Due to the spatial characteristics of a one-room space, it is challenging to create a clear movement flow. The limited and narrow space increases the risk of artwork damage if too many people gather in one area. Therefore, it is essential to establish a well-defined flow of movement to ensure smooth circulation within the space.

02    Unsuitable Interior
As a pre-demolition building, the walls are uneven and not well-maintained. The floor has a noticeable slope, making it unsuitable for placing installation works in a stable manner.

Project Goal

01         Activate a neglected architectural space through curatorial direction and spatial experience design.
02        Design nine distinct exhibition rooms that highlight each artist’s practice while maintaining a coherent overall theme.
03        Overcome spatial limitations such as narrow stairs, uneven floors, and fragmented rooms by rethinking circulation and visitor flow.
04        Encourage interaction between space and artwork, allowing visitors to reinterpret the abandoned building through artistic perspectives.
05        Create a multi-layered exhibition experience that connects eight artists, nine rooms, and one unified curatorial vision.

_{Final output}
Audience-Centered Curation Strategy

Anticipating that the audience of the craft fair would consist of a wide range of age groups and interest levels, we designed the exhibition with broad accessibility in mind. To engage both general visitors and art enthusiasts, we curated a diverse range of mediums—from ceramics, painting, and sculpture to photography.

We also intentionally included artists with figurative and playful styles that could appeal to younger visitors and families with children, ensuring that the exhibition remained approachable without compromising artistic depth.

Curation Results

Room 2 - 1 (Kyouhong Lee)

Room 2 - 2 (Chulan Kwak)

Room 2 - 3 (Gallery Woong)

Room 3 - 1  (Hunchung Lee)

Room 3 - 2 (Yongkyoung Kim)

Room 4 - 1 (Panki Kim X Jungmin Lee)

Room 4 - 2 (Heesu Suh)

<sub>01        Curatorial Insight – Designing for Accessibility
Exhibition design is not just about artworks—it is about the visitor’s experience. I learned how to curate with audience diversity in mind, planning for different age groups, interests, and levels of artistic knowledge. Balancing artistic quality with accessibility became a core curatorial strategy.

02        Spatial Problem-Solving
Working in an abandoned residential space taught me to adapt to physical constraints such as narrow stairs, uneven floors, and irregular room sizes. I developed spatial sensitivity—understanding how circulation, height, and sightlines affect the visitor’s journey. I realized that the character of a space can become part of the storytelling when treated as a curatorial element.

03        Multi-Artist Collaboration & Communication
Managing 8 artists and 9 rooms required clear communication and coordination. I learned how to align different artistic directions under a unified curatorial vision. Through this process, I strengthened my ability to negotiate, problem-solve, and make decisions under time pressure.

04       Leadership & Project Ownership
As Associate Director, I had to oversee the exhibition from concept to installation. This experience reinforced the importance of decision-making, delegation, and pace control across multiple teams. I gained confidence in leading a project end-to-end, rather than only executing one part of it.

05        The Value of Space Activation
This experience made me realize that “the worst space can create the best experience. I discovered the potential of unused or abandoned architecture and became deeply interested in how space can be reinterpreted and reactivated through design.</sub>