Resonances on different frequencies: '2026 Art Spectrum' opens at Hoam Museum of Art

Art drawn from different sounds and frequencies converges in a single space.

Hoam Museum of Art is presenting the 2026 Art Spectrum exhibition, titled "There Is a Room and All the Radios Are Tuned to Different Frequencies," through Dec. 27. The show brings together 63 works by 23 artists and collectives working across visual art, architecture, film, design and music in Korea and across Asia, exploring how artistic practices, diverse sensibilities and different temporalities from around the region might resonate with one another.

Art Spectrum was launched in 2001 to spotlight emerging Korean artists. This year it moves to Hoam Museum of Art — the first time the museum has hosted an exhibition dedicated to young artists.

The exhibition was co-organized with Palais de Tokyo, the French contemporary art institution known for its bold and experimental programming and its longstanding support of emerging and experimental artists.

The title evokes a room filled with different sounds and frequencies — some perceptible, others beyond detection. The scattered frequencies and vibrations overlap, tracing unexpected trajectories.

The participating artists come from varied backgrounds, each maintaining a distinct voice while seeping into one another's territory.

Twenty-six of the works on view are newly commissioned pieces created in response to the specific spatial character of Hoam Museum of Art.

At the information desk inside the museum, the Shin Ji collective and Taiwan's Waiting Room present their collaborative project "Gyou," a cross-border community initiative. For this edition, they invited Taiwanese graffiti artist NOE to paint a mural on the wall and created an art-shop space selling subculture products.

A large-scale mural by dpgp78 — the duo of Kim Ji-hwan and Min Seong-sik — titled "Moonlight Allergy" fills the lobby entrance. Inside the lobby, visitors encounter a four-channel video installation by Side Core, a collective whose practice draws on the language and history of subculture.

Luofan Chen's works "Suffocating," "Infiltration," "Dangerous Cross-Section" and "Stinging" (2026) examine the relationship between art and labor, foregrounding the invisible work that takes place behind the scenes of an exhibition space and the unseen hazards that accumulate in the process. A massive, seemingly collapsing house structure serves as a metaphor for the structural problems of labor in China.

Lena Bui unfolds poetic landscapes where history and memory, materiality and sensation, ecology and civilization intersect — through paintings including "Air No. 3" (2025), "River" (2025), "Into the Light" (2025), "Saw Marks 2·4" (2018) and the newly commissioned "Eternal Crescendo 2" (2026).

Indonesian artist Elia Nurvista presents "Plantation Tragedy" (2026), a video work exploring the complex relationship between the palm oil industry and the global economy, alongside a batik structure titled "Plantation Cosmology."

Three painters are included in the exhibition. Park Woong-kyu shows new canvases — "New Body" (2026), "Twenty-Fourth Body" (2026) and "Twenty-Fifth Body" (2026) — in which the sacred and the abject coexist.

Ibrahim Meïté Sikely, the only French artist in the exhibition, contributes works that weave together his hybrid identity and an engagement with Asian culture and history: "Who Will Save the World from Them?" (2025), "Genesis" (2026) and "Before Genesis" (2026).

In sculpture and installation, Choi Ria presents "Hills" (2026), "Column of Columns" (2026) and "Welcome Fence" (2026), works that probe the gap between material and form. Dividing surfaces and cutting across the gallery space, the pieces shape where viewers stand and how they move through the exhibition.

Lee Dong-hyun combines the body, plumbing structures, light and smoke to transform the exhibition space into a social body in "Sleeping Mother Monkey" and "Hanging Baby Monkey" (2026).

The exhibition extends outdoors as well. Side Core's "Time Gate," installed on the rooftop of the museum's parking structure, stands like a portal opening a new space-time at the boundary between infrastructure and nature, function and contemplation.

Rachel Youn's kinetic artificial palm tree "Parade Paradis II" is placed within a natural setting surrounded by real trees, generating a tension between authenticity and artificiality. The uncanny fragment of paradise evokes a sensation where euphoria and anxiety intersect, calling up a diasporic sense of identity.

Part of Yokoyama Yuichi's signature work "Plaza" (2019) wraps the museum's exterior wall, while images from "Garden" (2007) are applied as vinyl wraps to the shuttle bus running between Leeum Museum of Art and Hoam Museum of Art throughout September, extending the exhibition into a traveling landscape.

In the garden above the Hoam Café, Yamada Suzuko's "Hanging Moon" (2026) — Art Spectrum's first-ever architectural project — will be installed. The work suspends an enormous hemispherical canopy eight meters in diameter, prompting a fresh awareness of the site's gravity while offering an open space where visitors can rest beneath it.