About
Humans are always fascinated with new technologies created at a moment where their application appears to confirm our positive vision for a sustainable, distant future. However, climate change disturbs that relentless positivity with possibilities of doom, calling a need for adaptation and change within ourselves. We can only speculate on an uncertain future environment of unpredictable hurricanes, gradual sea-level rise, rapid temperature changes, heat and droughts, and loss of biodiversity, and how they may change the way we socially and culturally adapt to this future. Will technology play a role in how these narratives of adaptation and co-evolution with climate change are expressed?
Recent works by Korean artists explore speculative narratives of projected futures using technological workflows made mainstream with works at Hyundai Artlab, MMCA, ACC Gwangju, and more. This media art revolution has brought Korea to the forefront of art-technology in Asia, with a view for empowering both established and emergent artists working in Korea. With Hong Kong in the midst of weather and environmental change, the work of Korean media artists working with speculative narratives about our reactions to a future of change gains momentum. The Korean Culture Center has long supported emerging Korean artists and aims to connect them with audiences worldwide. To engage the Hong Kong art and cultural community, Hong Kong Korean Cultural Center collaborated with the Studio For Narrative Spaces to curate the exhibition, bringing together five Korean artists and a Hong Kong collaborative art project that use speculative narratives and technological experimentation to reimagine post-climate futures through VR, sound, robotics, games, and multimedia installations.
In Inhwa Yeom's "Koko Killing Island: Tour d’Epicure," audience-performers become eco-tourists on a VR island that has survived the climate crisis under the guidance of virtual hosts. Sangdon Kim's "The Eggs" reimagines the egg as a symbol of spiritual transformation and collective resilience, weaving together Korean shamanic traditions, sociopolitical history, and cosmic imagery through paintings and sculptural installations. With "Perceive (Panorama)," Kohui turns automobile routes, leaf patterns, stock-chart swings, and ocean tides into a continuous musical panorama that makes everyday speeds and orders newly perceptible. Jooyoung Oh's game "Scope of the Cloud" is set in the aerial city "CLOUD" in 2051, built for climate refugees, where players need to choose whether to follow orders to eliminate birds or defy the rules. In "Symbiotic Luminescence," Yunyoung Jang imagines life rising from the deep sea to the surface, showing co-evolution and the fragile marine environment from a beyond human perspective. These works use VR, sound, game, and multimedia installation to present how Korean artists envision future worlds shaped by climate change. Created by Picture Rhythm Studios and Studio for Narrative Spaces, "Nonhumotion 2.0" presents two synchronized robots performing a ritualistic dance within a post-apocalyptic climate landscape, reimagining the Indigenous rain dance as a future ceremony where machines, rather than humans, plead for mercy from a collapsing planet. It will also extend into a live opening performance that immerses dancers within the exhibition environment.
We invite local audiences to experience these Korean artistic perspectives on speculating the future of climate change. We hope we will spark new conversations and mutual inspiration, encouraging Hong Kong artists to explore cultural and idea exchange with our Korean communities.
人們在想像未來的科技發展時，常常抱持積極而充滿希望的願景。我們固然相信科技能推動文明進步，拓展人類能力，以至改變整個世界。但氣候的變化卻令人擔心地球的命運，我們不知道能不能一直享受這個世界。當海平面不斷上升，當生物多樣性消失，當不可預測的颶風、熱浪、乾旱成爲日常，我們習以爲常的社會與文化結構會被改變嗎？而科技，又在這段適應與演化的故事中，扮演著甚麼角色？
近年，多位韓國藝術家將科技工作流融入藝術創作，通過多媒介與生成式工作流程推測、想像、思辨人類的未來。他們的作品曾於 Hyundai Artlab、韓國國立現代美術館（MMCA）、國立亞洲文化殿堂（ACC Gwangju）等機構展出。這場媒體藝術的革新，使韓國成為亞洲藝術與科技發展的重要前沿，同時亦持續支持新興與成熟藝術家的創作實踐。
韓國文化中心一直致力支持韓國新銳藝術家，並推動其與全球觀眾建立交流。當香港經歷著越來越明顯的極端天氣與環境變遷，探討未來變化的韓國媒體藝術家們，也因此與香港當下的處境產生更深層的共鳴。為促進香港藝術與文化社群之間的互動，香港韓國文化中心與Studio For Narrative Spaces合作策展，集結五位韓國藝術家與一組香港本地藝術團隊，透過 VR、聲音、機械裝置、遊戲與多媒體裝置藝術，以推想性敘事描繪後氣候時代的未來想像。
在Inhwa Yeom的「Koko Killing Island: Tour d’Epicure」中，觀眾將化身為生態觀光旅客，在虛擬導遊的帶領下探索一座在氣候危機後倖存的虛擬現實（VR）島嶼。Sangdon Kim的「The Eggs」將「蛋」重新詮釋為靈性轉化與集體韌性的象徵，透過繪畫與雕塑裝置交織韓國宗教傳統、社會政治歷史與宇宙意象。Kohui則在「Perceive (Panorama)」中，把汽車路線、葉脈紋理、股市波動與海洋潮汐轉化為連續流動的聲音全景，讓觀衆用全新方法感受日常生活中的速度與秩序。Jooyoung Oh創作的「Scope of the Cloud」是一款設定於 2051 年空中城市「CLOUD」的遊戲，這座城市為氣候難民而建，而玩家需要做出抉擇，到底是服從命令消滅鳥類，或是違抗制度？Yunyoung Jang的「Symbiotic Luminescence」則想像深海生命浮現至海洋表層的未來景象，從超越人類中心的視角，呈現共生演化與脆弱海洋生態之間的關係。由Picture Rhythm Studios與Studio for Narrative Spaces共同創作的「Nonhumotion 2.0」讓兩台機械人在末世氣候景觀中進行同步的舞蹈儀式，以重新想像原住民如何祈雨，描繪在生態崩壞的未來裡，向自然祈求憐憫的不再是人類，而是機械生命；藝術團隊亦將於開幕活動時將作品延伸為一場融入展覽空間的現場表演。
這些作品透過 VR、聲音、遊戲與多媒體裝置等形式，呈現韓國與本地藝術家如何想像一個被氣候變遷所塑造的未來世界。我們相信，通過展出這些作品，本次展覽將引領本地創作者及觀眾體驗韓國藝術家對氣候變遷與未來想像的視角，同時激發新的討論與靈感交流，鼓勵香港從事相關主題創作的藝術家與韓國藝術家彼此對話、比較不同方法，並建立新的合作關係。