Hello, my name is Kim Se-eun, and I am a curator at the CMOA. I studied design engineering for both my bachelor’s and master’s degrees, and I wrote my master’s thesis on exhibition design. While in graduate school, I worked at an exhibition planning agency that specialized in craft and design exhibitions. After graduation, I joined the exhibition team of the Cheongju Craft Biennale. Later, I began working here as an intern when the CMOA was about to open. I also spent time as a design curator at the National Folk Museum of Korea (NFMK) before returning to CMOA, where I currently work. In the past, I was responsible for both exhibitions and educational programs. However, since an education curator has recently joined the team, my main focus has shifted to exhibitions and academic research.

  Every exhibition and program I have worked on holds a special place in my memory. Each one is meaningful in its own way. Among them, what stands out most to me is Local Project, a special exhibition series I curated from 2020 to 2022 over the span of three years. Local Project highlights mid-career artists working in the region. Each year, three to four artists were selected, and their works were presented in a relay format, one artist at a time. The exhibition was held in the museum’s first-floor main gallery, a space with a ceiling height of 10m and a floor area of about 330㎡. Selected artists had to prepare works that could fully engage with such a large-scale venue by the time of their exhibition. I personally worked with nine artists, spanning not only painting but also sculpture and photography. Meeting these mid-career artists, discussing their works, and visiting their studios over the course of three years gave me the opportunity to encounter new fields, and I found the process deeply enjoyable. Since Local Project was organized in a relay format, I was constantly busy but the experience of working closely with local artists was deeply rewarding. There was also immense joy in showcasing the works of underrecognized artists in such a spacious venue, and I felt happiest when visitors shared feedback like, ʻI did not realize we had so many outstanding artists in our community.’

  The exhibition ʻJin Ik-song: Beyond Time and Space,’ held at the CMOA’s Ochang Annex in 2024, was a retrospective dedicated to the late Professor Jin Ik-song of CBNU. Prof. Jin was both an artist who continually expanded his practice through the exploration of time and space, and an educator who passionately supported and guided his students. Since beginning his tenure at CBNU in 1997, he sought to transcend regional boundaries and connect with other regions and cultures through art. Tragically, he passed away in a car accident on his way home after personally transporting and installing his students’ works for an exhibition in the U.S.—continuing his dedication to them until his very last day. This exhibition was realized under very difficult circumstances, relying on testimonies from his family and students, as well as works that had been stored away. Nonetheless, by presenting an exhibition on Prof. Jin, we were able to reaffirm the foundation of Cheongju’s art scene and broaden its cultural landscape. The Best Practice Award, presented annually by the Chungbuk Association of Museums and Art Museums, recognizes outstanding exhibitions held in the province. The winners are chosen through nominations from institutions and a review process. To have this exhibition selected among large-scale shows of well-known artists made the honor even more meaningful. Receiving the award not only gave official recognition to his artistic legacy but also filled me with profound gratitude and fulfillment.

  I would recommend the permanent exhibitions at museums and art museums. When I worked at the NFMK, the permanent exhibitions were organized into three sections: Hall 1, The Daily Life of Koreans; Hall 2, The Yearly Life of Koreans; and Hall 3, The Lifetime of Koreans. Through artifacts and videos, it conveys the details of Korean life and emotions, offering both empathy and resonance. Museum exhibitions are often thought to be boring, but these are carefully structured with storytelling that makes them highly engaging. I would also recommend the permanent modern art exhibition at the National Museum of Modern and Contemporary Art in Gwacheon. It provides a comprehensive overview of modern and contemporary Korean art, making it a valuable experience for young people who may be encountering art seriously for the first time.

  A long time ago, during a special lecture, I once heard the phrase, ʻCurating is all about cataloging.’ I have held onto that principle ever since. We live in an age of information overload, and artworks are just as diverse and abundant. In that context, deciding on what criteria to use when creating a catalog, and how to translate that into a narrative and visual experience, is at the heart of a curator’s role. When selecting a theme, I also make sure to consider not only the exhibition itself but also the impact it may have on society and its outcomes. I believe that exhibitions should leave a positive influence on artists, the cultural and artistic community, and society at large. For example, the exhibition Design Activism for the Environment (2023) focused on how designers in industries that directly affect the environment can respond to environmental issues. Unlike many museum exhibitions on the environment, which often reflect only an individual artist’s awareness, this project aimed to propose change in broader and more influential fields. Ultimately, what I hope for most in curating an exhibition is that it leaves a positive impact on both the artist and the audience.

  Thanks to the growth of social media, more people now see museums and exhibitions as approachable places to visit casually. Many visitors drop by without hesitation, enjoy the space, take photos, and share their experiences. This has created a positive change by lowering the threshold for engaging with art museums. In fact, the number of visitors to the CMOA has steadily increased by about 20,000 each year. 

  I usually emphasize three things. First, gain experience not only in your major or specialized field but also in a wide range of areas. In my own case, while I was exploring career paths, I engaged with design, architecture, crafts, and fine arts. At the time it was challenging, but in retrospect, those experiences greatly helped broaden my perspective and expand my boundaries. Second, qualities such as character and integrity are crucial in any field. Since all work is ultimately about people, having diverse experiences while also cultivating these fundamental values is very important. Third, read. When I was in college, I read nearly all the books related to culture, arts, architecture, and design available in the library. In fact, this field involves much more writing than one might expect.

  Although I am not a graduate of CBNU, I am grateful for the opportunity to be part of this interview. It brings back memories of my own university days, which were intense and full of challenges. At that time, I wanted to become a designer, but my interest gradually shifted toward exhibitions, something I had enjoyed since I was young, and that path eventually led me to become a curator. I believe this was possible because I went through countless attempts and experiences. I encourage you to try many different things, without limiting yourself. Life is shorter than we imagine, so make the most of your time.