Living Geometry 2026 — 한국 미디어아트 · 인류세 미디어아트 · 인터랙티브 아트 큐레이터 가이드
도시(영등포)를 ‘안트로포스피어(Anthroposphere, 인류권)’로 다시 읽고, 정지된 콘크리트의 집합물을 넘어 인간·비인간·기술이 끊임없이 맥동하는 유기체 — 즉 ‘Living Geometry(생동 기하학)’ — 로 재정의하는 미디어아트 특별전. KAIST 산업디자인학과 경험디자인연구실(XD Lab)이 기획·제작했고, 4명의 작가가 7개의 작품을 출품합니다.
큐레이토리얼 프레임
전시는 영등포의 중첩된 시간과 공간 — 문래동의 철공소 골목과 예술촌, 여의도의 마천루, 옛 공장 부지 위로 솟은 현대적 상업 공간 — 을 자양분 삼아, 도시를 거대한 인류 활동의 흔적으로 통찰합니다. ‘Living Geometry’는 도시를 차가운 물리적 대상에서 ‘기하학적 언어로 끊임없이 변형되는 유기체’로 옮겨 놓는 큐레이토리얼 명제입니다.
강이연 〈Technosphere〉는 Peter Haff와 같은 인류세 담론의 ‘제6의 권역’ — 인류가 구축한 인공적 물리 시스템 — 을 시각적 지질층으로 형상화합니다. 〈Vanishing 2.0〉은 코엑스 대형 전광판에서 처음 공개된 〈Vanishing〉의 후속으로, 사라진 종에 대한 추모를 넘어 ‘사라짐 이후의 가능성’을 묻습니다. 서민혁 〈Post-Vanishing〉은 그 마지막 장면의 생명체에서 출발해, 인간이 사라진 후 도시의 물질·연결·표면을 세 생명체로 형상화합니다.
황인태 〈Goldilocks〉·〈Vessel〉은 도시 데이터(서울 실시간 기상·1년치 이동 데이터)를 관객의 신체 입력(7가지 기상 파라미터·맥박)과 결합해 ‘집단적 골디락스 존’과 ‘박동하는 도시 조각’을 만들어 냅니다. 최정윤 〈Banpo-Xism〉은 한국 부동산의 가치 체계를 위치(반포)와 브랜드(자이)의 2차원 평면으로 환원하고, 적분(integration)이라는 수학적 비유를 통해 그 평면을 다시 미분다양체로 펼치는 비평적 웹 작품입니다.
컨텍스트 — XD Lab과 학제적 실천
XD Lab은 미디어아트와 디자인, 그리고 인간-컴퓨터 상호작용을 가로지르며, 인류세연구소 등과 협업해 다각적인 학제 간 연구를 수행해 왔습니다. Red Dot Award·iF Design Award를 수상했고, Leonardo Journal(MIT Press)·ACM SIGGRAPH·ACM DIS 등에 연구를 발표해 왔습니다. 〈Living Geometry 2026〉은 그 학제적 실천을 ‘공공 전시’의 시간성으로 옮긴 결과물입니다.
디렉터 강이연(Yiyun Kang)은 Google·NASA·Max Mara·BTS 등과 협업했고, Victoria and Albert Museum·COP28 등에서 개인전을 열었으며 TED 2026에서 강연한 미디어아트 작가입니다.
함께 살펴볼 작품
전시 7개 작품 모두 — 영상 3점, 인터랙티브 설치 3점, 다중 기기 웹 작품 1점 — 을 한 호흡으로 따라가기를 권합니다.
Living Geometry 2026 — A Curatorial Guide for Art Lovers · Korean Media Art · Anthropocene Art Korea
A media-art special exhibition that re-reads the city — Yeongdeungpo, Seoul — as the Anthroposphere, and beyond a stilled aggregate of concrete redefines it as Living Geometry, an organism in continual pulse where human, non-human, and technology entangle. Curated and developed by KAIST's Experience Design Lab (XD Lab), with four artists and seven works.
Curatorial frame
Drawing on Yeongdeungpo's stacked layers of time and space — Mullae-dong's metal-shop alleys and arts village, Yeouido's mirrored towers, contemporary commercial spaces risen over old factory grounds — the show reads the city as the vast imprint of human activity. 'Living Geometry' is a curatorial proposition: to translate the city from a cold physical object into an organism that ceaselessly transforms in geometric language.
Yiyun Kang's Technosphere visualises, as a geological stratum, the 'sixth sphere' of Anthropocene discourse — the totality of artificial physical systems built by humanity. Her Vanishing 2.0, a sequel to the Vanishing originally unveiled on COEX's outdoor screen, moves past elegy to imagine what might come after disappearance. Minhyeok Seo's Post-Vanishing departs from that closing creature and renders the matter, connection, and surface of a post-human city as three living forms.
Intae Hwang's Goldilocks and Vessel pair the city's data — Seoul's live weather, a year of mobility data — with visitors' bodily input (seven meteorological parameters; a pulse) to compose a 'collective Goldilocks zone' and a beating data sculpture. Jeanyoon Choi's Banpo-Xism reduces the value system of Korean real estate to a two-dimensional plane of location (Banpo) and brand (Xi), then, through the mathematical figure of integration, opens that plane back into a differentiable manifold — a critical web work staged across visitors' phones.
Context — XD Lab and interdisciplinary practice
XD Lab works across media art, design, and human–computer interaction, in collaboration with institutions including the Anthropocene Studies Institute. The lab has earned the Red Dot Award and iF Design Award and published in Leonardo Journal (MIT Press), ACM SIGGRAPH, and ACM DIS. Living Geometry 2026 is that practice translated into the public-facing rhythm of an exhibition.
Director Yiyun Kang has collaborated with Google, NASA, Max Mara, and BTS, with solo exhibitions at the Victoria and Albert Museum and COP28, and recent talks including TED 2026.
Works in the show
The full sequence — three video works, three interactive installations, one multi-device web work — is best read in one continuous visit.
Living Geometry 2026 — A Curatorial Guide for Art Lovers · Korean Media Art · Anthropocene Art Korea
A media-art special exhibition that re-reads the city — Yeongdeungpo, Seoul — as the Anthroposphere, and beyond a stilled aggregate of concrete redefines it as Living Geometry, an organism in continual pulse where human, non-human, and technology entangle. Curated and developed by KAIST's Experience Design Lab (XD Lab), with four artists and seven works.
Curatorial frame
Drawing on Yeongdeungpo's stacked layers of time and space — Mullae-dong's metal-shop alleys and arts village, Yeouido's mirrored towers, contemporary commercial spaces risen over old factory grounds — the show reads the city as the vast imprint of human activity. 'Living Geometry' is a curatorial proposition: to translate the city from a cold physical object into an organism that ceaselessly transforms in geometric language.
Yiyun Kang's Technosphere visualises, as a geological stratum, the 'sixth sphere' of Anthropocene discourse — the totality of artificial physical systems built by humanity. Her Vanishing 2.0, a sequel to the Vanishing originally unveiled on COEX's outdoor screen, moves past elegy to imagine what might come after disappearance. Minhyeok Seo's Post-Vanishing departs from that closing creature and renders the matter, connection, and surface of a post-human city as three living forms.
Intae Hwang's Goldilocks and Vessel pair the city's data — Seoul's live weather, a year of mobility data — with visitors' bodily input (seven meteorological parameters; a pulse) to compose a 'collective Goldilocks zone' and a beating data sculpture. Jeanyoon Choi's Banpo-Xism reduces the value system of Korean real estate to a two-dimensional plane of location (Banpo) and brand (Xi), then, through the mathematical figure of integration, opens that plane back into a differentiable manifold — a critical web work staged across visitors' phones.
Context — XD Lab and interdisciplinary practice
XD Lab works across media art, design, and human–computer interaction, in collaboration with institutions including the Anthropocene Studies Institute. The lab has earned the Red Dot Award and iF Design Award and published in Leonardo Journal (MIT Press), ACM SIGGRAPH, and ACM DIS. Living Geometry 2026 is that practice translated into the public-facing rhythm of an exhibition.
Director Yiyun Kang has collaborated with Google, NASA, Max Mara, and BTS, with solo exhibitions at the Victoria and Albert Museum and COP28, and recent talks including TED 2026.
Works in the show
The full sequence — three video works, three interactive installations, one multi-device web work — is best read in one continuous visit.
Opening reception :: Friday, May 8, 2026 · RSVP required
About the exhibition
Living Geometry 2026 is a media-art special exhibition curated and developed by the KAIST Experience Design Lab (XD Lab) within KAIST's Department of Industrial Design. It re-threads Yeongdeungpo's visible urban landscape, its invisible data, and the emotional strata behind them in a geometric language — recasting the city, beyond a stilled aggregate of concrete, as an organism in continual pulse. Seven works span single-channel video, interactive installation, and multi-device web art.
Title :: Living Geometry 2026 · 생동 기하학 (Living Geometry)
Dates :: May 1 – Jun 28, 2026
Hours :: Daily 10:00–18:00 (last entry 17:45)
Venue :: YDP Artsquare · Times Square B2F, 15 Yeongjung-ro, Yeongdeungpo-gu, Seoul
