Curatorial Statement
The perception of time keeps changing. Living in totally different pace from the past, we just focus on the present in rapid daily life. However, it is the most important thing at this moment to the prospect of the future.

Tomorrow intends to create a chance to view the future with hope and vision.
This will offer the vision toward the bright future through diverse activities organized by communities. In addition, Tomorrow will look at the future with infinite possibility by means of searching ideal fiction and looking into power that forms the shape of the future.

Possibility in shifting society offers hope, but at the same time it asks responsibility to be taken. The future gains infinite possibility to change in any direction, depending on the choices we make. Tomorrow will look into upcoming changes in this context. Everything becomes re-considered with shifted valuation. The more diverse changes and developments occur, the more enlarged possibilities our society will have. One of the prominent changes is the increase of communities. As the nation gets smaller and private citizens extend their power, the community develops as a concomitant phenomenon. While the great discourses are dismantled, new proposals in relation to activities of communities could be made as an alternative way.

In the beginning of the twentieth century, Russian avant-garde artists sought for Utopia through their works. The artists in “Tomorrow” propose ‘challenges to the impossible’. We would be able to share dreams, visions and fantasies that cannot be allowed in ‘reality’ with “Tomorrow” artworks.
Motivation and Outline
Large-scale contemporary art exhibitions and fairs have become territories of state initiated or market driven spectacle meant for bureaucratic, political and economic ends. In such contexts artists, curators and other cultural actors must struggle against being cast as public relations, propaganda or money-making tools. It is in the midst of such struggles that the cultural possibility of our age is being distorted and defined.

With Sunjung Kim’s 2006 exhibition and film programme Somewhere in Time as its prelude Tomorrow is an independent attempt to bring global art and local community together to engage in a cultural conversation less encumbered by the standard prerogatives of state and market. Intended to be more a mobile, multi-local conversation than a traveling show Tomorrow’s fluid crew of internationally active artists, film makers, curators and others will work in conjunction with partners in various localities to realize visual and verbal manifestations that explore human approaches to the unknown, perhaps unknowable, moment: Tomorrow.

In its inaugural manifestation in Seoul Tomorrow’s primary aim is to be an interactive platform that engages various sectors of the local audience in a conversation about possibility. To achieve this the multi-media contemporary art exhibition is accompanied by more than a month of public programmes including: video screenings, a symposium, artists talks and various other events including a sunrise breakfast hosted by Berlin-based artist Shimabuku.

Under the title of Is Tomorrow A Better Day? the initiative was originally conceived in the ashes of the Korea at ARCO affair – when Sunjung Kim, along with her co-organisers including Dan Cameron and David Ross among others, was pushed out of her position as curator and commissioner of artistic programmes for Korea’s national representation at ARCO’07. At that time directly confronted with the limitations that the tendencies and imperatives of state can impose on contemporary artistic expression Sunjung Kim and her team felt a very tangible need to clear a path towards a better way. And the result is this experiment we now call Tomorrow, an endeavour that hopes to become a geographically transient, yet enduring outpost for the free development of language in the context of a cultural conversation that grasps for the yet under-realised possibilities of post-national community.


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