Redefining the Role of Performing Arts

But the stage size and the acoustics of the hall could perfectly accommodate a symphony orchestra as well?

Our strength is flexibility. We can use our stage in many ways, and the acoustics are great both for theatre and music. But in terms of programming, we are in the immediate vicinity of other venues- you mentioned two of them- and so we want to be different and create new things. No need to do more of the same and fight for the same audience- we want to engage new audiences, curious people who might not usually attend theatre performances but would be intrigued by our programming.

Tell us more about your first programs.

The opening will be performed by ABT (American Ballet Theatre), one of the world’s premier ballet companies, with great blend of classical and contemporary repertoire.
We also plan to select a world-renowned artist each year and present two to three works that best reflect their artistic vision. Our first artist in residence, South African artist William Kentridge, known for his multidisciplinary approach, will present Sybil, a short film with live music, as well as Oh to Believe in Another World”- an animated film accompanied by Shostakovich’s Symphony No. 10, performed by the Seoul Philharmonic and conductor Roderick Cox. Kentridge is a widely renown opera director- he has staged Shostakovich’s The Nose and Berg’s Lulu and Wozzeck. It’s about people who believed in another world- from Lenin and Trotzky to Stalin and Shostakovich- entering one by one to fill the imaginary space with revolutionary ideals and disillusionment of failure in the lived world. It´s an amazing work and it is disturbingly connecting the past with the world we live in…. 
Another artist in residence is Marcos Morau, a visionary in contemporary dance, with his showcase “Afanador”- a tribute to Spanish flamenco through the lens of photography,  “Pasionaria”, performed by Morau’s dance company La Veronal, and “Totentanz”- a reimagination of medieval dance rituals through installation, video and live performance.

Will you also program some traditional style concerts in the GS Arts Center?

As I said, we don´t want to compete with other venues in that sector, but we want to develop new formats, including multidisciplinary classical genres. We are in for some adventures!   
You see, just to give an example, in Korea Grand Opera-Italian or German opera- tends to be the most commonly staged form. Most major arts centers have a huge stage designed for just that, with halls for over 2000 people. But in Europe, like in Germany, every little town has a theatre, many of them also presenting operas, with much smaller auditoriums. We are talking about 1000 seats or less. This is something I want to consider in our programming- I would like to do chamber operas and contemporary operas-genres that are rarely performed in Korea-as well as new works that combine a variety of artistic disciplines.
Through these new forms, we hope to invite audiences to encounter something beyond the genres they are familiar with. Chamber opera, modern music theatre, and projects that bring together dance, visual installation, and performance are all part of this journey. This is the unique artistic direction our venue strives for—and the future of the performing arts that we envision.

Before your current position as CEO of the GS Cultural Foundation (GS Arts Center), you worked for the Korean National Symphony Orchestra (where you created the KNSO international Conducting Competition), and before that for the Kumho Cultural Foundation, one of the biggest supporters of young Korean artists. You know the classical music scene in Korea better than most people in this country. From your point of view- why are Korean artists so successful? At the WFIMC, if you look at our competitions, more than 20% of all prizes, in all disciplines, are won by Koreans. What is it that makes Koreans win?

This is not easy for me to answer, because I can only speak for Korea, not for other countries. But when it comes to young Korean artists, they are incredibly devoted. They really give their life for music. 
As to myself, even if I don´t always like their musical ideas, I always love and respect their attitude and devotion. It´s exactly this devotion that gives them a certain power to find their place in the world of international competitions.

Personal attributes, focus, and devotion are one thing, but there is also the environment where people grow up, there is education, schools, teachers, opportunities. Why is the Korean system so successful? Do you think the role of music is different in Korean society, than it is in Europe or the US? European governments spend a lot more money on culture than the Republic of Korea. But European artists experience nowhere near the kind of success that Koreans do, even though most of the opportunities are here.

I think part of the answer can be found in our past. 60, 70 years ago- our parents’ and grandparents’ generation had to work hard, very hard, to recover from the devastation of war, and to rebuilt our country, to transform it into the economic powerhouse that it is today. In order to grow, we knew we had to learn, and we learned fast. Education was essential, and it still is today. 
Classical music is not part of Korea's native tradition, it is a part of Western culture, which is why education was necessary to embrace it. As a result, we developed an education system, and I believe this has drawn attention from other countries. 
Today, Korea stands for excellence, in our industries, in our products, and in our culture. Classical music is part of this culture, and therefore our government lends a lot of support to our artists. Koreans are proud of their artists, not only in K-pop, but also in classical music, K-Classic, as it´s called now. Yunchan Lim or Seong-jin Cho are like K-pop stars in a way, they have a huge fan base in Korea and are very well known all over the world. The Korean government is actively supporting initiatives that help more Korean artists gain exposure and opportunities in other countries.

You mentioned two names that have become stars all around the world. Their concerts sell out, no matter where they go. Where does this phenomenon come from?

I believe this phenomenon is the result of a unique combination of cultural, educational, and technological factors in Korea.
Classical music education is taken very seriously in Korea. From a young age, talented students receive rigorous training, often supported by highly dedicated teachers and families who are deeply committed to their children’s success. This creates an environment where excellence is nurtured and expected.
And Korea has a strong culture of admiration and support for artists. Thanks to the influence of K-pop and the so-called “idol culture,” many classical musicians are celebrated like pop stars. Fans follow their journeys, attend their concerts, and engage with them on social media, creating a strong and loyal community around each artist.
Lastly, the rise of digital platforms has allowed these artists to reach global audiences more easily. YouTube, streaming services, and social media have all played a key role in making artists like Yunchan Lim or Seong-jin Cho internationally recognized. Their talent, combined with Korea’s supportive cultural ecosystem, has helped turn them into global stars.

How can your country and especially your audience support all these artists? There are quite a few new theatres and concert halls- the GS Arts Center, Incheon, Busan, but that does not mean that automatically there is a new audience…

This is the biggest question: how can we develop our audiences in the same way as our artists? Just building new theatres or concert halls doesn’t automatically create new audiences. But I believe that Korea is in a unique moment, where both public and private sectors are investing not just in infrastructure, but in building long-term cultural engagement.
In recent years, we've seen a shift in how we present the arts. Arts centers are no longer just venues; they are becoming platforms for education, community engagement, and cultural dialogue. Many of them are developing outreach programs, working with schools, offering family concerts, or creating spaces where people can encounter the arts in a more casual and inclusive way.
Also, there is a growing sense of national pride in our artists. Just as K-pop built a global audience, “K-Classic” is now finding its place—not only abroad, but also at home. When artists like Yunchan Lim or Seong-jin Cho succeed internationally, they spark curiosity and inspiration, especially among younger audiences. They’re becoming cultural icons, and that has a ripple effect on how people perceive and value classical music.
So while audiences don’t grow overnight, we are seeing real signs of change—and I think Korea is actively cultivating the next generation of audiences through a combination of education, access, and inspiration.

More information: www.gsartscenter.com/en/theater

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