Curator Interview: Yuli Yoon (Y), Iwata Tomoya (T)

Co-Curators of Kiaf SEOUL 2025 Special Exhibition 《Reverse Cabinet》- Yuli Yoon (Left), Tomoya Iwata (Right)

Leonardo da Vinci’s ‘The Last Supper’ and Rembrandt’s ‘Night Watch’ were both commissioned by collectors. These iconic works serve as compelling evidence that collecting—recognizing outstanding art, supporting the development of artists, and providing a foundation for creative practice—is one of the most vital pillars sustaining the art world. For the special exhibition at Kiaf SEOUL 2025, Yuli Yoon, Senior Curator at Ilmin Museum of Art, has chosen ‘collecting’ as the central theme, highlighting its significance within the artistic ecosystem. We spoke with Yuli Yoon and co-curator Iwata Tomoya to learn more about the curatorial vision behind the exhibition and key elements to pay attention to. In the following interview, ‘Y’ refers to Yoon Yool-ri and ‘T’ to Tomoya Iwata.

▷Why is collecting significant? Could you elaborate on the curatorial intent behind the exhibition?
(Y) “Art history, in many ways, can be seen as a history of collecting. Exhibition is the form through which that collection is made visible. Collecting and displaying, therefore, are not simply acts of indulgence or a showcase of wealth and ideology. They serve as vital indicators of contemporary art. In doing so, they contribute to the shaping of the rules and systems by which we live and offer a means to reframe history itself.”
(T) “History is continuously reconstructed through the process of interpreting fragments of collected memories. In this exhibition, we aimed to propose a conceptual framework through the lens of ‘collecting.’ This framework encourages a reconsideration of the historical relationship and the tension that still exists between Korea and Japan.”

▷What does the exhibition title 《Reverse Cabinet》 mean?
(Y) “The term ‘cabinet’ originates from the ‘Cabinet of Curiosities’, which laid the foundation for the modern museum. Historically, collectors filled these rooms with rare and eccentric objects as a means of showcasing their wealth and power. The artists featured in this exhibition aim to ‘reverse’ it. They challenge the desire to preserve objects in perpetuity, instead drawing out the wounds and memories embedded in the collected items. Some even engage with the act of collecting the intangible, such as digital data.”
(T) “Almost everyone has childhood memories of collecting their own ‘treasures.’ In that sense, collecting is an instinctive and primal act. Through this exhibition, we sought to reverse their familiar impulse—shifting attention away from the objects themselves and towards the ‘act of collecting’ and the individual perspectives embedded within it.”

▷What criteria guided your selection of the six Korean and Japanese artists?
(Y) “All six artists share a common methodology: they incorporate the act of ‘collecting’ into their respective practices. Sunpil Don and Geumhyeong Jung present themselves explicitly as ‘collectors.’ Jihye Yeom engages with historical archives, gathering data as the foundation for her video works. Kai Oh collects not only images, but also the very formats through which those images are stored and displayed.”
(T) “We deliberately focused on artists who do not shy away from the historical relationship between Korea and Japan and the tensions that persist. Instead, these artists transform these complexities into a vital source of creative driving force. Kei Takemura, for example, stitches damaged objects together using silk thread to restore memory and history. The notion of decay is explored in Sen Takahashi’s ‘Decaying Collection,’ which directly confronts themes of disappearance. Their work invites us to mourn the scars from the past and to reflect on how to bring those memories to life in the present.”

▷ It’s also intriguing that this exhibition is being held in a commercial space like an art fair.
(Y) “Indeed, an art fair isn’t the most ideal setting for an exhibition, and it certainly comes with its challenges. However, I believe Kiaf’s dynamism helps offset those constraints. If this exhibition appears ‘misaligned’ with the conventional formats of galleries, museums, or private collections, I hope it will instead offer a distinct and nuanced experience, precisely because it exists as a special project within Kiaf.”
(T) “Art fairs revolve around the idea of ‘owning’ works of art. That’s why it makes such apt environments for posing a fundamental question—“What does it mean to own something?” Acquiring a work isn’t just about possession. It comes with ‘responsibility’: to preserve it, care for it, and possibly pass it on to future generations. I hope this exhibition gives visitors a quiet moment to reflect on what collecting and ownership truly mean—even within the energy and bustle of the fair.”