Despite global shipping challenges, ART OnO 2026 fair brings galleries, artists to Seoul

People visit ART OnO fair at SETEC in southern Seoul, April 2. Courtesy of Bereket Alemayehu

Ongoing conflicts are impacting every corner of the global economy this year, and the art world is no exception. International art fairs have been experiencing an impact through increased shipping prices and delivery delays.

Despite these challenges, the third edition of Art OnO fair, which ran April 3-5 at SETEC in southern Seoul's Gangnam District, brought together a wide range of exhibitors from countries including Germany, Japan, Romania, Finland, Russia, China, Switzerland, Thailand and Tanzania, alongside Korea.

The widespread disruptions in global supply chains caused by the Middle East conflict made their effects felt at this year's art event, Noh Jae-myung, founder of ART OnO, told The Korea Times in an April 2 interview.

“It has definitely affected shipping,” he said. “Prices have increased significantly, and more importantly, delivery times have been delayed. Some galleries struggled to receive their crates on time, but fortunately, we managed to receive everything as scheduled.”

ART OnO founder Noh Jae-myung speaks at SETEC in southern Seoul, April 2. Courtesy of Bereket Alemayehu

Despite these logistical hurdles, Noh said the fair ultimately succeeded in maintaining its operations without major disruption. While costs rose sharply, careful coordination allowed the team to manage the situation effectively.

When asked whether the global situation had influenced other expenses, such as accommodation or participation costs, he pointed to the rising hotel fees in Seoul.

“Regarding hotels, I’m not entirely sure if the war had a direct impact, but during this week in Seoul, hotel prices have been extremely high,” he said. “I tried to book accommodation for my parents, who were visiting from another city, and not only were prices very high, but availability was also very limited.”

The hurdles extended beyond personal inconvenience. Many collectors visiting the fair reportedly faced similar difficulties securing rooms. “It’s not entirely clear why, as no major events are happening in Seoul at the moment, but the hotel situation has been quite intense,” he said.

While ART OnO successfully navigated these challenges, he noted that they were one of the lucky ones. “For us, it wasn’t a major problem overall,” he said. “However, I’ve heard that other art fairs faced more serious challenges, with several galleries canceling their participation.”

This, however, did not faze Andrei Jecza, a gallery owner from Romania. His gallery, Jecza Gallery, brought a diverse mix of contemporary works, reflecting both historical depth and emerging creativity, in its first foray into the Asian art scene.

For the event, his gallery showcased 20 art pieces representing the works of seven artists, six Romanians and one Albanian. The exhibition presented a “wild mix” of styles, ranging from figurative and abstract paintings to sculpture, reflecting the gallery’s flexible and exploratory approach.

Gallery owner Andrei Jecza speaks at SETEC in southern Seoul, April 2. Courtesy of Bereket Alemayehu

“We are here for the very first time,” he said. “The primary goal of participating in the Seoul fair is to understand and engage with a new audience. It’s important first to discover this market.”

At the same time, commercial success remains an important goal.

“Of course, we hope to sell; that’s why we are here,” said Jecza, who represents the family-run gallery which operates across three locations in Romania, including the capital, Bucharest.

Jecza Gallery is known for its strong focus on contemporary art, particularly works tracing Romania’s complex past. “Contemporary art in Romania really begins in the 1960s,” Jecza explained, referring to the period under the communist regime when artistic freedom was heavily restricted. Many artists responded by creating underground art or fleeing the country — an important narrative that now forms about half of the gallery’s program.

The remaining portion highlights emerging artists, offering a platform for new voices in the Romanian art scene. While approximately 90 percent of the gallery’s artists are Romanian, the Seoul exhibition also featured international figures, including Genti Korini, who is currently representing Albania at the prestigious Venice Biennale.

One of the exhibitors, Swiss artist duo Monica Studer and Christoph van den Berg, is pushing the boundaries of art and imagination. Visiting Korea for the second time, the Basel-based couple brought more than three decades of collaboration rooted in digital experimentation, storytelling and philosophical inquiry.

Swiss artist duo Monica Studer and Christoph Van den Berg at SETEC in southern Seoul, April 2 / Courtesy of Bereket Alemayehu

Married and working side by side, both described their practice as a partnership and a family business. Their journey began in the late 1980s when they acquired their first computer, long before the internet transformed global connectivity.

“That’s where we come from,” they recalled.

In the early days, they were exploring the internet’s vast new creative possibilities, and today, their work spans internet-based projects, immersive installations and complex digital environments. At the heart of their recent explorations emerges a profound question: Can machines develop something akin to consciousness? While science has yet to provide answers, the artists embrace uncertainty as a creative space. “Even scientists don’t know,” they said. “As long as we don’t know, it remains possible.”

They don’t offer definitive conclusions; their art invites audiences to reconsider reality itself. Through fictional narratives, mockumentaries and digitally constructed worlds, they challenge the idea that the reality we perceive is the only one that exists. “By shifting perspective, we can begin to see things differently, like turning around and suddenly noticing the side of a cupboard, not just its front,” they explained.

Having previously exhibited in Japan and China, the artists were struck by the distinct cultural identities across East Asia. In Korea, they found a unique sense of openness and warmth. “Seoul feels like a melting pot of ideas,” they observed, appreciating the city’s dynamic and creative energy.

This year, the fair also attracted Giorgia Basili, a prominent Italian art critic, curator and journalist based in Rome. Her visit to Seoul left a strong impression on her. “I didn’t know so much about the art scene in Korea, so I’m very amazed,” she said.

“What’s most amazing to me was the diversity of participating galleries, which included not only Korean artists but also international exhibitors from countries such as Romania, Japan, Germany and Tanzania.”

Unlike larger, more commercial art fairs, she described this particular event as a “boutique art fair,” noting its more friendly scale. With fewer booths spread across three halls, each gallery was given ample space, resulting in a calm, non-chaotic atmosphere. She also highlighted the thoughtful lighting and the industrial aesthetic of the venue, particularly the striking red tubes across the ceiling, which added a distinctive visual character.

However, what truly differentiated the fair in Basili’s view was its inclusion of nonprofit art spaces and museum-related exhibitions. “Art fairs can often feel overwhelming and heavily commercial,” she said. “While the market aspect is important, it’s equally necessary to have a curatorial overview.”

This balance, she believes, allows visitors to engage more deeply with artistic narratives beyond sales.

Overall, Seoul, known for its vibrant art ecosystem, boasts a growing network of private institutions, collectors and museums, making it an increasingly attractive destination for international galleries.

Visit art-ono.com for more information.

Bereket Alemayehu is an Ethiopian photo artist, social activist and writer based in Seoul. He’s also the co-founder of Hanokers, a refugee-led social initiative, and a freelance contributor for Pressenza Press Agency.