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Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
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Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Art & Design Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
Hyundai Motor Announces Opening of Hyundai Translocal Series: Via Satellite in Yongin and São Paulo
SEOUL, November 4, 2026 – Hyundai Motor Company today announced the opening of Hyundai Translocal Series: Via Satellite, co-organized by the Nam June Paik Art Center in Yongin, Korea, and the Pinacoteca de São Paulo in Brazil.
Opening on November 5, 2026, and running through March 28, 2027, the presentation at the Nam June Paik Art Center unfolds under the subtitle Moon, Echo, Mosquitoes, and Memes, bringing together newly commissioned and existing works by the four participating artists and highlighting the multilayered dialogues among them. The exhibition at the Pinacoteca de São Paulo, subtitled Dialogues with Nam June Paik, opens on November 28, 2026, and runs through April 18, 2027, presenting new works by the participating artists alongside more than 25 works by Nam June Paik.
Hyundai Translocal Series is a partnership initiative by Hyundai Motor that supports art institutions in Korea and across the globe in multi-year collaborations, encompassing joint research, artwork commissions, exhibitions, public programming, and publications. Conceived as a platform for sustained collaboration, the initiative fosters in-depth artistic exchanges that explore and reflect the complexities of global interconnectedness.
The exhibition builds on a multi-year collaboration between the Nam June Paik Art Center and the Pinacoteca de São Paulo. Curators from both museums and participating artists visited each other’s cities to explore their respective cultures, languages, and histories including histories of migration and movement, while a joint forum offered an opportunity to carry their research further.
Extending Paik’s experiments, which allowed people to transcend physical distances, form new relationships, and imagine new possibilities, the exhibition follows the practices of four artists, Christine Sun Kim, biarritzzz, Jane Jin Kaisen, and Vivian Caccuri, based in different cities, examining the potential for new connections to emerge where distinctive regional and cultural contexts intersect. Through their works, the artists explore how connections can take shape across boundaries, evoking a translocal perspective.
Christine Sun Kim (b. 1980, Orange County, based in Berlin) continues her mind series and unveils two large-scale murals: Mind Land Mass (2026) at the Nam June Paik Art Center and Land Mind (2026) at the Pinacoteca de São Paulo. The works engage in a dialogue across the two institutions. Kim imagines her own mind as forming a single, real entity that is immediately visible. It is represented as a black mass, with another mind descending over it. For the artist, the idea of the mind touching something signifies a state that is persistent and somewhat obsessive. The relationship between different masses evokes the distance and perceptions that the mind forms with respect to past memories and particular objects. It also signifies the feelings of weight, pressure, and obligation that arise.
biarritzzz (b. 1994, Fortaleza, based in Salvador), in collaboration with Mozambican dancer and choreographer Tsumbe Mussundza, explores the historical traces and origins of “samba” as both a word and a style of dance in Three Origins of the Word Samba: Jump, Bath, Prayer (2026). In another new work, Language is a Vaccine (2026), the artist shows, through the ambiguities of language, how it can serve not only as a way of describing reality but also as a medium for creating new possibilities.
Jane Jin Kaisen (b. 1980, Jeju, based in Copenhagen) presents Old Moon – New Moon (2026), a film recorded from Rundetårn in Copenhagen, the oldest functioning observatory building in Europe, alongside Current (2026), which uses slow-motion aerial filming to show volcanic rock islands, waves, and the vast flowing expanse of the sea off Jeju Island. Positioned opposite one another to form a visual dialogue, the works remind us of how natural forces such as the moon, currents, and tides served as media for people on opposite sides of the world to form relationships even before the development of today’s technology.
Vivian Caccuri (b. 1986, São Paulo, based in Rio de Janeiro) presents Clepsydra (2026), a sound sculpture installation comprising concrete block speakers and audio cables that form a vine-like tangle across the space. In place of the familiar, easily recognized pulse of the heartbeat, the artist focuses on the sounds of veins. Sounds recorded from the veins of multiple people resonate throughout the space, echoing the continuous dripping of an ancient water clock—the meaning of the work’s Greek-derived title—and inviting us to reimagine our lost perception of time as something continuous.
The exhibition is a project of 'connection' that links Nam June Paik's experiments to the realities of today. By bridging different places and cultures and fostering mutual understanding, it creates a space for communication and solidarity, while also serving as an experiment in collaboration among four curators and four artists. In the year marking the 20th anniversary of Paik's passing, an exhibition where his waves across the sky converge holds all the more significance.
Director of Nam June Paik Art Center, and Jochen Volz, General Director of the Pinacoteca de São Paulo
The collaborative research between Nam June Paik Art Center and Pinacoteca de São Paulo traces points of resonance across local contexts, allowing the dialogue among the four artists to extend to Paik’s artistic practice. We value the opportunity to accompany this ongoing research and collaboration, through which distinctive perspectives intersect and open new interpretations and discourse.
Art Director of Hyundai Motor Company
The two institutions will organize public programs, including artist talks and performances at the opening, as well as guided tours with sign language interpretation and workshops throughout the exhibition period. These programs invite audiences to engage more deeply with the artists’ practices and the themes of the exhibition.
Hyundai Translocal Series: Via Satellite is co-curated by:
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About Christine Sun Kim
Christine Sun Kim (b. 1980, Orange County) is currently based in Berlin. She explores the power that sound possesses in society and the ways in which it operates, translating sound into a language that can be seen and read. Her practice of investigating language spans a wide range of media, including drawing, performance, video, installation, large-scale murals, and public projects. Musical notation, written language, infographics, American Sign Language (ASL), the body, and strategically deployed humor are recurring elements in her work. Both within and outside the exhibition setting, Kim continually questions the rules of communication and the discussions of accessibility that hearing-centered society has long taken for granted.
Having worked primarily in the United States and Europe, Kim recently presented a comprehensive view of her practice in major solo exhibitions at the Walker Art Center in Minneapolis (2026) and the Whitney Museum of American Art in New York (2025). Kim has exhibited and performed internationally, including at the National Museum of Modern and Contemporary Art, Korea (2026); the Gwangju Biennale (2023); the Queens Museum, New York (2022); the Museum für Moderne Kunst, Frankfurt (2021); the Manchester International Festival, Manchester (2021); and the MIT List Visual Arts Center, Cambridge (2020). Kim’s awards and honors include a MacArthur Fellowship, a United States Artists fellowship, the Ford Foundation and Mellon Foundation’s Disabilities Futures Fellowship, and the Prix International d’Art Contemporain presented by the Fondation Prince Pierre de Monaco.
About biarritzzz
biarritzzz (b. 1994, Fortaleza) is currently based in Salvador. Working across the realms of language, digital technology, image, sound, and online culture, she has made use of a wide range of media and platforms. Through non-formalized images and language such as memes and GIFs showing brief, repeated movements, she questions the ways in which knowledge is produced and circulated in Western systems and the authority and legitimacy ascribed to writing. Rather than viewing the material and spiritual as separate, she embraces mythology and magic, incorporating diverse worldviews that have been excluded by Western rationalism. Her use of blurred and incomplete images that diverge from technological and visual standards presents alternative narratives that open up cracks in familiar orders.
She has participated in exhibitions at the Museu de Arte do Rio (2026, 2023); Mercosul Biennial (2025); Museu de Arte de São Paulo Assis Chateaubriand (2025); State of Concept Athens (2024); Delfina Foundation (2024); Museu do Amanhã (2023); Kunsthall Trondheim (2023); Pivô Arte e Pesquisa (2022); A.I.R. Gallery (2021); Centro Cultural São Paulo (2021); The Wrong Biennale (2019); and Festival Internacional de Linguagem Eletrônica (2017), among others. Her works are held in the collections of Rhizome Artbase, KADIST Foundation, Museu Nacional da República, and Instituto Moreira Salles. She was nominated for the PIPA Prize in 2023 and 2024 and for the K21 Global Art Award in 2026.
About Jane Jin Kaisen
Jane Jin Kaisen (b. 1980, Jeju) was transnationally adopted to a family in Denmark and has, over the past two decades, developed a distinctive body of work concerning memory, migration, borders, and translation at the intersection of embodied knowledge and larger social, cultural, and political histories. Another recurring focus revolves around nature and island spaces, cosmologies, re-framings of myths, and engagement with ritual and spiritual practices. Working with video installation, experimental film, photography, installation, and performance, her artistic practice is informed by extensive interdisciplinary research, artistic collaborations, and engagement with various communities.
Kaisen represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) and participated in Korea Artist Prize 2024 at the National Museum of Modern and Contemporary Art, Korea. Her solo exhibition Community of Parting at Kunsthal Charlottenborg in Copenhagen was awarded Exhibition of the Year 2020 by the International Association of Art Critics, Denmark. She is the recipient of the 2023 Beckett Prize, the 2023 New Carlsberg Foundation Artist Grant, and a three-year work grant from the Danish Arts Foundation in 2022. Recently, she participated in the Medina Triennial (2026); K-Now at MASI Lugano (2026); the 13th Seoul MediaCity Biennale (2025); the 13th Berlin Biennale for Contemporary Art (2025); the Hawaii Triennial (2025); and the 36th Ljubljana Biennale of Graphic Arts (2025).
About Vivian Caccuri
Vivian Caccuri (b. 1986, São Paulo) is currently based in Rio de Janeiro. Working with sound as her primary material, she reconfigures traditional narratives regarding the body in an individual and communal sense. Based on her investigations into myths surrounding insects, Caccuri has gained recognition for work that places the mosquito at the center of its narratives as it explores the relations between human and nonhuman species. Her approach of mixing scientific data and fiction into contemporary reinterpretations extends to a series of embroidery panels made from mosquito netting. Her sound installations, made primarily with materials such as nets, loudspeakers, microphones, cables, chains, and candles, serve as a medium that illuminates the space between the visible and the invisible, the audible and the inaudible.
From her base in Brazil, Caccuri has built an international career, holding solo exhibitions at venues including the Centro Cultural Banco do Brasil in São Paulo (2026) and Galeria Municipal do Porto in Porto, Portugal (2024), and presenting a two-person exhibition at the New Museum (2022–2023) and a commissioned work for High Line Art (2021–2022), both in New York. Her work has also been shown at the 58th Venice Biennale (2019) and the 32nd Bienal de São Paulo (2016), among other events. She received the Sergio Motta Art and Technology Award (2011) and the Funarte Prize for Critical Production in Music (2013) and was shortlisted for the PIPA Prize (2018) and the Future Generation Art Prize (2017).
About Nam June Paik Art Center
In 2001, artist Nam June Paik and Gyeonggi Province began discussions to establish an art museum, which opened as the Nam June Paik Art Center in October 2008. During his lifetime, Paik referred to the museum that would bear his name as “the house where Paik lives on.” As he wished, the Nam June Paik Art Center goes beyond remembering and commemorating the artist to carry out its mission of keeping Paik’s artistic spirit alive and at work in the present. As a public museum specializing in media art, it focuses on cultivating artistic and scholarly experiments together with contemporary creators and researchers.
About Pinacoteca de São Paulo
Pinacoteca de São Paulo is a visual arts museum focusing on Brazilian art from the 19th century to the present, set in dialogue with global artistic practices. Founded in 1905 by the State Government of São Paulo, it is the city's oldest art museum. It presents exhibitions from its renowned collection of Brazilian art alongside temporary exhibitions by national and international artists across its three buildings: Pina Luz, Pina Estação, and Pina Contemporânea. Pinacoteca also develops multidisciplinary public programming and houses a comprehensive, inclusive educational department. B3, the Brazilian stock exchange, serves as Main Sponsor (Mantenedora) of Pinacoteca de São Paulo.
About Hyundai Motor’s Art Projects
For over a decade, Hyundai Motor Company has deepened its partnerships with museums and cultural organizations worldwide, including Tate, the Los Angeles County Museum of Art (LACMA), the Whitney Museum of American Art, and the Korean Pavilion at the Venice Biennale. Hyundai Translocal Series is a new partnership initiative that roots itself in fostering dialogues and collaborations among art institutions in Korea and across the globe. Hyundai Motor’s own art initiatives include open call programs such as the VH AWARD, the Hyundai Blue Prize+, and Artlab Editorial, a digital platform dedicated to art writing by transnational voices. These ongoing collaborations embrace the complexities of the cultural landscape by exploring new ideas and perspectives within and beyond the art ecosystem.
For further information, visit artlab.hyundai.com or follow @hyundai.artlab #HyundaiArtlab.
About Hyundai Motor Company
Established in 1967, Hyundai Motor Company is present in over 200 countries with more than 120,000 employees dedicated to tackling real-world mobility challenges around the globe. Based on the brand vision of ‘Progress for Humanity,’ Hyundai Motor is accelerating its transformation beyond mobility through advanced robotics and physical AI. The company invests in new technologies to bring about revolutionary solutions while pursuing open innovation to introduce future mobility services. In pursuit of a sustainable future for the world, Hyundai Motor will continue its commitment to carbon reduction as a full lineup provider with industry-leading ICE, hybrid, plug-in hybrid, hydrogen fuel cell and EV technologies.
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