Gambling is illegal in South Korea, a country that strives to curb socially dangerous addictions. However, as with most places with such prohibitions, there are exceptions. Here, that exception is Paradise City, a unique complex just outside Seoul near Incheon Airport, where only foreigners can gamble but many South Koreans nonetheless visit to enjoy the mega mall, a 5-star luxury hotel, restaurants and the unique on-site collection of contemporary art.
That art is seamlessly integrated throughout the complex in a design scheme often described as “art-tainment.” As a testament to the strength of the connection between Paradise City and South Korea’s cultural and artistic scene, the complex has, since Frieze Seoul’s inaugural edition, hosted a mega party, Paradise Art Night, which celebrates the fair and kicks off a week of cultural events. Attendees have included K-celebrities and international stars, who are invited—or in some cases paid—to attend.
Observer had the chance to explore this unusual “paradise” during Seoul Art Week, taking a tour of the complex and its art collection before the festivities began. This year’s Art Week event was co-hosted by music producer Pharrell Williams, who promoted his latest venture, the auction platform Joopiter, unveiling G-Dragon’s collection, now available for sale. Titled “Nothing but a ‘G’ Thang: The Art & Archive of G-Dragon,” the sale features a selection of G-Dragon’s fashion items, contemporary artworks, design objects and memorabilia, as well as specially commissioned art for the event.
G-Dragon, one of the most popular K-pop stars and a former member of the iconic band BIGBANG, is known for his deep passion for the arts. He was one of the first K-pop celebrities to publicly share his art collection, helping make art collecting “trendy” in South Korea.
That same night, Paradise Art Night celebrated Josh Sperling’s exhibition Wonder—the artist’s first show in South Korea. Organized by Perrotin, the show features pieces from Sperling’s signature colorful “Spiral” series and several of his “Squiggle” benches, creating a kaleidoscopic environment that overstimulates the senses and hypnotically draws visitors into the rhythm of the forms and color gradients that dominate the space.
Pharrell Williams, in a large light blue hat, showed up early to visit the exhibition accompanied by a sizeable entourage. With him was G-Dragon, who attracted a large assemblage of excited Korean teens who descended upon Paradise City’s indoor plaza hoping to take a picture of their idol. Both celebrities ultimately disappointed many of the event’s attendees, who were hoping to see performances at the night’s festivities. Instead, Williams and G-Dragon disappeared shortly after the gala dinner for an exclusive group of VIP guests.
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After the show’s opening and auction preview, most of the crowd headed to Chroma Club for the afterparty. Designed by Amsterdam-based firm MVDRV, the club features futuristic architecture resembling a massive art installation inspired by the idea of a melting sun. In this psychedelic atmosphere, guests enjoyed a strange mix of cakes, hot dogs and fried panzerotti, along with unending drinks. K-rapper Simon Dominic and American rapper Pusha-T took the stage, eventually drawing the Korean crowd onto the dancefloor. Among the attendees, Observer spotted artist Daniel Arsham and the Perrotin team, along with numerous Korean celebrities and influencers.
The couple behind Paradise City and its art
Paradise City is the product of a joint venture between Korea’s Paradise Group, which is owned by art collector Phillip Chun, and Japan’s Sega Sammy, a corporation focused on entertainment and gaming. The luxury complex opened in 2017 following an initial investment of $1.7 billion.
Paradise City’s museum-worthy art collection, which features over 3,000 artworks with 280 of those displayed in public areas and the rest in private rooms, reflects Phillip Chun and his wife Elizabeth Chun’s decades-long passion for collecting art. Ranked among ArtNews’ top 200 collectors worldwide, they reportedly have one of South Korea’s most notable collections of contemporary and modern art. Chun has described Paradise Art Space—the complex’s expansive exhibition gallery—as “a hub of new Asian modern and contemporary art where Korean and global cultures are brought together.” Indeed, the couple can afford to spare no expense in acquiring and commissioning artwork for the complex, as Forbes estimates that Phillip Chun’s net worth is roughly $765 million.
Among the collection’s highlights are unique commissions by blue-chip artists created specifically for Paradise City. These include a stunning series of gold and silver prison-cell-inspired canvases by Peter Halley that dominate the hotel’s reception area, a gold-and-flesh horse by Damien Hirst at the entrance and an iconic Yayoi Kusama pumpkin leading the way into the casino. Guests strolling through the hotel’s corridors will also see works by prominent Korean artists such as Lee Bae, Park Seo-Bo, Kim Hodeuk and Kim Tschang-Yeul, reflecting the Chun’s commitment to promoting both the Korean art scene and contemporary art history.
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In the spacious indoor plaza surrounded by restaurants, there are several impressive sculptures, including Jeff Koons’ Hercules with his signature Gazing Ball, a monumental piece by KAWS and a gold canvas by Damien Hirst. Monumental sculptural works also populate the complex’s outdoor greenspaces—there are Subodh Gupta’s towering stainless-steel utensil installation, Ugo Rondinone’s colorful neon sign Dog Days Are Over and Anish Kapoor’s polished metal curvilinear C-Curve. Since 2018, Paradise Art Space has regularly hosted exhibitions curated by notable figures like Seoul-based fashion designer and director Jung Kuho. It is currently showing the aforementioned Josh Sperling exhibition.
The only potentially controversial feature of this otherwise exceptional art experience is the “Paradise Walk.” Described on the complex’s website as “an exceptional experience that stimulates the visual and auditory senses at all times, with the traditional Korean five-color light,” the installation by the collective Wonder Medium bears a striking resemblance to James Turrell’s works, leaving some to wonder if it is an homage—or simply a poor imitation. Otherwise, Paradise City really does stand out as a successful example of an “art-tainment” destination that can stand on its own in an increasingly crowded cultural landscape.
