Korea JoongAng Daily - Daily News from Korea

This article is by Cho Jung-woo and read by an artificial voice.

[GIVE IT A GO]

How many french fries can you eat in one sitting?

I was asked this question by a man about 10 minutes after meeting him. It wasn't something I had ever considered.

The conversation took place at a french fry gathering, one of a growing number of casual meetups spreading across Korea. Arranged individually through Karrot, a neighborhood-based secondhand marketplace app, they invite strangers to fast-food chains for a shared plate of fries and a brief conversation. Curious about why strangers were meeting for nothing more than fried potatoes, I decided to go to one myself.

On a recent Wednesday, just before 4 p.m., I arrived at a McDonald's branch in Daechi-dong, a neighborhood dense with cram schools in Gangnam District, southern Seoul.

Unsure whether I was early, I ordered an iced tea and waited for a group of people I had never met, at a fast-food restaurant I rarely visited anymore.

I couldn't remember the last time I had physically sat inside a fast-food chain. Probably during university, when I would go eat chicken wings after long study sessions at the library.

I was awkwardly sipping my iced tea near the entrance when my phone buzzed.

"I just arrived. Has anyone arrived yet?" someone wrote in a group chat on Karrot.

"I'm here. Where are you?" I typed back, scanning the area. A young woman in casual clothes was also looking around. I approached her and asked quietly, "Are you here for french fries?"

"Yes," she said, smiling, as if I had just given her the right password.

We found a large table and waited. The woman, a part-time worker in her 20s, said it was her first time attending one of these gatherings. She looked genuinely excited.

"I skipped lunch for this," she said.

How it works

Signing up was simple. With a Karrot account set for my neighborhood, I searched "french fries" in the community tab. Dozens of group chats appeared, many named after locations: "Jongno french fry gathering," "Gangnam french fries."

I joined two of the largest chats, each with more than 1,000 participants. One was considered the original group that started the trend, and the other focused specifically on McDonald's fries.

Inside the chats, people debated texture. A poll asked whether people preferred soggy fries or freshly fried, crisp ones. Others posted photos and short reviews of past gatherings.

Anyone can host a meeting. You set a time and place, write a casual description and wait. McDonald's, Lotteria and Five Guys are popular venues. Photos of fries poured into a single tray seemed to be a ritual in reviews of each gathering. People usually split the bill.

I scrolled through the scheduled meetups and joined one that fit my calendar. Without filling out anything else, I was added to a separate group chat for that specific gathering.

At the table

There were no formal announcements. People asked basic questions: exactly where to gather and how long the meeting would last. The answer to the latter came quickly.

"Until we finish eating french fries," someone replied.

Fourteen people joined the chat. In reality, far fewer showed up.

After the woman and I sat down, a man in his 40s walked in. Without hesitation, he asked if we were there for french fries and took a seat when we said yes. It was his third time attending one of these gatherings.

After about 10 minutes, he suggested we order. He asked how much we could eat and went to the kiosk. Minutes later, two large fries and two orders of curly fries were set down in front of us. As tradition dictated, we poured them all into one tray.

The curly fries were new to me.

"I don't think I've tried these before," I said.

"They're seasonal," he replied. "They taste kind of like Popeyes," the woman added, already reaching for another.

Despite my worries about the low turnout and the age gap, the conversation flowed easily. We talked about movies, hobbies and trips we had enjoyed. The topics jumped around. I ke...

Kim Yeol

The author is the director of the Smoking Cessation Support Center at the National Cancer Center and a specialist in family medicine.

A recent court decision rejecting the National Health Insurance Service's damages claim against tobacco companies has drawn attention for its legal implications. But medical experts warn the ruling should not be misinterpreted as diminishing the health risks of smoking.

The court acknowledged epidemiological links between smoking and lung and laryngeal cancers but said it was difficult to prove direct legal causation for individual patients. It also ruled that insurance payouts were mandatory expenses under the law, making it hard to hold tobacco companies liable for damages.

While the decision addresses legal responsibility, physicians fear it may send the wrong public message. Some smokers may misunderstand the ruling to mean smoking is not a direct cause of cancer or feel less urgency to quit. Such interpretations would contradict established medical evidence.

From a scientific standpoint, smoking remains one of the most significant causes of lung cancer, laryngeal cancer and many other diseases. Although cancer rarely results from a single factor, smoking is the most important risk factor for these cancers. Reports by the World Health Organization and the International Agency for Research on Cancer, along with decades of research, show that smoking raises the risk of lung cancer by 15 to 30 times compared with nonsmokers. It is also a major cause of cancers of the oral cavity, esophagus and pancreas.

The health impact extends beyond cancer. Smoking contributes to heart attacks, strokes, chronic obstructive pulmonary disease and complications of diabetes. These findings are supported by long-term population cohort studies and large-scale meta-analyses accumulated over decades.

Equally important is the benefit of quitting. Research shows cardiovascular risk begins to decline soon after smoking cessation, and the risk of lung cancer and other cancers continues to fall over time. Quitting smoking remains the most effective way to prevent many serious diseases.

Regardless of the court ruling, the social and economic burden of smoking remains substantial. In Korea, smoking-related losses are estimated to exceed 13 trillion won annually, with costs continuing to accumulate.

International experience suggests tobacco-related harm is not viewed solely as an individual responsibility. In the United States, state governments sued tobacco companies over rising public health care costs, resulting in the Tobacco Master Settlement Agreement, which required companies to pay more than $200 billion and imposed restrictions on advertising and marketing. In Canada, courts approved settlements exceeding 30 trillion won after lawsuits alleged companies had concealed the risks and addictive nature of tobacco.

These cases reflect a broader recognition that smoking-related harm imposes costs on society as a whole. In Korea, most treatment expenses for smoking-related diseases are covered by national health insurance, ultimately borne by the public.

The recent ruling should not lead to weaker tobacco control. Instead, the government should strengthen smoking cessation support and regulatory policies to protect public health. Tobacco companies, regardless of legal outcomes, should also acknowledge their social responsibility by supporting cessation efforts and sharing the burden of smoking-related disease.

Many smokers resolve to quit at the start of a new year or after family gatherings, yet most relapse within days or weeks. For families, the most meaningful gift may be a firm commitment to stop smoking.

Whatever the legal judgment, the body does not wait. Carcinogens accumulate with each cigarette. The time to quit is not later but now.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaki...

Korea's technology gap with major competitors is widening, while fewer students are choosing science and engineering fields, raising concerns about the country's long-term competitiveness.

According to the Ministry of Science and ICT's 2024 technology level assessment reported to the Presidential Advisory Council on Science and Technology, Korea trails the United States by 2.8 years in overall technological capability. China's gap with the United States is 2.1 years, putting Korea 0.7 years behind its regional rival.

Since China first overtook Korea in 2022, the gap has continued to widen. In a comprehensive evaluation of 136 technologies across 11 sectors, Korea ranked last among four major players: the United States, the European Union, China and Japan.

The growing distance from China is particularly concerning. In an assessment of 50 national strategic technologies, Korea's gap with the United States was estimated at 2.6 years, compared with China's 1.4 years. Even in secondary batteries, a field where Korea had long held a leading position, China has moved ahead. Semiconductors remain one of Korea's few areas of strength, but Chinese companies are rapidly narrowing the gap.

More troubling is the weakening pipeline of future talent. This year, 144 admitted students declined enrollment in industry-linked programs at Yonsei University and Korea University in fields such as semiconductors and automotive engineering. These programs effectively guarantee employment at major firms such as Samsung Electronics and SK hynix, yet withdrawals increased by nearly 40 percent from the previous year.

Private education institute Jongro Academy said many of the students likely chose medical schools or other high-demand programs after receiving multiple admissions offers, reflecting the continued concentration of top students in medical fields.

At a time when science and technology are central to national power, major economies are moving in the opposite direction. China is accelerating efforts beyond its "Made in China 2025" initiative toward longer-term industrial strategies, producing about five million engineering graduates each year. Japan has identified 17 strategic industries and is expanding government support to rebuild industrial competitiveness. The United States also views advanced manufacturing as a core element of its industrial and technology strategy.

Korea must respond to this global shift. Like its competitors, the government should expand tax and fiscal support for corporate research and development and advanced investment. Policies to attract science and engineering talent should include scholarships, improved working conditions and military service incentives.

Industry-linked university programs should also evolve beyond simple job placement to strengthen world-class research capabilities. In an era of intensifying competition for technological leadership, failing to cultivate talent could undermine the country's economic future.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.

The author is the chief editorial writer at the JoongAng Ilbo.

The most striking change since the launch of the Lee Jae Myung administration has been in asset markets. The benchmark Kospi, which began near 2,700, is now approaching 6,000. Apartment prices in Seoul have risen every week without interruption.

As stock and housing prices climb, the wealth gap between those who own assets and those who do not has widened sharply. A new divide has emerged between sudden winners and those left behind. Asset polarization is deepening generational inequality and widening disparities between Seoul and regional areas. As wealth generates more wealth, intergenerational transfer is accelerating, making government pledges on youth employment and balanced regional development sound increasingly hollow.

A stock rally amid growth of barely 1 percent is clearly abnormal. Signs of overheating are evident. With incomes stagnant but markets rising, households are rushing into equities. Margin-backed investing has surpassed 31 trillion won ($21.5 billion) this month, doubling in a year. Rising leverage among both young and elderly investors poses significant risks. At a minimum, authorities should warn against borrowing to invest.

The government is unlikely to be unaware of the risks. Yet it has chosen to highlight market gains as a policy achievement, apparently seeking to sustain positive sentiment through the June local elections.

The more serious concern lies in housing. Real estate remains a political black hole capable of overwhelming other issues and even destabilizing administrations. President Lee was unusually cautious about property early in his term. At his first press conference he avoided the issue, later saying only that demand controls and supply measures remained available.

It is unclear why stronger tools covering supply, taxation and finance were not deployed during the early policy window. After acknowledging late last year that there appeared to be no effective response to rising prices in Seoul and the metropolitan area, the administration has since shifted to a tougher stance.

Resuming heavier capital gains taxes on owners of multiple homes is a reasonable step. Some policy action is necessary. Owners will have to decide whether to pay higher taxes or sell. If firm presidential signaling increases listings and stabilizes prices, that would fall within the normal scope of housing policy.

However, the administration has gone further by framing multiple-home owners as the problem themselves. Casting them as villains may lift approval ratings in the short term, but dividing the public is a temporary tactic. Not all multiple-home owners are speculators, and many senior officials also own multiple properties. Policy should instead be grounded in a detailed analysis of how many speculative cases exist and how much additional supply tax changes would actually generate.

The current situation recalls the Roh Moo-hyun administration. At the time, strong rhetoric targeted residents in Seoul's Gangnam District, yet housing prices ultimately surged. By the end of Roh's term, Seoul home prices had risen sharply, and the housing issue became a decisive political liability despite strong stock market performance.

Roh later identified the core cause: liquidity. Rapid monetary expansion between 2005 and 2006, combined with large-scale land compensation and development spending, flooded markets with cash. When liquidity surges, asset inflation becomes difficult to control.

The same pattern is visible today. Last year the government implemented a supplementary budget totaling 32 trillion won, including 13 trillion won in relief payments. This year's budget has expanded to 728 trillion won, up 8.1 percent. Additional supplementary spending is already being discussed.

Meanwhile, broad money (M2) reached a record 4.52 quadrillion won in December last year, with growth exceeding 8 percent in recent months. While the Bank of Korea has downplay...

This article is by Shin Ha-nee and read by an artificial voice.

IVE has long been preaching self-love through the "narcissistic" concept woven into its musical narrative. With its latest and second full-length album, "Revive+," the girl group is widening its gaze to reach beyond the self to embrace a broader "us."

"Up until now, the message of our music was about 'me,' but this album expands that into 'us,'" said member Liz during a press showcase at Yes24 Live Hall in eastern Seoul on Monday. "We've tried new things in terms of both performance and sound, so I hope you'll be able to see us from a new perspective."

Debuting in 2021 under Starship Entertainment, IVE consists of six members: An Yu-jin, Gaeul, Rei, Jang Won-young, Liz and Leeseo. The group has built its identity around unapologetic self-confidence through hits such as "After LIKE" (2022) and "Love Dive" (2022).

With "Revive+," however, the six-member group is shifting its focus. This change is less of a lyrical or sonic evolution than a reframing of perspective — a symbol of its "reignited" will to broaden its reach and invite more listeners, according to its agency Starship Entertainment.

"It's not only IVE that has grown; our listeners have as well. Together, that creates a united 'us,'" added member Jang.

The album comes about six months after its fourth EP, "IVE Secret" (2025), and nearly three years since its first studio album, "I've IVE" (2023).

"Revive+" features 12 songs, including the six members' respective solo tracks. Led by "Blackhole" and the prerelease "Bang Bang," the full-length album includes the B-sides "Hush," "Stuck in Your Head," "Fireworks" and "Hot Coffee," along with Jang's solo track "8," Gaeul's "Odd," Leeseo's "Super ICY," Liz's "Unreal," Rei's "In Your Heart" and An's "Force."

Jang, Gaeul, Leeseo, Liz and Rei all contributed to the lyrics for their respective solo tracks, with Jang also taking part in writing "Bang Bang."

"Blackhole" is an electronic pop track with a cinematic vibe, evoking the scale of grand sci-fi films such as Christopher Nolan's "Interstellar" (2014).

"I believe one of the biggest appeals of K-pop is artists' synchronized choreography," An said. "We've focused a lot on the performance for 'Blackhole,' even featuring a large dance crew in the music video."

With a successful four-year career, IVE says it now prioritizes maintaining fans' anticipation rather than numbers.

"Instead of any specific milestones, I want to hear people say that they're eager to see what IVE does next," Liz said. "This album was a challenge for us, but since so many have shown love for it, we want to keep taking on new challenges in the future."

This article is by Jin Eun-soo and read by an artificial voice.

BTS, for its much-anticipated comeback album, has chosen to go backward — not in sound or ambition, but in spirit.

The septet, which is making a full-group comeback in nearly four years, wants to talk about "the team's root, starting point and internal stories," in its upcoming album, according to its agency HYBE.

Music is not the only medium the group is using to convey that message.

Its deliberate choice of Gwanghwamun Square as the stage of its comeback performance on March 21 underscores the same message, helping to draw a connection between the past and the present.

Since the Joseon Dynasty (1392-1910), Gwanghwamnun Square has long served as both a political barometer and a public gathering ground for Koreans. Multiple candlelight vigils have been held there, helping shape Korea's modern democracy. The square is also known to hold festivals and leisure activities throughout the year.

The heritage thread emphasizing BTS's identity doesn't stop there.

The opening sequence of the roughly hourlong event will spotlight Gyeongbok Palace, Seoul's main royal palace, along with nearby historic landmarks. A partnership with Netflix, which will livestream the show to some 190 countries, will bring Seoul's cultural treasures to tens of thousands of fans around the globe.

According to a document HYBE submitted to the Korea Heritage Service for approval of heritage site usage, BTS is expected to begin its march at Geunjeongjeon, the main hall of Gyeongbok Palace, and walk down what's called the "King's Road" to arrive at woldae, a traditional platform outside of the palace. The seven members will then proceed to Gwanghwamun Square, where the main stage will be set up. At the same time, a media facade will be projected onto the walls of Gyeongbok Palace and the adjacent Sungnyemun, among other sites.

Professor Sim Hee-chul at Dong-ah Institute of Media and Art likened the event to "a cultural olympic that will elevate the Korea's national brand."

With less than a month until the landmark performance, the Korea JoongAng Daily examines the historical meaning of the heritage sites set to feature in the show.

The performance is scheduled to take place on March 21 at 8 p.m.

Gyeongbok Palace and Geunjeongjeon

Gyeongbok Palace holds primacy among the five royal palaces in Seoul as the beopgung, or main palace where the king conducted state affairs, resided and rested. It was built with the founding of the Joseon Dynasty. The palace was destroyed twice — during the Japanese invasions of Korea (1592-1598) and later during the Japanese colonial period (1910-1945). Restoration is still underway, with authorities aiming to complete 40 percent of the complex by 2045.

Access to this area was strictly limited at the time. Only high-ranking officials were permitted to enter.

The hall's authority is underscored by surrounding symbolic motifs. It is decorated with statues of four guardian deities and the 12 zodiac animals. Geunjeongjeon is the only case among the five royal palaces of the Joseon Dynasty where both sets have survived intact.

The guardian statues represent the four cardinal directions and are believed to protect the cosmic order. Their placement was intended to shield the hall from external evil forces and to reinforce the idea of the king, seated at the center of the building, as the axis of the universe and ruler of all creation.

The roof of Geunjeongjeon is adorned with terracotta ornaments depicting characters from Chinese fairy tales, installed to protect the king. Such decorations could only be used for buildings directly associated with the monarch.

In its spacious courtyard stand 24 rank marking stones, 12 on each side of the central king's road. Government officials had to line up according to their ranks and the higher the rank, the closer the official could get to the king.

The symbolic significance of the hall has made it a venue for multiple global cultural...

This article is by Kim Ji-ye and read by an artificial voice.

In an era when gifts are often reduced to a few taps on KakaoTalk — Korea's most used messenger app — MBC's latest reality show, "The Secret Friends Club," created by star producer Kim Tae-ho, turns its focus back to what it means to give a gift. The producer revealed that the heartfelt concept traces back to a resonant comment by Blackpink's Jennie.

"Last August, Jennie told us she wanted to create content that could feel like a gift to viewers and fans during the year-end holiday season," said Kim during a roundtable interview at his production company TEO in western Seoul on Friday. "We were especially drawn to the word 'gift' and that idea eventually led us to the concept of our show."

He added that the program also stems from his own self-reflection, as he often struggled with not knowing what to give the people he cares about most.

"While working on 'The Secret Friends Club,' even though the stars start off not knowing much about each other, the idea that 'I have to give a gift to someone' led them to research and learn about that person. In doing so, they sometimes came to understand them even more deeply than those who had known them for years."

First released on Feb. 1, "The Secret Friends Club" centers around a group of celebrities becoming each other's Secret Santa, which is called manito in Korea. After their identities are revealed, they join forces as "Secret Manito" and prepare gifts for a specific group.

The show features three different celebrity lineups. The first includes Blackpink's Jennie, Dex from the second season of "Single's Inferno" (2021-), comedian Lee Su-ji, TV personality Ro Hong-chul and MMA fighter Choo Sung-hoon.

The producer, who once led one of Korea's biggest hit variety shows, "Infinite Challenge" (2005-18), acknowledged the underwhelming reception and expressed some regret over not clearly communicating the show's concept in advance. Still, he emphasized that the project was envisioned as an "omnibus film or series to watch during the year-end holidays," adding that upcoming episodes would offer more to viewers.

While Kim underscored the show's warm intentions, the first three episodes also leaned more toward a familiar format expected of variety content, which he did not expect from the guests — it missed the mark of the feeling the show was intended to elicit. To make up for the mishap, Kim said the production team introduced a new rule requiring participants to give only handmade gifts to add more focus on the meaning of present-giving.

"When we introduced a benefit for the first person to give a gift in the first lineup, it unexpectedly turned into a kind of chase," said Kim. "Looking back, I think that may have kept viewers from fully seeing the careful buildup behind each gift. So we thought, 'What if we make them give something more handmade from the beginning? If the stars take the time to create something with their own hands and sincerity, it might lead to a different kind of flow.'"

The show also adopts an experimental format, rotating its cast every few episodes. Following the first lineup, the second features actors Jung Hae-in, Go Youn-jung and Kim Do-hoon, along with comedian Park Myung-soo, model Hong Jin-kyung and "Culinary Class Wars" (2024-25) chef Yoon Nam-no. The third lineup includes actors Cha Tae-hyun, Park Bo-young and Lee Sun-bin, as well as Kang Hoon and singer Kwanghee.

Kim acknowledged that they "definitely chose the more difficult path."

"These days, a lot of shows run up to 12 episodes, but speaking personally as a viewer, there honestly aren't many that I watch all the way through," he said. "Part of it is that I've been so busy that I can't keep up consistently, but that also made me think of what if we condensed it into something like four episodes, where each part wraps up cleanly. I felt that could offer a different kind of enjoyment."

"Of course, if we had gone [with a fixed cast], we co...

This article is by Woo Ji-won and read by an artificial voice.

In 2011, seven teenagers in pink skirts made their debut as a girl group, singing songs about crushes and first heartbreaks and embodying a bright and innocent image. Fifteen years later, after each member having explored their own paths, Apink, now a quintet in their 30s, returned — still wearing the same shade of pink.

During the final show of its "The Origin: Apink" concert in central Seoul on Sunday, Apink greeted its fans as if no time had passed, with the same voices and cheerful charm that distinguished it from other groups since its debut.

But their maturity proved that time had indeed passed. The members — Chorong, Bomi, Eunji, Namjoo and Hayoung — seemed more comfortable with themselves, no longer performing because they had to, but fully in the moment and appreciating the stage before them.

"When we were younger, we didn't really understand the lyrics," Eunji told fans. "Now, when I sing, I realize that this [moment on] stage exists because of many small miracles: your making time for us, and all that time together leading [to this]."

That understanding and appreciation may explain how the late-second-generation girl group has stayed together for 15 years — releasing 11 albums and over 20 singles, including its latest mini album "Re: Love," and holding concerts almost every year — in an industry in which female acts are often short-lived.

The three-hour show opened with the group's 2011 debut track "I Don't Know," remaining true to the concert's theme of returning to its roots.

Dressed in pink tops and skirts — the group's signature color — the members rose onto the stage against a backdrop of virtual white snow. The opening sequence featured songs from early in their career, from "My My" (2011) to "Bubibu" (2012), that helped shape their initial image as cute and pure.

The familiar and bright opening notes immediately lifted the mood.

The arrangement of the group's early hits concluded with "It Girl" (2011), which Namjoo described as a "masterpiece." The track distilled everything that defined Apink, and though the members could have distanced themselves from the ultracute lyrics and choreography, they committed to performing the routine with the same cheerfulness they once displayed as teenagers, even as they occasionally flashed shy smiles.

Dressed in black suits and vinyl wide-legged pants, the members revealed a more mature side of themselves. The group covered TVXQ's "Mirotic" (2008), followed by "Fizzy Soda" from its latest 11th EP "Re: Love" and "Red Carpet" (2022). With steady live vocals and powerful choreography — including forceful kicks — the group also proved that bold concepts suit them just as naturally as softer ones do.

The stage was then washed with blue lighting. The mood became sensual and slightly melancholic as the group turned to songs about breakups and heartbreaks, such as "I'm So Sick" (2018). It closed this segment with an elegant performance of "Dumhdurum" (2020) before returning to its hit songs, including "Luv" (2014), "Mr. Chu" (2014) and "Hush" (2012).

The members also did not shy away from their playfulness — a trait that fans cherish.

In one prerecorded video skit, they transformed into a fictional boy band called "Agreen," showing what they might have looked like as male idols. In another, each member dressed as a different character: Chorong as a sloth and Namjoo as a gazelle, inspired by Disney's "Zootopia" (2016); Eunji as a member of the fictional boy band, the Saja Boys, from Netflix's "KPop Demon Hunters" (2025); Bomi as an adorable bunny; and Hayoung as one of the blue aliens in "Avatar" (2009). The skits drew constant laughter from the audience, as did the members' witty banter on stage. It was rare to hear so much laughter at a concert.

Beyond the performances, what stood out most was the group's friendship.

After "It Girl," the members exchanged heartfelt messages with one another. Namjoo teared up as ...

This article is by Jeong Jae-hong and read by an artificial voice.

Korea's exports totaled $43.5 billion from Feb. 1 to Friday, the highest ever recorded for a 20-day period, driven by a sharp jump in semiconductor shipments amid expanding demand for AI.

Outbound shipments rose 23.5 percent from a year earlier, according to the Korea Customs Service on Monday. The previous record, from Dec. 1 to 20, 2025, was $43 billion.

Average daily exports, adjusted for working days, came to $3.35 billion, up 47.3 percent for Feb. 1 to 20, 2025. With 13 working days this February, which is 2.5 days fewer than a year earlier, the rise was even more pronounced.

By item, semiconductor exports surged 134.1 percent to $15.12 billion. Semiconductors accounted for 34.7 percent of total exports, up 16.4 percentage points from a year earlier.

Exports of petroleum products rose 10.5 percent, while computer peripherals jumped 129.2 percent. Shipments of ships and wireless communication devices increased 22.7 percent and 22.8 percent, respectively.

In contrast, exports of passenger cars fell 26.6 percent, auto parts declined 20.7 percent and precision instruments dropped 18.6 percent.

By destination, exports increased across the board, including to China, up 30.8 percent; the United States, up 21.9 percent; Vietnam, up 17.6 percent; the European Union, up 11.4 percent; and Taiwan, up 76.4 percent. Average daily exports to the United States rose 45.4 percent.

Imports over the same period came to $38.6 billion, up 11.7 percent, from a year earlier. Imports of semiconductors rose 19.2 percent, crude oil gained 0.8 percent, semiconductor manufacturing equipment increased 28.5 percent and gas climbed 33.6 percent, while machinery fell 6 percent.

Imports from China rose 38.6 percent, while those from the European Union increased 10.5 percent, Vietnam 32.4 percent and Taiwan 8.5 percent. Imports from the United States fell 3.2 percent and those from Japan declined 9.2 percent.

With exports outpacing imports, the trade balance posted a surplus of $4.9 billion.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.

This article is by Cho Jung-woo and read by an artificial voice.

서울시청 지하에 새로 문을 연 복합문화공간 서울갤러리 1관에 전시된 서울시 미래 모습 모형. [서울시]

A new gallery under Seoul City Hall blends leisure and civic vision

서울시청 지하에 새 갤러리…여가와 도시 비전 결합

Korea JoongAng Daily 6면 기사

Thursday, Feb. 19, 2026

Visitors move in and out of exhibition halls lit with digital lighting, passing glowing walls and city-themed souvenir shops. An illuminated globe stands out, with people gathered in front, watching as information on cities around the world shifts across its surface. The scene unfolds underground, in the basement of City Hall in central Seoul, where the municipality has carved out an unexpected gathering place.

globe: 지구본, 세계

shift: (장소를) 옮기다, 이동하다

carve out: (토지 따위를) 개척하다, 트다

디지털 조명으로 밝힌 전시관을 관람객들이 오가고, 빛나는 벽면과 도시를 테마로 한 기념품점이 이어진다. 조명이 비추는 대형 지구본 앞에는 사람들이 모여 세계 각 도시의 정보가 바뀌는 모습을 지켜본다. 이런 장면은 서울 도심 서울시청 지하 공간을 활용해 조성된 새 복합 문화·휴식 공간에서 볼 수 있다.

On Feb. 5, the Seoul Metropolitan Government opened the Seoul Gallery, a newly renovated cultural complex spanning the first and second basement levels of the building. Part exhibition space, part civic lounge, it is designed to offer both residents and visitors a welcoming introduction to the capital and a place to linger.

renovate: 개조하다

span: (기간, 범위가) ~에 걸치다, 포함하다

civic: 도시의, 시민의

linger: (예상보다 오래) 남다, 더 머물다

서울시는 지난 5일 시청사 지하 1·2층을 새롭게 단장한 복합문화공간 서울갤러리를 공식 개관했다. 전시 공간이자 시민 라운지 역할을 겸하는 이곳은 시민과 방문객 모두에게 서울을 친근하게 소개하는 동시에, 머물며 쉬어갈 수 있는 공간으로 설계됐다.

The first basement floor, covering 7,357 square meters (1.8 acres), houses two major exhibition halls presenting Seoul's present and future, along with a children's lounge, a souvenir shop and a bookstore. The second basement level, at 2,836 square meters, is more utilitarian, featuring meeting rooms, workshop spaces and an open rest area. The meeting rooms are bookable and open for public use.

house: 보관 (수용, 소장) 하다

utilitarian: 실용적인

bookable: 예약 가능한

연면적 7,357 규모의 지하 1층에는 서울의 현재와 미래를 조망하는 두 개의 전시관을 비롯해 키즈라운지, 서울시 대표 굿즈를 판매하는 서울마이소울샵, 서울책방이 들어섰다. 지하 2층(2,836)은 회의실과 워크숍 공간, 개방형 휴식 공간 등 보다 실용적인 시설로 구성됐다. 회의실은 예약을 통해 시민 누구나 이용할 수 있다.

On a recent Wednesday afternoon, subway commuters and gallery-goers streamed through the space. Just before Exit No. 4 of City Hall Station, the entrance to the Seoul Gallery opens onto a bright, colorful media facade promoting the capital. Visitors can also enter directly from the City Hall lobby via a spiral staircase descending underground.

commuter: 통근자

stream: 줄줄이 이어지다, 이동하다

media facade: 미디어 벽면광고

spiral: 나선형의

최근 평일 오후에는 지하철을 이용하는 시민들과 갤러리 관람객들이 공간을 오갔다. 시청역 4번 출구 인근에 자리한 서울갤러리 입구는 밝고 다채로운 색감의 미디어 벽면이 시선을 끈다. 방문객들은 시청 로비에서 나선형 계단을 따라 내려가서 바로 지하 공간으로 입장할 수도 있다.

Near the entrance, a robot glides around, asking how it can help. Tap its screen and it produces a digital map of the gallery. Select a destination and the robot rolls ahead, guiding visitors through the maze-like wide space.

glide: 미끄러지듯 가다

roll: 구르다, 굴러가다

maze-like: 미로같은

입구 인근에서는 안내 로봇이 관람객을 맞는다. 화면을 터치하면 갤러리 전체를 한눈에 볼 수 있는 디지털 지도가 나타나고 목적지를 선택하면 로봇이 앞서 이동하며 미로 같은 동선을 따라 길을 안내한다.

City in miniature

On its opening day, Wendy of the K-pop girl group Red Velvet performed to mark the launch. More than 16,000 people visited in the first five days, city officials said. The heart of the gallery lies in its two main exhibition halls. Exhibition Hall 1 offers a bird's-eye view of Seoul, literally.

to mark: ~을/를 기념하기 위해

the heart of: ~의 핵심

bird's-eye view: 조감도, (높은 데서 바라보는) 전경

서울을 한눈에 담다

개관 당일에는 K팝 걸그룹 레드벨벳의 웬디가 축하 무대를 선보였다. 시에 따르면 문을 연 이후 닷새 동안 방문객 1만6000명 이상이 서울갤러리를 찾았다. 갤러리의 중심은 두 개의 전시관으로, 이 가운데 내친구서울 1관에서는 서울 전역을 내려다보듯 조망할 수 있다.

Under cool blue lighting, the city appears in miniature, scaled down to 1:1,600. The city appears in two halves, set on either side of a blue-lit walkway that represents the Han River, with northern Seoul on one side and southern Seoul on the other.

scale down: (크기, 규모를) 축소하다

walkway: 통로

서늘한 푸른 조명 아래 펼쳐진 도시는 1대 1600 비율의 축소 모형으로 구현됐다. 중앙을 가로지르는 푸른 빛의 통로는 한강을 형상화했으며 이를 기준으로...