Around the 2000s, a new focus and tone on archives emerged in the field of documentation and the contemporary art scene in Korea. With the truth-finding movement on the sacrifices and human rights violations in Korea's tortuous modern history of the last century, the value of private records, namely manuscripts, that are not captured by public records, has been re-evaluated. In addition, critical and alternative practices have been carried out on archives that support official history and memory. Contemporary art has also accepted critical theories of archives, and through the generation and reorganization of records, events or objects that are not covered by institutions or mainstream media are socially publicized. Over the past 20 years, manuscript- and archive-based work has formed a common terrain, excavating marginalized and suppressed events and objects and restoring them to social memory. This exhibition is combined with the institutional theme "Action" of the Seoul Museum of Art in 2025, which aims to examine the social value and practical mechanism of records. From today's perspective, the trend of what used to be called archival art, and manuscript history. These two trends continue to update critical discourses on archives while forming counter-memory. Especially today, when the proliferation of digital technology and communication has made instant information production a daily routine, and misinformation and alternative facts are rampant, recent domestic and international conflicts, disputes, disasters, etc. have raised the complex issue of "how to record and interpret the present." In such contemporary issues, beyond reproduction and preservation, we think about the social role of contemporary art and archives as memory institutions to restore social memory and reveal diverse voices. 
The title of the exhibition "We Keep Penetrating into Different Rivers" draws on the ancient Greek philosopher Heraclitus (535-475 BC)'s motto "You can't step into the same river twice", emphasizing that records are not permanent, but an ongoing process of encountering current consciousness through reading and perception. The exhibition is composed of "delayed memory", "witness records", and "thrown narratives" based on the meticulous contact and three-dimensional relationship with events or objects. "Delayed Memory" displays works related to the history of modern and contemporary Korean history and the history of suppressed communities, and exhibits related to the records of the Democratization Movement Memorial Foundation and the Korean Queer Archive Queerarch. "Witnessed Records" presents the Jeju April 3 Incident and the issue of "comfort women" of the Japanese military, which have not been revealed for a long time after the incident, through the collection records of the Jeju April 3 Peace Foundation and the Seoul Art Archives, and works that form an emotional space through meticulous documentary records. "Thrown Narratives" presents works that are rooted in real-life issues and archives, but construct new narratives in their missing spaces, liberating areas obscured by social conventions or boundaries and one-sided discourses. 
"We Keep Infiltrating Different Rivers" aims to recognize the activism of records from multiple perspectives through the process of constantly reconstructing and reinterpreting records of the past and present, arousing our memories, emotions and consciousness, and prompting us to take action for the future. 

Seoul

South Korea

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Time:	2025년 3월 6일–7월 27일 (UTC+9)
Location:	Art Archives, Seoul Museum of Art 101 Pyeongchangmunhwa-ro, Jongno District, Seoul

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