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<p>This article examines how South Korean artists engage the concept and material infrastructures of the digital twin. While often dismissed as decorative or superfluous, artistic images of the city are an essential part of place-making, as a counter-point to the usually prioritized imagination of municipal bureaucrats, private developers, architects, and urban planners. Artworks structure a hybrid phenomenology that positions the spectator as simultaneously “here” in the physical and “there” in the virtual or conceptual; this doubled spectatorship reveals the constructed frames of experience, thereby creating an uncanny form of attention that implicates the spectator in a relationship with the image. By visualizing the material world and its digital double side by side, Hoonida Kim draws attention to new forms of human perception engendered by digital twin tools. Turning from the hardware to data curation, members of Red Onion collective (Kim et al. <CitationRef CitationID="CR22">2020</CitationRef>) highlight the flawed or narrow applications of urban “big data” through the City of Seoul’s official Open Data portal. Finally, the artist-activist group Listen to the City mirror the data-collection and analytic methodologies of the smart city through an artistic, feminist, and community-driven lens in order to resist gentrification. With the normalization of digital twins and similar “smart” technologies in urban environments, it is critical to bring the invisible components of urban infrastructure to the foreground in order to examine their effects on the material, conceptual, and societal spaces of the city. By leveraging artistic imagination and image-production, these artists expand on the existing technical and social discourse of the digital twin and the smart city.</p>

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Imaging urban doppelgängers: art and the digital twin in South Korea

  • 期刊论文

  • 发表日期：

    2026年7月1日

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  • Melanie Wilmink

摘要

This article examines how South Korean artists engage the concept and material infrastructures of the digital twin. While often dismissed as decorative or superfluous, artistic images of the city are an essential part of place-making, as a counter-point to the usually prioritized imagination of municipal bureaucrats, private developers, architects, and urban planners. Artworks structure a hybrid phenomenology that positions the spectator as simultaneously “here” in the physical and “there” in the virtual or conceptual; this doubled spectatorship reveals the constructed frames of experience, thereby creating an uncanny form of attention that implicates the spectator in a relationship with the image. By visualizing the material world and its digital double side by side, Hoonida Kim draws attention to new forms of human perception engendered by digital twin tools. Turning from the hardware to data curation, members of Red Onion collective (Kim et al. 2020) highlight the flawed or narrow applications of urban “big data” through the City of Seoul’s official Open Data portal. Finally, the artist-activist group Listen to the City mirror the data-collection and analytic methodologies of the smart city through an artistic, feminist, and community-driven lens in order to resist gentrification. With the normalization of digital twins and similar “smart” technologies in urban environments, it is critical to bring the invisible components of urban infrastructure to the foreground in order to examine their effects on the material, conceptual, and societal spaces of the city. By leveraging artistic imagination and image-production, these artists expand on the existing technical and social discourse of the digital twin and the smart city.