Before the new academic year began in April, I grabbed a last minute flight and spent my spring break in Korea, quickly catching up with my homestay families and enjoying some good old-fashioned tourist traps and tasty food.
I took off from Haneda airport and arrived in Gimpo in the late morning, leaving me an afternoon to spend sightseeing in Seoul. Despite meticulous planning, I still ended up on the front steps of the Seoul Museum of Art on a (in my defense, unadvertised) closed day. But thankfully, Deoksugung Palace is just around the corner, so it was easy to adjust my itinerary. As I did so, I noticed a group of men in brightly colored traditional clothes gathering by the outer wall. It turned out that I was just in time to watch the Royal Palace Changing of the Guard Ceremony at Deoksugung.
Past the palace gates, I headed to the exhibition “The Arrival of New Women” at MMCA (the national Museum of Modern and Contemporary Art) Deoksugung. I found myself lingering for a long time looking at the women’s magazine covers from the 1920s to 40s on display, intrigued by both the wide range of styles and by the glimpses into contemporary life these pieces of art for mass consumption provide. There were also audio and video installments, making it quite a well-rounded exhibit for just 3,000 won (which the woman at the ticket desk tried to waive for me by asking my age, but unfortunately I was too old to qualify for the free ticket. Usually it’s taboo, but if you are going to peg me as younger and are trying to give me free stuff, feel free to ask how old I am).
With plenty of daylight still left, I then walked back past Gwanghwamun’s huge statue of King Sejong to the iconic Gyeongbokgung Palace and its throngs of tourists in rented hanbok. Since the first museum I had tried wasn’t open, I decided to go to one I had on standby (as I said, I did my research), the nearby Daelim Museum to view “Paper, Present.” Here the works of 10 international artists, including Zim & Zou, Tord Boontje, and Tahiti Pehrson, transformed paper in breathtaking ways, all beginning with the same humble material to create awe-inspiring art as diverse as the roster itself, from clothing and housewares to dream-like installations (well, as long as your dreams feature Korean couples posing for photos in the periphery. But still.).
It’s on exhibit through May 27th, so if you are in the area you may want to hurry over and catch it while you still can. But be forewarned that it’s a popular date destination and you will most likely find yourself suffocated by selfie-stick wielding couples at every turn (even if you go on a random Thursday afternoon, like I did).
After all that walking, I was ready for some food. I weaved through a suburban area and somehow managed to make my way to Hillside Table just by looking at a screenshot of a map on my phone as I had no service or GPS. After that feat, I think I can declare myself competent with maps. Even if that’s an increasingly obsolete skill, I’m a little proud of it since I don’t consider myself someone naturally good with directions. I had discovered this restaurant on MangoPlate, and although my salad was Instagram-worthy and tasty as promised, it was, after all, just a salad. There’s nothing wrong with that, but I did feel like I should have opted for something more local (and something from my list). But, oh well. I could just indulge the next day instead and recall this meal as my good deed to cancel it out–because that’s how it works, right?
After dinner, I returned to Hongdae to stay, as always. I scored a mermaid knee-length skirt, a piece I’d been looking for since my last trip to Korea, at the trendy clothes shop Tomato Library before calling it a night. Overall, a successful day solo in Seoul and a pleasant start to my spring break.