G-Dragon Media Exhibition, accumulated 250,000 visitors, and 完 tours of 11 cities in one year

*This content was translated by AI.

G-DRAGON's media exhibition has attracted more than 250,000 cumulative visitors in 11 cities for about a year after Bangkok, presenting a new global expansion model for single album promotion.

"G-DRAGON Media Exhibition: ̈bermensch," which was conducted in collaboration with Galaxy Corporation, a global AI enterprise and G-DRAGON's agency, and Creative Cool, a content solution company, was implemented as a space experience by combining advanced technology with the message contained in G-DRAGON's third regular album "Ubermensch." Beyond simple exhibitions, the boundaries between performances and exhibitions were broken through a structure in which visitors participated directly.

Starting with Seoul in March last year, the global tour, which continued to Tokyo, Taipei, Hong Kong, Osaka, Macau, Singapore, Hangzhou, Chengdu, Guangzhou, and Bangkok, is noteworthy in that it has settled the exhibition as a 'tour content'. In particular, hosting mainland China, including Hangzhou, Chengdu, and Guangzhou, was recorded as a very unusual case for K-artist-based media exhibitions. It has secured unrivaled symbolism by achieving tangible results despite the difficult cultural exchange environment of recent years.

Customized strategies for each city were also noticeable. Tokyo operated in a festival format and expanded the exhibition to a festival-type cultural event rather than a simple viewing content, and Osaka operated the wrapping shuttle bus "Ubermensch Express" to spread the exhibition experience throughout the city. Taipei received an explosive response by creating an environment where artists and fans interact more closely with a fully immersive structure, and Hong Kong created synergy between cultural content and commercial space by combining with large shopping malls. This is the peak of global operational capabilities tailored to local characteristics.

This led to the lighting of major foreign media. Leading media outlets such as Japan's Nikki, GQ JAPAN, and Vogue JAPAN, Macau's 凤凰网, Singapore's The Smart Local, and Channel News Asia paid attention to the new entertainment format combined with digital media art. In particular, the Taiwan exhibition proved to be highly popular by decorating the front page of the Chinese newspaper, which is unusual for an overseas star issue. In addition, The Smart Local introduced the exhibition as an "immersive media experience that combines hologram photo zones and interactive spaces." Through such reports from leading media in each country, the exhibition went beyond simple events and established itself as a technology-based experiential content that received global attention.

Creative cool technology was also a key competitive edge in this exhibition. The exhibition, upgraded to Media Tech 2.0, further enhanced immersion by organically combining VR, real-time holograms, and large media tunnels with viewing routes, and implemented a hyperrealistic experience that blurs the boundaries between reality and virtual while placing digital technology as a key element of the narrative. Through this, the exhibition was completed as a comprehensive experience combining music, media art, technology, and lifestyle.

The competitiveness of technology and content in the exhibition continued in city-specific promotions. Outdoor advertisements with the concept of daisy light sticks introduced at major landmarks around the world led to the spread of fan-certified content, and 'Daisy Garden', directed by large balloons, drew attention as it became a representative photo spot. In addition, the FOOH (virtual outdoor advertising) video used in the next tour city announcement received high views, raising expectations for exhibition expansion.

The local response was also enthusiastic. The audience praised it, saying, "It is an overwhelming production that immersively embodies GD's worldview," and "It is an exhibition that stands out with an artistic sense that brings out even small details." In particular, G-DRAGON's actual stage costumes and space production reflecting local elements by city led to fans' "Seongji Pilgrimage" and "Nth View," while VR and hologram experiences led to favorable reviews by giving visitors a realistic immersion. The "Don't Look Up" photo booth, which debuted in Hangzhou, drew attention as a queue was formed immediately after its opening, and the Singapore exhibition was held at a symbolic landmark called Changi Airport, leading to an influx of general visitors beyond the fan base. In particular, favorable reviews for the high quality were poured out, and in line with the F1 period, global tourists' visits were added.

MD also received high attention. Special goods such as baseball jerseys and dice sets were quickly exhausted, and reusable bags and ball caps even led to non-fans' purchases. This shows that the exhibition has functioned as a fan platform that induces time to stay and revisit beyond viewing.

"G-DRAGON MEDIA EXHIBITION: ̈bermensch," which completed its long journey in 11 cities, including Seoul, after the Bangkok exhibition on the 22nd, will remain an example of how a single album promotion can be extended to exhibition content and evolved into a global cultural experience. The attempt, which combines music, technology and space, is expected to be recorded as a project that has raised the possibility of experiential entertainment to the next level.

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*This content was translated by AI.