This study investigates the ambivalence about scientific technology acceptance that appeared in Korea’s art field from the late 1990s to the early 2000s, focusing on the first to third Seoul Mediacity Biennale. In the 1990s, the urban government of Seoul envisioned its future vision as an information and communication technology city. The conception was realized by developing the ICT cluster Digital Media City (DMC) on the outskirts of the city. At the same time the urban government planned the Biennale as a kind of cultural contents industry in which art, scientific technology, and industry converge. This was an act of symbolic politics to receive support for the urban planning. Also, it was to focus on the act of making and promoting the project, in other words the symbolism of the instrumental action, rather than the feasibility of the project. Therefore, the Biennale became the sphere where two senses, an act of symbolic politics and an art exhibition competed, and then it was expressed as the artistic directors’ ambivalent attitudes towards scientific technology in the first three exhibitions. In order to resolve the contradiction of the ambivalence, they adopted mystical or romantic perspectives, emphasized nature and human qualities such as the body and healing, and then applied them in the exhibition themes or the display designs.