I have borrowed the title for this essay from the recent exhibition at the Seoul Museum of Art whose English title is “Dissonant Visions”. In looking at the Korean art market from the outside it is hard to find a single unifying theme that captures the current state of the market. I find this to be a positive state of affairs. I should explain why. There may be occasions when a mood or movement sweeps through a country’s market. We might think of “Cynical Realism” and “Political Pop” in China, Anime/manga in Japan, “Young British Artists” from the U.K. However too often there is a temptation to oversimplify or to find a convenient label where none exists. Categories such as ‘hyper-realism’ or reference to works that find inspiration in traditional Korean arts and media cannot adequately describe the very diverse and individual output of most Korean artists. When looking at a market it helps to look at all its components. Any market is more likely to prosper and thrive if it is comprised of various elements. Galleries, auction houses, museums, art fairs, critics, magazines, art schools, archives and of course artists and collectors are all vital for the well-being of an art market. But they need not necessarily work in harmony. Competition will help them become more creative. From an outsider’s point of view Seoul has all these necessary components for a thriving market. 

Let us consider the “hard ware” first. There are reported to be more than 100 commercial galleries registered with the Korean Galleries Association and twice that number which are not registered. There are two leading auction houses and several smaller ones. There are more than 500 museums registered with the Korean Museum Association. KIAF is one of the most highly-regarded art fairs in the region. There are numerous art publications and critics reviewing, promoting, and providing analysis of artists and exhibitions. Seoul’s art colleges, notably Seoul National University and Hong-ik University, enjoy an international reputation. Korean artists are able to exhibit through museums, galleries and art spaces. None of these should be taken for granted. They represent considerable achievements that have helped the Korean market develop to a degree of maturity especially over the past 15 years.

Lets us next consider the “soft ware” in relation to art market. Korean art is now enjoying a period of sustained interest overseas. There have been recent exhibitions at Los Angeles County Museum (“Your Bright Future, 12 Contemporary Artists from Korea”),  at the Singapore Art Museum  (“Modernity and Beyond in Korean Art”). Currently the Saatchi gallery in London is hosting “Korean Eye: Moon Generation”, a commercial exhibition contemporary Korean art. Each time I come to Seoul I arrive in a state of excitement like a child in a toyshop. I find that there is barely enough time to cover the many exhibitions at galleries around Samcheongdong, Insadong and in Gangnam let alone the museum exhibitions. After a survey of these however I often feel somewhat disappointed. To make a broad generalization it seems that the artists’ work is now being spread too thin. Galleries, museums, and auctions in Korea and abroad are competing for the same works. The work of artists that used to excite a few years ago is now looking strained. Of course this is a situation common to markets around the world. At the same time I can’t help wishing for exhibitions at museums that would stir the imagination. No matter whether these are of Korean or foreign artists? but it is hard to recall something genuinely exciting in recent years. The Whitney Biennale shown at the National Museum of Contemporary Art is cited as an exhibition that had a profound effect on the art market in Korea but this took place in 1993.

Here in lies a dilemma for the market. I learned early on in my career at Christie’s that in order to survive one needs to have global perspective. Around the mid 1990’s three venerable English galleries dealing in Chinese antiques each with a history of more than 100 years finally closed their doors. They had failed to anticipate the shift in the market from Europe and the US to Asia. On the other hand Sotheby’s and Christie’s current dominance of the art market in large part stems from their decision, roughly 40 years ago, to expand beyond their home base in England and develop the markets in Europe, the US and Asia and more recently the Middle East. Korean galleries also need to assiduously promote the artist they work with both at home and abroad.

Of course many Korean galleries have been making their way overseas joining fairs and promoting Korean art. This is vital for the continued success of the market in Korea. At the same time more could be done to encourage collectors to come to Korea. I am often surprised how little is known about Korea and Korean art amongst the new generation of collectors. They profess an interest in Korea contemporary art but few have made the effort to come to Korea. At the same time those that do venture here need to be determined - the sheer scale of Seoul can be a challenge especially with the National Museum of Contemporary Art currently so far from the centre of Seoul. Then the language barrier can be a deterrent. Much of the material produced is in Korean. This is understandable but it does not help to encourage a wider understanding of Korean art amongst foreign collectors. On the other hand I should note the tremendous generosity, patience and friendliness displayed to towards visitors. In my own case I have received such kindness that after each visit I cannot wait to return. Besides this the Korean art market needs to work hard to define and clarify its position if it wants to play an international role. Increased competition from markets around the region can only mean that it will be more difficult to attract participants. Consider how the Hong Kong International Art Fair has established itself as a major art fair after only two years. One the other hand the Seoul Photo Fair, the first of its kind in Asia provides a golden opportunity to create a niche in a growing market. How the art market responds to these challenges will determine its future growth and stability. If “dissonant voices” imply a lack of harmony this should not be misunderstood. Without harmony there can still be creativity and passion. These are essential ingredients to maintain and develop the Korean art market. 

- Roddy Ropner