[Blue Chip K-Art]① "Innovative Artists and MZ Collectors, Driving Force Behind Korean Art Growth"

Interview with Angel Xiang-Li, Art Basel Hong Kong Director
Director of Asia's Largest Art Fair Visits Korea for 2nd Year
"Korean Artists Must Develop Unique Perspectives and Increase Recognition to Become Mainstream"

'Art Basel Hong Kong' is Asia's largest art fair and is regarded as a barometer for confirming Asian trends that lead the global art market. Before COVID-19, Art Basel Hong Kong attracted over 80,000 visitors and boasted a transaction volume reaching 1 trillion KRW. This is comparable to the total size of the Korean art market, which recorded an all-time high last year. Angelle Siyang-Le, the director of Art Basel Hong Kong who creates events that attract worldwide art community attention, visited Korea again this year following last year to attend KIAF and Frieze, as well as visit studios of emerging artists to directly observe the dynamism and potential of the Korean art market. The following is a Q&A with Angelle Siyang-Le.

Angel Xiang-Li, Art Basel Hong Kong Director. [Photo by Art Basel Hong Kong]

- What were your expectations before attending, and were you satisfied after seeing it firsthand?

▲ It was meaningful to have inspiring and engaging conversations with people in the art world. I am also grateful for the warm welcome and professional management by the Arts Management Support Center. It was a pleasure to feel the vibrant art scene in Seoul, which I visited again after my first trip. I was able to meet various media representatives, galleries, and collectors from Korea and abroad, forming new connections. Above all, the KIAF week, during which the programs were held, was an excellent platform for art professionals to gather and network.

- How much attention are Korean artists and Korean art receiving in major markets including Europe, and what is your outlook?

▲ Over the past few years, the global art world has begun to recognize and focus on contemporary Asian art, and Korea is certainly one of the key markets in Asia. Notably, recent technological advancements and the influence of celebrity culture have led more people to collect and appreciate artworks. Previously, we invited RM, the leader of K-pop superstar BTS, to the 'Intersections: The Art Basel Podcast' program hosted by Art Basel, where he had a conversation with former global director Mark Spiegler. This program attracted significant attention and received positive reviews after airing.

Additionally, I believe Korean artists have made considerable contributions to contemporary art since the 20th century by exploring and experimenting with diverse themes and innovative approaches. It was great to see a strong lineup of Korean works at international art platforms like KIAF and Frieze. Notable galleries included International Gallery, PKM Gallery, Barton Gallery, LEEAN Gallery, and Whistle. Particularly, the mannequin sculpture wearing a mask in Hongseok Kim's 'Solitude of Silences' (2017-2019) was a very eye-catching exhibition for overseas visitors.

- What do you think Korean artists need to become mainstream in the Asian market?

▲ Generally, for artists to raise their profile in the market, it is important to develop a distinctive artistic perspective by utilizing personal experiences and cultural heritage. Also, building networks and increasing recognition through connections with local art communities, seeking international opportunities via art fairs and exhibitions, and engaging with broader audiences should not be overlooked. To stand out more and gain higher trust in the Asian market, expanding one's presence by collaborating with global institutions is necessary. From a personal perspective, artists who follow their intuition and incorporate their unique experiences have always captivated me.

Participants of the 2023 Dive into Korean Art: Seoul visiting artist Yoon Hang-ro's studio. These 18 key figures from the international art world visited the studios of 12 artists located in Seoul and Gyeonggi Province to observe the creative process and explore various strategies for overseas expansion.
[Photo by Arts Management Support Center]

- I understand you visited the studios of 12 artists during this trip. Could you explain which artists caught your interest and why?

▲ As a curator trained to empathize with any artwork, it is truly difficult to choose just one artist. The work of Hyangro Yoon, who expressed personal experiences related to memories of Japanese manga and a recent shocking incident, gave a strong impression, which I appreciated. The paintings by Jinju Lee, depicting unwanted memories, evoked feelings of anxiety and discomfort, which was also memorable. Park Geurim's traditional Korean Buddhist paintings using a contemporary approach caught my attention as well. Meeting artists in Seoul reaffirmed that young Korean artists are influenced not only by pioneers of Asian contemporary art but also by their own history and culture. At the same time, it was meaningful to see that these works are experimental and reflect personal experiences.

- If there are differences in art trends or preferences between Asia and Korea, what do you think they are?

▲ Asia is vast and diverse, with many cultures, languages, histories, and traditions, so the art scenes in each region are very colorful and still emerging. For the art world to continue thriving, a solid foundation of experienced collectors is important, but recently, established and emerging artists and collectors in the region have been more open to avant-garde ideas and bold experiments.

Korea has seen the emergence of a new generation of collectors from creative fields such as design and fashion. Designer Taeo Yang combined traditional and contemporary art to create spatial elegance, presenting works that organically integrate art collection and interior design. Young educator and art collector Jaemyung Noh developed his own approach, building a collection with a unique sensibility and distinctive style. Young Korean collectors are tech-savvy, thoroughly researching works before purchasing, and many are connected through social groups, art foundations, and gallery sponsorship programs, exchanging ideas. Like other Asian art hubs, I believe young collectors, mainly from the MZ generation, are the main driving force in Korea.

This content was produced with the assistance of AI translation services.