[Exclusive] No Way Back... 75 Russian National Treasure Artworks Stranded in Korea
by Kim Heeyun
by Kim Dongpyo
Published 22 Apr.2022 11:31(KST)
Updated 22 Apr.2022 11:42(KST)
75 Kandinsky and Malevich Works Cannot Be Returned After Exhibition Ends on the 17th
Russian Transport Suspended Due to Economic Sanctions, Return via Europe Refused by Russia
Sejong Center to Withdraw by the 23rd, Searching for Alternative Storage Warehouses
[Asia Economy Reporters Kim Heeyoon and Kim Dongpyo] “The artworks were withdrawn from the exhibition hall yesterday, but since there is still no way to return them, we are currently looking for another (storage) warehouse.”
Seventy-five nationally treasured artworks, including pieces by Vasily Kandinsky, the father of abstract art, and Kazimir Malevich, remain stuck in a storage facility in Seoul, unable to be returned to Russia. Due to intensified economic sanctions against Russia following the invasion of Ukraine, there are no available flights to return the artworks.
The Russian artworks in question were brought into South Korea for the exhibition “Kandinsky, Malevich & Russian Avant-Garde: Art of Revolution,” which ended on the 17th.
An exhibition organizer stated on the 22nd, “The artworks were withdrawn from the exhibition hall yesterday, but since there is still no way to return them, we are currently looking for another (storage) warehouse.” The official added, “We are exploring all possible transportation options with the Russian side, but since returning the artworks is not easy, we are currently seeking a domestic storage location.”
The Russian government, which sponsored the exhibition, reportedly requested the early return of the loaned artworks to the Yekaterinburg Museum at the end of last month, citing “the difficult political situation.”
The Yekaterinburg Museum had notified the Korean exhibition organizers to return the artworks early by the 3rd of this month after the exhibition.
The organizers insisted on contractual obligations, citing financial losses due to the early termination of the exhibition. Accordingly, the exhibition proceeded as scheduled until the 17th. The problem arose as economic sanctions intensified, causing the suspension of Russian transportation routes, making it difficult to return the artworks.
An art industry insider explained, “The Russian government anticipated Western blockade measures and began reclaiming artworks, including demanding the early return of Russian artworks loaned to the Milan Museum in Italy.”
If securing a direct flight is difficult, there is an option to return the artworks via Europe. However, it has been confirmed that the Russian side is refusing this. According to the exhibition organizers, there was a case where artworks loaned by Russia to Japan and Italy were seized by local customs authorities during transit through the Finnish border due to the EU’s stringent sanctions during the early return process. Since artworks are included in the sanctions imposed by the EU on Russia, transportation through Europe is also challenging.
The artworks stuck in Seoul are nationally treasured Russian pieces that have been difficult to access domestically until now. The exhibition also reexamined the history of artists like Kandinsky and Malevich, who were once labeled as “decadent artists” and persecuted by the Soviet Union.
The Russian avant-garde group to which they belonged was a vanguard collective of artists who sympathized with the Russian Revolution during the early 20th century’s wars and revolutions. However, the Soviet Union, born from the 1917 Russian Revolution, only required art that praised the party and the revolution.
Notably, Malevich, whose representative work “Suprematism” was confiscated by authorities and introduced in this exhibition, was originally from Kyiv, Ukraine. He suffered the humiliation of being imprisoned on espionage charges at the time. The fact that his work is once again suffering abroad due to the Ukraine crisis is seen as a historical paradox.
Currently, these artworks are stored in the Sejong Center for the Performing Arts storage facility. According to the Sejong Center, the contracted storage period lasts until the 23rd. The withdrawal from the exhibition hall was completed on the 21st. The artworks must be moved from the storage by the 23rd. The exhibition organizers are deeply concerned. Finding another storage warehouse is an urgent matter. They are also continuing discussions with the Russian side on safe methods for returning the artworks. However, given the international situation, it is difficult to find a clear solution.
The Ministry of Land, Infrastructure and Transport, which oversees aviation policy, has expressed reluctance, stating that it is currently difficult for the government to step in and provide a solution. From the standpoint of cooperating with the international community, it is not easy to operate an exceptional flight solely for the return of artworks.
A Ministry official explained, “Even if there are no domestic departure flights, there could be options such as returning the artworks via charter flights from third countries or delivering them overland through China to Russia.” He added, “The method and route for returning artworks of specific organizations should be decided by the organizations and the organizers, and it is difficult for the Ministry of Land, Infrastructure and Transport to intervene directly.”
Professor Kim Youngho of Chung-Ang University’s College of Arts, who served as the artistic director of this exhibition, said, “Art is an activity that pursues universal human values such as freedom, equality, and peace. It is the responsibility of artists to criticize realities that deviate from these universal values and to strive for reform. This incident will remain as a case that historically reflects on the relationship between art and politics.”
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