Connecting the dots: In the direction of extra built-in approaches for Korean artwork overseas

CHICAGO/JEJU — As international curiosity in Korean tradition reaches new heights, museums internationally are approaching Korean establishments with unprecedented frequency, in search of joint exhibitions, analysis partnerships and even everlasting Korean galleries.

However this rush of consideration has additionally uncovered structural limits of the present system for cultural exchanges and help for Korea-related applications. Abroad, staffing shortages, conservation gaps and short-term challenge cycles proceed to limit what establishments can obtain, at the same time as demand accelerates.

These challenges have fashioned the backdrop to Korea’s reorganized help system for Korean-themed collections and galleries overseas — a construction that goals not solely to streamline duties, but in addition to reply a bigger query of easy methods to flip short-term momentum into lasting infrastructure.

Guests discover reveals on the Nationwide Museum of Korea (NMK), central Seoul, Nov. 17. The establishment performs a key function in supporting Korean-themed collections and exhibitions at museums overseas. Yonhap

Korean cultural heritage started showing in abroad exhibitions as early because the Sixties, when most exchanges had been restricted to museum-to-museum loans. Over the many years, the Korea Basis, beneath the Ministry of International Affairs, helped develop these initiatives as a part of Korea’s public diplomacy. As curiosity in Korean artwork exhibitions overseas grew, the Ministry of Tradition, Sports activities and Tourism additionally allotted funding to help worldwide reveals. Nevertheless, because the ministries’ main perform is administrative, abroad museums more and more most popular to collaborate instantly with the Nationwide Museum of Korea (NMK) for entry to its collections and curatorial experience.

In 2022, Korea streamlined its help construction by consolidating accountability for Korean collections, galleries and exhibitions overseas beneath the NMK.

Below this new framework, the NMK acts because the central hub for abroad museum help — coordinating object loans, providing curatorial and scholarly recommendation and offering sensible steering on exhibition planning. This transfer has allowed for extra environment friendly and specialised help, enabling the NMK to reply extra on to requests from companion establishments. Museum officers word that previously, the method typically ended with sending objects overseas, however now the NMK additionally collaborates on on-line promotions and provides educational consultations tied to every challenge.

Annually, the museum accepts purposes from abroad establishments in search of help, deciding on organizations that align with the mission and goal of its Korean gallery help program. Help is split into short-term initiatives comparable to researching, cataloguing and conserving Korean objects, and mid-to-long-term initiatives that embody establishing or upgrading galleries, hiring devoted workers and organizing particular exhibitions.

In 2025, the NMK’s help reached 24 museums in 13 international locations. Main museums within the U.S. and U.Okay. expanded their Korean galleries with NMK’s assist, whereas establishments in Germany, Canada, Vietnam and New Zealand additionally obtained help for exhibitions, workers and assortment growth. Quick-term initiatives targeted on conservation, analysis and workers placements at choose museums, with exhibitions and shows held in Switzerland and San Francisco, reflecting Korean artwork’s rising international presence.

Because the transition to the brand new system in 2022, demand from abroad museums has surged consistent with international curiosity in Korean tradition. The museum sees the present second as a possibility to shift from one-off, event-driven initiatives, comparable to these tied to the 1988 Olympics or diplomatic anniversaries, towards a extra proactive, long-term technique.

Individuals attend a session of the Korea Basis’s “Curating Korea” workshop in Seoul, held from Sept. 8 to 12. The workshop introduced collectively curators from totally different artwork establishments to trade concepts and discover Korean heritage. Courtesy of the Korea Basis

Nurturing networks

Strengthening abroad Korean galleries depends upon constructing each the human and institutional capability to maintain them over time.

That is the place the Korea Basis performs a complementary function. Established in 1991 to advertise worldwide relations and cultural exchanges, the general public diplomacy group shifted its focus to growing international networks and experience after Korean gallery initiatives had been transferred to the NMK.

The Korea Basis’s annual Curator Workshop, now a number one pipeline for growing worldwide curators able to sustaining Korean artwork programming overseas, is a central a part of these efforts. Since 1999, this system has introduced over 440 curators to Korea, together with the 2025 cohort with individuals from establishments comparable to Tate Fashionable, the Whitney Museum of American Artwork, the Palais de Tokyo and the Guggenheim Abu Dhabi.

This yr’s “Curating Korea” workshop came about in September, coinciding with a season when the worldwide artwork world turns its consideration to Korea for Frieze Seoul, Kiaf Seoul and a slew of different main exhibitions and occasions.

Robert Slifkin, professor of New York College’s Institute of High-quality Arts, who joined this yr’s program, mentioned the workshop shifted his understanding of how Korean artwork is being offered on the bottom.

“The journey opened my eyes to the depth and intelligence of Korean artwork from antiquity to the current and it’ll definitely inform facets of my very own educating and writing,” he informed The Korea Occasions.

Set up view of “The Energy and Pleasure of Possessions in Korean Painted Screens” on the Spencer Museum of Artwork in Lawrence, Kansas / Courtesy of Spencer Museum

Whereas the Korea Basis notes that the workshop’s affect can’t be measured in a single yr as a result of “main exhibitions typically require a number of years of planning,” previous individuals illustrate how this system features as a long-term catalyst.

Marsha Haufler, an East Asian artwork historian on the College of Kansas, and Kris Imants of the Spencer Museum of Artwork in Lawrence, Kansas, co-organized the touring exhibition “The Energy and Pleasure of Possessions in Korean Painted Screens,” from 2016 to 2017.

In Paris, Musée Cernuschi curator Maël Belec mounted three solo exhibitions of Korean artists — painter Kim Tschang-yeul, ceramicist Baeksan and artist Yeesookyung — in 2023, following his involvement in this system.

Set up view of “Kim Tschang-Yeul: La goutte et le trait” at Musée Cernuschi in Paris in April 2023 / Courtesy of Musée Cernuschi

Curatorial capability

One other key initiative from the Korea Basis focuses on strengthening institutional capability for Korean artwork overseas by serving to main museums set up endowed curator positions devoted to the sector.

Chee Yeon-soo, affiliate curator of Korean artwork on the Artwork Institute of Chicago, is without doubt one of the 4 Korea Basis-funded curators world wide. Appointed in July, Chee mentioned the creation of her place has broadened inner consciousness of Korean artwork throughout the museum and “expanded alternatives” for its preservation and show.

Even so, she famous that deep structural obstacles stay. Viewers expectations, donor pursuits and funding priorities proceed to be anchored in European artwork, shaping what museums can realistically pursue.

“Korean artwork exhibitions are sometimes ready inside a aggressive surroundings,” she mentioned, referring to the fixed have to justify assets and a spotlight for non-Western collections.

Chee Yeon-soo, affiliate curator of Korean artwork on the Artwork Institute of Chicago, is without doubt one of the curators endowed by the Korea Basis. Courtesy of the Korea Basis

Chee famous that significant help is now accessible, together with her nomination by means of the Korea Basis endowed-curator program and the NMK’s fellowship initiatives that dispatch short-term skilled help from Korea.

“With globalization, consciousness and help for East Asian artwork have definitely grown. Our division head is utilizing this momentum to develop initiatives that increase the profile of East Asian artwork internationally and we’re planning a joint exhibition with an establishment in China. These initiatives could be tough with out institutional backing, however the stage of help lately has been growing, which is encouraging,” she mentioned.

Even so, the museum’s rising engagement with Korean artwork continues to reveal vital gaps within the broader U.S. panorama, from uneven curatorial protection of Korean collections to restricted specialist infrastructure.

Chee emphasised the significance of build up this basis. On the Artwork Institute of Chicago, efforts are underway to develop the conservation middle and convey in additional East Asian portray consultants — a long-term funding to make sure Korean collections are usually not solely displayed, but in addition studied and cared for at a deeper stage.

A view of the Gallery for the Arts of Korea on the Artwork Institute of Chicago / Courtesy of the Artwork Institute of Chicago

Diversifying trade

The subsequent step for Korean galleries and collections overseas is shifting from short-term loans to a extra sustainable, collection-driven mannequin. As a substitute of merely lending objects for particular exhibitions, help is now directed at serving to abroad museums construct and analysis their very own Korean collections with the steering of devoted Korean artwork curators.

As a result of Korea’s Cultural Heritage Safety Act restricts the everlasting export of cultural properties over 50 years outdated, newer methods prioritize choose loans of premodern works whereas encouraging lively acquisition and commissioning of recent and modern Korean artwork overseas.

No single establishment can meet the rising and numerous calls for of Korean artwork’s international viewers. Whereas the NMK continues to function the central hub for loans, experience and session, its capability is proscribed by staffing and assets. A extra resilient and efficient ecosystem will rely on the NMK’s capacity to ascertain requirements and frameworks, whereas collaborating and sharing roles with different companions.

Set up view of “Between and Past: A Centennial Journey,” a particular trade exhibition between the Jeju Folklore and Pure Historical past Museum and the Dresden Museum of Ethnology, on the Jeju museum from Might to August / Courtesy of Jeju Folklore and Pure Historical past Museum

The particular exhibition “Between and Past: A Centennial Journey,” held on the Jeju Folklore and Pure Historical past Museum from Might to August, exemplifies a brand new part in Korean-German museum collaboration. Collectively organized with the Dresden Museum of Ethnology, the challenge reunited greater than 60 artifacts from the historic Stötzner Assortment — many returning to public view in Korea for the primary time in practically a century.

Dresden’s ethnographic assortment is famend for its breadth, together with over 200 objects gathered by German explorer Walther Stötzner throughout his travels in Korea, significantly Jeju Island, in 1929. Not like the uncommon treasures that usually headline worldwide exhibitions, these artifacts are on a regular basis gadgets like instruments, clothes, fishing gear and ritual objects that seize each day life on Jeju some 100 years in the past. The gathering provides a novel window into early Twentieth-century island life, together with options on haenyeo (girls divers) and native beliefs documented by means of Stötzner’s pictures and writings.

“Among the objects on this assortment not exist in Korea itself, which underlines their significance as cultural testimonies of on a regular basis life within the first half of the Twentieth century,” mentioned Sylvia Karges, Performing Director of Ethnographic Collections on the Dresden Museum of Ethnology. “We’re deeply honored to … make this a part of historical past accessible to a broad Korean viewers.”

The collaboration was the results of years of groundwork. When Park Chan-sik, director of the Jeju museum, realized in regards to the Dresden holdings, he reached out to the German establishment. Their partnership led to a proper MOU and greater than two years of preparation to understand the present. For Korean curators, the exhibition supplied a uncommon probability to match Jeju’s surviving people objects with these preserved in Germany, sparking renewed curiosity in analysis and worldwide trade.

“This was our museum’s first main expertise with a global trade exhibition and it impressed our curators to take a deeper curiosity in international collaboration,” Park mentioned. “We hope to make worldwide trade a daily a part of our work, maybe each two years. There may be potential to collaborate with museums in locations like Okinawa and Taiwan, which, like Jeju, have distinctive island identities. If alternatives come up, we need to construct on these partnerships and proceed sharing significant supplies and new analysis.”

Seoul Nationwide College Museum / Courtesy of Seoul Nationwide College

College museums, although much less outstanding, supply robust collections and analysis experience that make them precious companions for worldwide collaboration. At Seoul Nationwide College (SNU) Museum, rising international curiosity has introduced extra abroad mortgage and image-licensing requests. Fairly than specializing in fast exhibition turnover, the museum expanded its educational and research-oriented engagement overseas.

Earlier this yr, Lee So-young, director of the Asian Artwork Museum of San Francisco, visited the SNU Museum to discover potential collaboration. Whereas no formal agreements had been made, either side exchanged concepts on exhibitions, analysis and future cooperation.

Joint initiatives with the Oc Eo Web site Administration Board in Vietnam and Kanazawa College in Japan, together with archaeological fieldwork and comparative research, are examples of educational and research-oriented cooperation.

On the similar time, Korean diaspora and private-sector networks are taking part in an more and more outstanding function. Diaspora gallerists and collectors facilitate the motion and recognition of Korean artworks, whereas Korean heritage board members and donors assist affect acquisitions and institutional priorities from inside. Help from personal foundations and firms can also be enabling new curator positions, analysis funds and conservation initiatives.

“The lively involvement and management of Korean People are important. We’re already seeing robust engagement from Korean American board members at main New York establishments — together with the Metropolitan Museum of Artwork, the Guggenheim and the Whitney. I imagine deeply in investing within the subsequent technology of Korean American leaders throughout our broader neighborhood and organizations just like the Council of Korean People and the Korean American Neighborhood Basis are doing essential work to domesticate that pipeline,” Tina Kim, founding father of Tina Kim Gallery in New York, mentioned.

Letters from 4 main Korean artists are displayed throughout “The Making of Fashionable Korean Artwork: The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan, and Park Website positioning-Bo, 1961–1982” at Tina Kim Gallery in New York in Might. The exhibit highlights the non-public and mental exchanges that formed the course of recent Korean artwork. Courtesy of Tina Kim Gallery

What lies forward isn’t just a matter of including extra companions, however of braiding these stakeholders collectively right into a extra coordinated and interconnected ecosystem. For Korean artwork to realize sustainable and significant visibility globally, nationwide establishments, universities, regional museums, diaspora professionals and the personal sector should function as a cohesive community.

This multi-layered construction is barely now starting to take form. The NMK anchors the operational basis for abroad exhibitions; the Korea Basis develops curatorial and scholarly experience; and college museums present the tutorial analysis and mental context that grounds the sector. Progress will rely not on the variety of actors concerned, however on how successfully these sectors are coordinated — supporting one another, sharing information and constructing infrastructure that outlasts tendencies to present Korean artwork a secure, outstanding place on the worldwide stage.