"I am Roh YounJeong.(I am who I am.)" She confidently introduced herself in just a few words.
Roh is a journalist who has been working as the editor-in-chief of 'Art & Criticism' and 'Art Wide,' renowned magazines in Korea, for over 10 years. Even amidst her hectic schedule as a journalist, she occasionally presents exhibitions she has curated to Korean audiences. Each of her infrequent yet exceptional exhibitions, creates a serene wave in the Korean art industry.
She is also a "warrior" who works at the forefront of art management. That's why the business card she hands with the CEO of "KUNSTCODE" is her pride and symbolizes a new challenge. KUNSTCODE is a company that was established less than a year ago, yet the Korean art world is keeping a close eye on its activities. This is where she stands at the forefront. In a recent interview with SayArt, she presented various insights necessary for the Korean art scene, starting with 'Cultural Capital.' Her 'art management theory,' which unfolded like an epic, became a topic and a guiding principle that the Korean art world must take note of.
 |
| ▲ CEO Roh YounJeong, Courtesy of UPIKorea |
At the start of the interview, she referenced the book
"Habitus" by French philosopher Pierre Bourdieu (1930-2002) and emphasized that
"art, as cultural capital, serves as the metric and the determinant of a nation's value and competitiveness."Her narrative suggests that despite Korea recently joining the ranks of advanced nations and achieving global success with K-pop acts like
BTS and BLACKPINK, there are still numerous deficiencies in terms of
"national cultural capital." She cautioned that it is premature for Koreans to hastily indulge in a champagne celebration.
Quoting from sociologist
Sarah Thornton's book 'Seven Days in the Art World,' she stated,
"Art is deeply embedded in multiple contexts: social, political, economic, cultural, sexual, racial, and more, all of which have an impact on and are impacted by art." She demonstrated profound insights into the social-scientific significance of art and its existential justification.
Where did her brilliant insights originate from? The answer lies in her lifelong passion for reading. She revealed that during her childhood, she was so enamored with books that she would often spend entire nights flipping through the pages, with several books open simultaneously. However, her remarkable insights didn't solely stem from extensive reading. They were a result of her innate talent to interpret and synthesize a vast array of external information in her own distinctive manner. This remarkable ability has shaped her into an individual with a unique philosophy in art management.
She currently holds a profound affection for the cultural company
'KUNSTCODE,' which she herself has nurtured. To her,
KUNSTCODE is not just a mere entity, but a tool and medium to actualize and materialize her ideas. The term
"KUNST" represents
"art" in German, while
"CODE" symbolizes a hidden identity known only to insiders. The resemblance between
"CODE" and
"CORD" is particularly noticeable to Koreans, thus KUNSTCODE can also be interpreted as an
"art CORD." Her dreams are grand and expansive in nature. She envisions making Korea the epicenter of the global art scene. In reality, she could have led a comfortable and respected life in Korea based on her social career and status thus far. However, her ambitious dreams refuse to let her rest. Her aspirations are not mere whims akin to those of Don Quixote. Upon hearing her meticulously crafted plans for the future, one cannot help but be convinced that her dream will soon become a reality.
She also delivered sharp advice to the Korean art world, stating,
"The existing methods are largely incompatible with the current era. We need a diverse artistic landscape that resonates with both the general public and the top 1%. Of course, this must be supported by a solid academic foundation. Over the years, I have closely observed several renowned international art fairs. Someday, I intend to establish a new global art fair in Korea. While it may be easier to host a well-known overseas art fair in Korea, I aim to take the lead by creating a new brand that is distinctly Korean and independent. I aspire to accomplish this, recognizing that luxury items are often defined by subtle distinctions. Even if it takes time, I want to establish a luxury art fair."
Where does her overflowing confidence stem from? It arises from her extensive practical experience, which has been accumulated through tireless exploration and active engagement in the field. Her aspiration to create a luxury art fair in Korea is her personal endeavor to contribute to the accumulation of "Korea's cultural capital."
Listening to her narrative, the listener can sense the immense power emanating from within her, akin to a colossal chakra. Her dreams are of such magnitude that those who have unfamiliar with her often mistaken her for a mere dreamer. However, those who truly know her and are close to her vehemently disagree with such misconceptions. This is because she is a hands-on leader, recognized and respected for her exceptional practical skills.
"While planning and achieving results are undoubtedly important, I find great joy in the actual process of work and feel genuinely content. Each time an empty floor plan comes to life, I experience a profound bliss that cannot be found elsewhere."
Originally, she pursued a major in French literature. Although her parents desired her to major in English literature, it was the allure of the French language, akin to her artistic language, that instantly captivated her. Perhaps it was her innate artistic DNA that played a role. Subsequently, she nurtured her curiosity and thirst for art by delving into the study of Western art history at Sookmyung Women's University Graduate School and Regensburg University in Germany. The buds of her passion for art have now blossomed into full bloom. In a thought-provoking manner, she boldly stated, "Art must be connected to marketability."
This sensitive and discomforting topic is one that many in the art world may hesitate to broach or shy away from. Nevertheless, it is a crucial matter that demands discussion for the survival of art. She displayed a courageous pioneering spirit in raising this point.
"Contemporary art is synonymous with conceptual art, and I firmly believe that it encompasses not only art and academia, but also all facets of the humanities, including history and philosophy. The Zeitgeist, particularly manifested in the artwork, stands as one of the key factors determining its value," she asserted.
"Furthermore, the notion that masterpieces can only emerge from artists when they are hungry, as was the case in the past, is no longer applicable. In the past, even if artists were isolated or sequestered for decades, the world around them remained relatively unchanged, allowing their works, including posthumous ones, to reflect the spirit of their time even years later. However, in today's rapidly evolving world, it is senseless for an artist to create work that disregards engaging with the contemporary context. From that perspective, the idea of artists needing to hunger for inspiration is no longer relevant. Instead, the work of an artist who actively communicates with the world and encapsulates the zeitgeist can be likened to a 'product code'," she once again exhibited her pioneering insight.
In the same context, she emphasized the importance of paying attention to "media contents", which is a recent trend in the art world. According to her explanation, as the world undergoes changes, artists and audiences must embrace diverse artistic means and methods.
"When I attend exhibitions abroad, I am often amazed by the incredibly innovative and imaginative works or approaches that I encounter. Every time this happens, I can't help but wonder, 'How will Korean audiences react when such works enter the Korean market?' There is a level of skepticism in my thoughts," she expressed.
She paused for a moment, reminiscing.
"When I was young, as my birthday approached, I would sketch in a notebook the shoes I desired to wear, shoes that didn't exist in the world. Growing up, I came to realize that it always requires someone's hard work and preparation for imagination to become a reality," she chuckled.
As the intense interview came to a close, I found myself suddenly pondering about the colors that best represent her. Her resolute determination and unwavering dreams shone as bright as white and black. Her pioneering insights blazed with the fervor of red, while her passion for project sites resonated with the gentle pastel hues reminiscent of Mark Rothko's artwork. Despite her graceful appearance, CEO Roh YounJeong exudes tremendous energy in her field, akin to a formidable "warrior" and at times, a "little giant".
She just connected 'KUNSTCODE (cord)' to the world. What kind of light paintings will illuminate her canvas and space?
Sayart.net
Jason Cs Yim, yimjongho1969@gmail.com
Cultural capital is a significant criterion for evaluating national values
Hunger or isolation is no longer advantageous for artists,
But they must stay attuned to the current times
I aspire to lead a Korean and independent international exhibiti
"I am Roh YounJeong.(I am who I am.)" She confidently introduced herself in just a few words.
Roh is a journalist who has been working as the editor-in-chief of 'Art & Criticism' and 'Art Wide,' renowned magazines in Korea, for over 10 years. Even amidst her hectic schedule as a journalist, she occasionally presents exhibitions she has curated to Korean audiences. Each of her infrequent yet exceptional exhibitions, creates a serene wave in the Korean art industry.
She is also a "warrior" who works at the forefront of art management. That's why the business card she hands with the CEO of "KUNSTCODE" is her pride and symbolizes a new challenge. KUNSTCODE is a company that was established less than a year ago, yet the Korean art world is keeping a close eye on its activities. This is where she stands at the forefront. In a recent interview with SayArt, she presented various insights necessary for the Korean art scene, starting with 'Cultural Capital.' Her 'art management theory,' which unfolded like an epic, became a topic and a guiding principle that the Korean art world must take note of.
|
| ▲ CEO Roh YounJeong, Courtesy of UPIKorea |
At the start of the interview, she referenced the book
"Habitus" by French philosopher Pierre Bourdieu (1930-2002) and emphasized that
"art, as cultural capital, serves as the metric and the determinant of a nation's value and competitiveness."Her narrative suggests that despite Korea recently joining the ranks of advanced nations and achieving global success with K-pop acts like
BTS and BLACKPINK, there are still numerous deficiencies in terms of
"national cultural capital." She cautioned that it is premature for Koreans to hastily indulge in a champagne celebration.
Quoting from sociologist
Sarah Thornton's book 'Seven Days in the Art World,' she stated,
"Art is deeply embedded in multiple contexts: social, political, economic, cultural, sexual, racial, and more, all of which have an impact on and are impacted by art." She demonstrated profound insights into the social-scientific significance of art and its existential justification.
Where did her brilliant insights originate from? The answer lies in her lifelong passion for reading. She revealed that during her childhood, she was so enamored with books that she would often spend entire nights flipping through the pages, with several books open simultaneously. However, her remarkable insights didn't solely stem from extensive reading. They were a result of her innate talent to interpret and synthesize a vast array of external information in her own distinctive manner. This remarkable ability has shaped her into an individual with a unique philosophy in art management.
She currently holds a profound affection for the cultural company
'KUNSTCODE,' which she herself has nurtured. To her,
KUNSTCODE is not just a mere entity, but a tool and medium to actualize and materialize her ideas. The term
"KUNST" represents
"art" in German, while
"CODE" symbolizes a hidden identity known only to insiders. The resemblance between
"CODE" and
"CORD" is particularly noticeable to Koreans, thus KUNSTCODE can also be interpreted as an
"art CORD." Her dreams are grand and expansive in nature. She envisions making Korea the epicenter of the global art scene. In reality, she could have led a comfortable and respected life in Korea based on her social career and status thus far. However, her ambitious dreams refuse to let her rest. Her aspirations are not mere whims akin to those of Don Quixote. Upon hearing her meticulously crafted plans for the future, one cannot help but be convinced that her dream will soon become a reality.
She also delivered sharp advice to the Korean art world, stating,
"The existing methods are largely incompatible with the current era. We need a diverse artistic landscape that resonates with both the general public and the top 1%. Of course, this must be supported by a solid academic foundation. Over the years, I have closely observed several renowned international art fairs. Someday, I intend to establish a new global art fair in Korea. While it may be easier to host a well-known overseas art fair in Korea, I aim to take the lead by creating a new brand that is distinctly Korean and independent. I aspire to accomplish this, recognizing that luxury items are often defined by subtle distinctions. Even if it takes time, I want to establish a luxury art fair."
Where does her overflowing confidence stem from? It arises from her extensive practical experience, which has been accumulated through tireless exploration and active engagement in the field. Her aspiration to create a luxury art fair in Korea is her personal endeavor to contribute to the accumulation of "Korea's cultural capital."
Listening to her narrative, the listener can sense the immense power emanating from within her, akin to a colossal chakra. Her dreams are of such magnitude that those who have unfamiliar with her often mistaken her for a mere dreamer. However, those who truly know her and are close to her vehemently disagree with such misconceptions. This is because she is a hands-on leader, recognized and respected for her exceptional practical skills.
"While planning and achieving results are undoubtedly important, I find great joy in the actual process of work and feel genuinely content. Each time an empty floor plan comes to life, I experience a profound bliss that cannot be found elsewhere."
Originally, she pursued a major in French literature. Although her parents desired her to major in English literature, it was the allure of the French language, akin to her artistic language, that instantly captivated her. Perhaps it was her innate artistic DNA that played a role. Subsequently, she nurtured her curiosity and thirst for art by delving into the study of Western art history at Sookmyung Women's University Graduate School and Regensburg University in Germany. The buds of her passion for art have now blossomed into full bloom. In a thought-provoking manner, she boldly stated, "Art must be connected to marketability."
This sensitive and discomforting topic is one that many in the art world may hesitate to broach or shy away from. Nevertheless, it is a crucial matter that demands discussion for the survival of art. She displayed a courageous pioneering spirit in raising this point.
"Contemporary art is synonymous with conceptual art, and I firmly believe that it encompasses not only art and academia, but also all facets of the humanities, including history and philosophy. The Zeitgeist, particularly manifested in the artwork, stands as one of the key factors determining its value," she asserted.
"Furthermore, the notion that masterpieces can only emerge from artists when they are hungry, as was the case in the past, is no longer applicable. In the past, even if artists were isolated or sequestered for decades, the world around them remained relatively unchanged, allowing their works, including posthumous ones, to reflect the spirit of their time even years later. However, in today's rapidly evolving world, it is senseless for an artist to create work that disregards engaging with the contemporary context. From that perspective, the idea of artists needing to hunger for inspiration is no longer relevant. Instead, the work of an artist who actively communicates with the world and encapsulates the zeitgeist can be likened to a 'product code'," she once again exhibited her pioneering insight.
In the same context, she emphasized the importance of paying attention to "media contents", which is a recent trend in the art world. According to her explanation, as the world undergoes changes, artists and audiences must embrace diverse artistic means and methods.
"When I attend exhibitions abroad, I am often amazed by the incredibly innovative and imaginative works or approaches that I encounter. Every time this happens, I can't help but wonder, 'How will Korean audiences react when such works enter the Korean market?' There is a level of skepticism in my thoughts," she expressed.
She paused for a moment, reminiscing.
"When I was young, as my birthday approached, I would sketch in a notebook the shoes I desired to wear, shoes that didn't exist in the world. Growing up, I came to realize that it always requires someone's hard work and preparation for imagination to become a reality," she chuckled.
As the intense interview came to a close, I found myself suddenly pondering about the colors that best represent her. Her resolute determination and unwavering dreams shone as bright as white and black. Her pioneering insights blazed with the fervor of red, while her passion for project sites resonated with the gentle pastel hues reminiscent of Mark Rothko's artwork. Despite her graceful appearance, CEO Roh YounJeong exudes tremendous energy in her field, akin to a formidable "warrior" and at times, a "little giant".
She just connected 'KUNSTCODE (cord)' to the world. What kind of light paintings will illuminate her canvas and space?
Sayart.net
Jason Cs Yim, yimjongho1969@gmail.com
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