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Nude
Kim Namjin
₩500,000
Kim Namjin
₩500,000
8 out of 10
artists are shut out by banks
354
loans extended to fellow artists
95%
repayment rate — trust comes full circle
~KRW 140M
interest saved vs. predatory rates
Until the next exhibition, the next performance. For artists, income gaps are an unavoidable reality. For fellow artists forced into predatory loans just to afford paint, canvas, and studio rent, proceeds from this artwork become the Seed Fund — extending a fair hand at fair rates.
Voices of fellow artists
“I starved for three days without telling my children.”
— 50s, theater artist
“I can't afford the dental treatment I desperately need.”
— 50s, actor
“The more I performed, the deeper in debt I went — so I quit.”
— 30s, actor
“Collection calls disrupted my rehearsals and performances, making each day unbearable.”
— 40s, theater artist
“With nowhere to go, I drifted between tiny rooms and rehearsal studios — and was homeless for a while.”
— 30s, musician
One artwork becomes the oxygen that keeps a fellow artist creating.
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8 out of 10
artists are shut out by banks
354
loans extended to fellow artists
95%
repayment rate — trust comes full circle
~KRW 140M
interest saved vs. predatory rates
Until the next exhibition, the next performance. For artists, income gaps are an unavoidable reality. For fellow artists forced into predatory loans just to afford paint, canvas, and studio rent, proceeds from this artwork become the Seed Fund — extending a fair hand at fair rates.
Voices of fellow artists
“I starved for three days without telling my children.”
— 50s, theater artist
“I can't afford the dental treatment I desperately need.”
— 50s, actor
“The more I performed, the deeper in debt I went — so I quit.”
— 30s, actor
“Collection calls disrupted my rehearsals and performances, making each day unbearable.”
— 40s, theater artist
“With nowhere to go, I drifted between tiny rooms and rehearsal studios — and was homeless for a while.”
— 30s, musician
One artwork becomes the oxygen that keeps a fellow artist creating.
Kim Namjin
Kim Namjin (b. 1957, Gongju, South Chungcheong Province) graduated from Korea University. He held solo exhibitions including Itaewon Nights at Finehill Gallery (1987) and Polaroid Nudes at Batanggol Arts Hall (1993). His Itaewon Nights documentary series, initiated in 1984, is recognized as one of the successful indigenous formal experiments in Korean photography. He subsequently experimented with new expressive approaches to nude photography using Polaroid color image transfer techniques. Since 1987, he has operated the Kim Namjin Photography Workshop, systematically introducing various trends and theories of contemporary photography and photographic aesthetics to Korea while mentoring many younger photographers. As an exhibition organizer, he has planned and directed the Seoul International Photo Festival and the Chungmuro Photo Festival. He currently serves as the representative of the Photo Culture Forum and Gallery Bresson.
The artist statement is currently available in Korean.
This article text is currently available in Korean. Open the source to read the original version.
This article text is currently available in Korean. Open the source to read the original version.
This article text is currently available in Korean. Open the source to read the original version.
This article text is currently available in Korean. Open the source to read the original version.
This article text is currently available in Korean. Open the source to read the original version.
This article text is currently available in Korean. Open the source to read the original version.
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