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Milky Way at My Fingertips
Kim Juho
₩3,000,000
Kim Juho
₩3,000,000
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 Juho
Kim Juho graduated from Seoul National University's College of Fine Arts, Department of Sculpture, and its graduate school. He has held solo exhibitions including Between People (Gwanhun Gallery, 2012) and Lively Landscape (Gahoedong 60, 2012), and has participated in numerous curated exhibitions. His works are in the collections of the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, and Seoul Olympic Museum of Art (SOMA), among others. He has consistently produced three-dimensional and two-dimensional works that reinterpret people and everyday landscapes with his distinctive contemplation and ease. Beginning from everyday life, his meditative approach draws diverse stories from our surroundings, fostering empathy and communication. His work Wonderful! conveys a curiosity about the world, while the magnifying glass form in Window to the World signifies the desire to see through objects and clarify relationships. These distinctive figurative depictions of the human form connect to his revolving figures, seemingly speaking to the human relationships in our lives.
Education 1986 M.F.A., Department of Sculpture, Graduate School, Seoul National University 1976 B.F.A., Department of Sculpture, College of Fine Arts, Seoul National University Publication Between People, Hexagon Publishing, Korean Contemporary Art Series 003 Solo Exhibitions 2013 Gahoedong 60, Seoul (Steel Drawing) 2012 Gwanhun Gallery, Namu Gallery (Between People) 2010 Gahoedong 60 (Living Landscape) 2012-1986, 12 Solo Exhibitions Group Exhibitions 2013 Birth, Art Journey, Yangpyeong Museum of Art Listening to Sculpture, Bupyeong Art Center Trajectory of Korean Contemporary Art, Seoul National University Museum of Art Our Stories, Doowon Gallery Fashion Landscape, Jongno Urban Gallery Human and Existence, Kim Chong Yung Museum 2012 2nd Incheon Peace Art Project, Incheon Art Platform ADAMAS253 Prologue, Adamas253 Gallery, Heyri Seochon: Meeting Underground, Artside Gallery Incheon, Speaking of Sculpture, Gaon Gallery, Incheon Seoul Sculpture Society 33rd Exhibition, Moran Museum of Art, Maseok The Teacher's Shadow, The Students' Light, Kim Chong Yung Museum Sea of Peace, Boundary on Water, Incheon Art Platform Christmas in Korea, Lotte Gallery, Yeongdeungpo Artistic Period, Gallery Interalia 2011 Gently Looking In, Incheon Art Platform Happy Together, Lotte Gallery, Yeongdeungpo Wood Sculpture Exhibition, Kyungpook National University Museum Korean Art Today, Korean Cultural Center, Sydney, Australia Sea of Conflict, Sea of Reconciliation, Incheon Art Platform Discovery of Life, Bupyeong Art Center Villa d'Art and Artists, Topohaus 2010 Stories of Our Lives, Lotte Gallery, Daejeon Inter_View, Incheon Art Platform Hyehwadong-in Exhibition, Cheonga Gallery Seoul Sculpture Society 30th Anniversary Exhibition, Seoul Art Center Oh, Happy Day, Lotte Gallery, Anyang 2009 Ubo Manri (Ox Steps Ten Thousand Li), Shinsegae Gallery Haechi Parade, Seoul Urban Gallery Project 2009 Love is Rainbow, Lotte Gallery Seoul Sculpture Society 30th Anniversary - Thirty Years Journey, Gongpyeong Art Center Collections MMCA, Gwacheon, Gyeonggi-do Daejeon Museum of Art, Daejeon SoMA (Seoul Olympic Museum of Art), Seoul Moran Museum of Art, Namyangju, Gyeonggi-do National Folk Museum of Korea, Seoul Incheon Art Platform, Incheon Gimpo International Sculpture Park, Gimpo, Gyeonggi-do Jikji Culture Park, Gimcheon, Gyeongsangbuk-do Incheon Foundation for Arts & Culture Art Bank, Incheon Residency 2013 Incheon Art Platform Residency Program 4th Cohort Resident Artist, Incheon
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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