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Art protects art

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

The memory of going hungry for three days, alone, so my children wouldn't know.

50s, theater artist

I've been putting off urgent dental treatment because I can't afford it. I should be seeing a doctor regularly, but enduring instead of going has become a habit.

50s, actor

I kept delaying ear treatment because I had no money, and the symptoms in both ears worsened.

30s, musician

I couldn't pay my hospitalized mother's bills, so we had to delay her discharge, and she had to give up tests and treatment she needed.

50s, actor/broadcaster

Because of money troubles I had nowhere to go — drifting between gosiwon rooms and rehearsal studios, and for a while sleeping rough.

30s, musician

Because of unpaid rent, my collective was forced to vacate our shared workspace and home. Neither bank loans nor artist loans could help.

50s, actor

Without money, life collapses — and creating art? Out of the question.

50s, artist

It's painful that solving this month's money problems has to come before the work itself. As an artist, I can only earn well when the work succeeds — yet I have to chase odd jobs every month instead. It feels like being trapped in a vicious cycle.

40s, musician

Debt collection calls disrupted my rehearsals and performances, and the psychological burden made every day painful and the next day frightening.

40s, theater artist

Many times the loan payments looming each month forced me to step away from performing and focus on part-time work.

50s, actor

Sleeping less than four hours a night, juggling part-time jobs and theater — but the more I performed, the more debt piled up. Eventually I decided to quit performing.

30s, actor

When things were hardest, I couldn't even attend close friends' weddings or funerals — and as a result, relationships were severed.

50s, actor/broadcaster

When I said I was a stage actor, the loan officer called me "unemployed."

50s, actor

The shame and severed friendships that came with borrowing from people I knew, the pressure of failing to pay it back, the helplessness.

50s, cartoonist/visual artist

Even with programs meant for low-income citizens, I feel shame when I can't produce enough documentation simply because I'm an artist.

30s, film/broadcasting professional

97 artworks sold, each becoming a seed of solidarity

One artwork becomes the oxygen that keeps a fellow artist creating.

Sales proceeds go to the artist mutual-aid fund.

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Harvest

Min Jeonggi

Authenticity

Limited edition

What "edition" means →
CategoryPrintmakingMaterialSilkscreen print What's a print? →Size57×41.5cm · Size 12 · Medium How big is this? →Year2025EditionEdition 14, 16, 18 What's an edition? →Price₩1,000,000

About the Artist

Min Joung-Ki (b. 1949) was a founding member of 'Reality and Utterance' (Hyeonsil-gwa Bareon), participating in the Minjung (People's) Art movement from its inception in late 1979 to its formal dissolution in 1990. Since the 1990s, he has lived in Yangpyeong, Gyeonggi-do, painting landscapes (sansuhwa) and floral works that he describes as painterly records of human life living together with mountains and earth. His early work, which re-imitated the unrefined so-called barbershop paintings and brought them into the corridors of high art, touched the self-consciousness that all of us live conventionally in a conventional society—an anti-aesthetic, dadaist enterprise read as an allegory of a somber era. He then walked toward the forest—more precisely, toward the earth and the strata of history—and later out into the marketplace, following roads, paths, and the flow of rivers as 'paths toward today.' His Yangpyeong-era landscapes set their dwelling within mountain ranges and terrain, regarding this as the wisdom of pungsu (geomantic harmony) once held by people of old.

Artist Statement

(Frame sold separately)

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Price

₩1,000,000

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Recently Sold

97 artworks sold recently

Two beginnings made by one piece

For you
One of a limited edition
For the artist
the next month of their practice
For a fellow artist
a new ₩3,000,000 path of low-interest support

354 artists have walked this path of recovery; 95% returned to open it for the next.