Price
₩12,000,000
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
68 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.
Modern Korean History-Long Live Democracy (5.18)
Sin Hakcheol
About the Artist
Shin Hakchul (b. 1943) is an artist associated with the Minjung (People's) Art movement who initially participated in experimental art, exhibiting works through the Korean Avant-Garde Association (AG) exhibitions in the early 1970s. However, from the 1980s onward, he turned to critiquing the new military dictatorship, contemplating the role of art in social communication and discourse, and depicting major events in Korean modern and contemporary history using hyperrealist and photomontage techniques. Apocalypse 802 was created using the collage technique he concentrated on from the late 1970s to the early 1980s. In it, salarymen with shoe-shaped faces all look in one direction, surreally satirizing the unilateral flow of information and suppressed freedom of expression. The subjects in Shin's works are primarily workers, the middle class, and farmers; these figures from various social strata are depicted realistically without idealization, revealing history as a concrete reality.
About this work
〈Modern Korean History-Long Live Democracy (5.18)〉 is a Painting work by Sin Hakcheol. Created in 2017 on 콜라주, measuring 77.8x53.6cm. Available as an original Korean contemporary artwork at SAF Online.
Related materials
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Magazine

Shin Hak-chul: Five Decades of Painting the People
An artist who has never put down his brush from the 1970s through the 2020s. Fifty years of work that weaves the pain and hope of Korea's modern history through bodies, mountains, and rivers.
Jun 28, 2026 · Seed Art Festival
Introduction to Minjung Art Through Shin Hak-chul
Resistance in the 1980s, reappraisal in the 2000s, reinterpretation in the 2020s. Minjung art never disappeared — follow a lineage still alive as one spine of Korean art, read through Shin Hak-chul.
Jun 9, 2026 · Seed Art Festival
Agriculture and Labor in Korean Art — Kim Jun-kwon's Mountains, Min Jeong-gi's Fields, Lee Cheol-soo's Earth
Korea's oldest pictorial motif is agriculture. Tracing the contemporary lineage from Shin Hak-chul's *Rice Planting* (1987) through Kim Jun-kwon's woodblocks, Min Jeong-gi's Yangpyeong fields, Lee Cheol-soo's hanji prints, and Jung Young-shin's five-day market photographs.
Apr 29, 2026 · Seed Art FestivalOther works by Sin Hakcheol
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Two beginnings made by one piece
- For you —
- One-of-a-kind in the world
- 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.




