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₩500,000
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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
63 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.
Nude
Kim Namjin
About the Artist
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.
Artist Statement
Kim Nam-Jin (金南鎭) was born in 1957 in Gongju, Chungcheongnam-do, and graduated from Korea University.
He held the solo exhibition Nights in Itaewon at Pine Hill Gallery in 1987, and Polaroid Nudes at Batanggol Art Hall in 1993.
His Nights in Itaewon documentary series, begun in 1984, is regarded as one of the successful experiments in indigenous form within Korean photography.
He then experimented with new modes of nude photography using image transfer of Polaroid color, and from 1987 he ran the Kim Nam-Jin Photography Studio (sajin gongbang), systematizing for a Korean readership the various tendencies, theory, and aesthetics of contemporary photography and training many younger photographers.
As an exhibition curator, he has organized and run the Seoul International Photo Festival and the Chungmuro Photo Festival, and currently serves as the head of the Photography Culture Forum and Gallery Bresson.
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.
Andersson Bell X Kim Namjin
This article text is currently available in Korean. Open the source to read the original version.
VISLA Magazine · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Kyunghyang Shinmun · 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.
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Price
₩500,000
Recently Sold
63 artworks sold recently
Two beginnings made by one piece
- For you —
- One of only 5 limited prints
- 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.


