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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.

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Nude

Kim Namjin

Authenticity

Limited edition 1/5

What "edition" means →
CategoryPhotographyMaterialEdition 1/5 print SizePending Year1992EditionEdition 1/5 What's an edition? →Price₩500,000

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.

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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.