[Namsan Stroll] The Future of K-Art Learned from Munch

A Painter Who Changed an Era and a Nation
K-Art as a National Strategy: A Lasting Cultural Asset

The Munch Museum, which relocated and newly opened in Oslo, Norway in 2021, has attracted a continuous stream of art enthusiasts from around the world since its inauguration. Originally established in the Tøyen district of Oslo in 1963, the museum reopened in a new building in Bjørvika on October 22, 2021. More than just an exhibition space, the museum has become a landmark symbolizing Norway’s cultural identity, and today it is considered a must-visit destination for anyone traveling to Oslo.

It is noteworthy that Norway was, for a long time, one of the poorest countries in Northern Europe. Until the 1930s, Norway had a relatively underdeveloped economic structure compared to Sweden, Denmark, and Finland, with a weak industrial base and a low-income economy dependent mainly on agriculture, fisheries, and forestry. Although Norwegian artist Edvard Munch was active during this period, the country lacked the resources to promote him internationally. In the latter half of the 20th century, however, Norway established an economic foundation through the oil industry and developed a strategy to expand this foundation into the cultural sector. In this process, Norway elevated Munch, a master of Norwegian art history, into a global icon, and the Munch Museum now plays a crucial role in strengthening the national brand. Munch has come to represent not just an individual artist but 'Norwegian culture itself.'

Looking at the situation in Korea, we have already achieved global recognition with K-pop, K-dramas, and even K-literature, which has gained attention through Nobel Prize achievements. However, in the field of art-K-Art-Korea has yet to establish sufficient global popularity or influence. While works by Korean artists are collected by major international museums and actively traded at global art fairs, there is still a long way to go in terms of cultural impact. Nevertheless, the potential is greater than in any other cultural field.

Exterior view of the Munch Museum located in Bjervika, Oslo, Norway. Beyond representing the personal artistic world of Munch, this place has come to symbolize 'Norwegian culture itself,' serving as an iconic example of how a nation transforms an artist into a global icon. Provided by the author.

Recently, while preparing an exhibition featuring five Korean women artists-Park Raehyun, Chun Kyungja, Bang Hyeja, Yoon Suknam, and Ryu Minja-I was able to directly witness the possibilities for the popularity and influence of K-Art. These Korean artists, especially during times when being a woman posed additional social constraints, continuously created their own narratives, enduring countless moments of both light and darkness. As they lived through the dynamic and dramatic events of modern Korean history-from the Korean Empire, Japanese colonial rule, liberation, and the Korean War, to the establishment of the Republic of Korea-the dual minority status of being both women and artists became a fundamental characteristic that shaped their works. In particular, their use of uniquely Korean materials such as hanji (traditional paper) and light color techniques imbues their art with the texture and spirit of time, giving it irreplaceable value in the global art market. The strength of Korean art lies in this 'fusion of uniqueness and universality.' The originality born from Korean materials and techniques, combined with the narrative power that touches on universal human emotions, forms a language that resonates anywhere in the world.

So, how can Korean artists be promoted to the world as global icons like Munch? Simply holding exhibitions and displaying works is not enough. It is now essential to deliver the unique, original, and narrative stories of our artists to the world through a fusion of various media. When the beauty of the artwork is combined with the background in which it was created and the life of the artist is woven into the narrative, the potential for global empathy is maximized.

For example, consider the works of Chun Kyungja, one of Korea’s representative female painters. Her paintings vividly capture her identity as a woman, her solitude as an artist, and her love and conflicts with her family. Imagine if storytelling based on her works were developed into a drama, film, or web documentary. Korean art could function not merely as 'paintings' to be consumed, but as a window into understanding Korean society and culture. Rather than simply exhibiting and appreciating their art, Korea can expand its national brand and cultural identity through specific artists and works, just as the Munch Museum has become a symbol of Norway. In particular, K-Art can be linked with other globally recognized Korean cultural industries. Collaborations between K-pop and art, the active inclusion of art in K-dramas or K-musicals, and the use of digital media art all offer new avenues to introduce Korean art to the world. The world is already familiar with Korean culture. Now, the remaining task is for K-Art to become the final piece of the puzzle in Korean culture.

Just as Norway built its national identity around Munch, Korea also needs a government-led project centered on discovering and intensively supporting representative global artists. If we can shift our perspective to connect art with urban competitiveness, tourism, and national brand strategy, K-Art will not only establish itself as a new cultural icon alongside K-pop, K-dramas, and K-literature, but also become the most powerful and enduring cultural asset.

Hong Jisook, CEO of Art Token