专访韩国画廊协会会长李贤淑女士（英文版）

　　Du: When did the South Korean Gallery Association establish? What kind of organization is it? Please give us a brief introduction.

　　Lee: The Galleries of Association Korea was established in 1976. Its main aims are to promote understanding and popularization of art as well as to contribute to the development of the international art culture. Also our job is to attain fair trade in the art market and establish an order in the art distribution practice.


　　Du: What do you do as the Chairman of the Association?

　　Lee: In my opinion the most important work is to support development of the Korean art field and expand the art market not only in quality but also in quantity.


　　Du: As a vocation, when did South Korean gallery sprout? Are there any waves during the vocation’s development?

　　Lee: Galleries in South Korea began officially forming right after the Independence from Japan and expanded continuously ever since. One of the most difficult aspects in managing the gallery is, of course, that art is not yet quite popularized at this point.


　　Du: Would you mind talking about the current circumstances of the South Korean gallery?

　　Lee: South Korean Galleries are facing both critical moments as well as optimistic opportunities at the same time. After a long stagnation, people are gradually getting interested in collecting art. At the same time people tend to see art as another way of invest rather than truly appreciating art as is. For the long term growth we have to find ways to draw art-appreciative collectors rather than investors collecting art for economic reasons.



　　Du: It is known to all that South Korean galleries have been going into China quite fast. Why? Are there any special reasons?

　　Lee: China takes a big role in Asia culturally as well as historically. It’s a huge continent before being one country. Entering the Chinese Art market has important meaning both in developing and identifying the Asian culture. As a matter of fact there is a great deal of potentiality in the Chinese art market.

　　Du: There are 14 top South Korean galleries joining in CIGE this time. Why do you pay such attention to this art fair?

　　Lee: As stated earlier, our interest in China starts from its culture and history and extends to China’s potential in growth.


　　Du: Do you know about Chinese gallery? If so, please tell us the strongpoint and deficiency of Chinese gallery in your opinion.

　　Lee: China is the country of tremendouslyrich culture and abundance in talented people. I think Chinese galleries understand what their strengths are. And I also think they are doing a great job for utilizing all the advantages to build the market as rapidly as they have done. However, it is no less important to educate substantial collectors than selling itself.


　　Du: It is said that art resources has been quickly coordinated between China, South Korea and Japan. What do you think of it?

　　Lee: I agree with you. Among them Chinese is the fastest.


　　Du: Kukje Gallery promotes local artists as well as represents international well-known artists. How do you define Kukje Gallery?

　　Lee: Kukje Gallery is building a bridge between the Korean and the international art.


　　Du: What kind of gallery can be called an international gallery?

　　Lee: The galleries that continuously pursue morals in art trade and artistic merit can be considered as “international galleries.” Trading art is the utmost importance in cultural activity. Of course there should be appropriate vision, manner and professionalism.