Theoretically art knows no boundaries, but the ever-present political differences remind us of the fine line dividing these lands. With recent discussions of expanding cultural exchange between North and South Korea, Broersen’s exhibition has arrived at a critical point.
We meet with Frans Broersen to discuss his unconventional art project in Goyang, South Korea. Traipsing through North Korea since 2005, Broersen had dreams of unleashing one of the world’s most elusive countries. In this, he accumulated a large collection of paintings and drawings over a six-year period.
We meet with Frans Broersen to discuss his unconventional art project in Goyang, South Korea. Traipsing through North Korea since 2005, Broersen had dreams of unleashing one of the world’s most elusive countries. In this, he accumulated a large collection of paintings and drawings over a six-year period.
Authorities give the green light
The 63-year-old Frans Broersen speaks passionately about this lengthy project. “It was my idea, but I had to convince the South Korean authorities which was not so simple”, explained the Dutch art collector, who waited three years to find the right exhibition space. “We had to wait for official permission from different parties, including the South Korean government and the Secret Service”, he says. He recognizes that he would have never imagined the difficulties he would encounter in organizing the exhibition in South Korea, “a democratic country”.
The Korea International Exhibition Center (KINTEX) in Goyang was finally chosen, displaying highlights of Broersen’s collection to the public. Situated northwest of the Seoul capital, the town is only a few kilometres from North Korea’s border.
The Korea International Exhibition Center (KINTEX) in Goyang was finally chosen, displaying highlights of Broersen’s collection to the public. Situated northwest of the Seoul capital, the town is only a few kilometres from North Korea’s border.
The censored works
The exhibition presents around 150 works by 70 artists, including artists Jung Chang-Mo and Son U-Yong. Paintings depict serene landscapes, scenes of daily life, still life, with a whole range of colours.
But three paintings didn’t make the cut. “Everything that could be interpreted as political or used as propaganda was screened.” said Broersen. “Amongst the three works, there was one of my favourites depicting a festive scene in a village. In the background there are some trees decorated with banners with slogans, and the writing did not please the South Korean authorities. Such is why the request was denied.” So what did the people of South Korea make of it? “The majority of people did not make the link between the exhibition and North Korea. In fact, the works are not that visually unlike works by artists in South Korea.” explained Broersen.
But three paintings didn’t make the cut. “Everything that could be interpreted as political or used as propaganda was screened.” said Broersen. “Amongst the three works, there was one of my favourites depicting a festive scene in a village. In the background there are some trees decorated with banners with slogans, and the writing did not please the South Korean authorities. Such is why the request was denied.” So what did the people of South Korea make of it? “The majority of people did not make the link between the exhibition and North Korea. In fact, the works are not that visually unlike works by artists in South Korea.” explained Broersen.
“I expected more visitors”, Broersen admits. “With KINTEX, we estimated 55.000 entries”. Since the doors opened January 29, numbers have been low. But Broersen has a complex communications strategy up his sleeve, aiming to increase numbers. His project is intriguing and it seems not just in the West. “Sometimes I’m recognized in the street in Seoul.” he says.
Quest for top-notch art
Broersen hasn’t always been into North Korean art. Coinciding with fall of the communist party in the Soviet Union, the art investor took his chance in 1991, buying up Russian paintings when prices were rising and the market had just reopened.
In 2005 he went to Pyongyang for the first time “to see if it was possible to find top-notch art”. His expectations were rewarded and he returned with ample works. The excitement is clear in his voice: “North Korea was so isolated, I was the first to go and buy art and it was a huge challenge and a great investment.” Broersen isn’t just an adventurer and philanthropist; he's a crafty investor.
In 2005 he went to Pyongyang for the first time “to see if it was possible to find top-notch art”. His expectations were rewarded and he returned with ample works. The excitement is clear in his voice: “North Korea was so isolated, I was the first to go and buy art and it was a huge challenge and a great investment.” Broersen isn’t just an adventurer and philanthropist; he's a crafty investor.
Painting by Son U-Yong (Courtesy of Hidden Treasures Of N.K Committee)
“I didn’t know anything about art from North Korea”, he admits. “But if we’re capable of understanding and appreciating art in general, there’s no need to be a regional specialist”, addressing his various detractors. “An oenologist can recognize a good wine, even if it comes from a grape he's never tasted.” But North Korea is known to cater for foreign tastes, and it remains to be seen exactly what Broersen has “cashed in” on.
Wager for the future
Ten years after his first North Korean encounter, Broersen is at the head of his foundation alongside two fellow Dutchmen. The 2500 artworks are carefully conserved, with many on paper. Nothing is for sale but some were exhibited in Latvia and Lithuania where the art investor lives with his wife. “For the moment we are holding on further purchases, in order to concentrate on preserving the existing artworks which are fragile.”
Broersen insists the art market in North Korea is alive, where “only a selected few can buy art work”. The market on the international scale is limited too, “notably the Chinese, who are very fond” and some galleries have made this their speciality. Since the death of artists Jung Chang-Mo and Son U-Yong, prices have been increasing. Despite everything, this niche market remains exclusive.
And so what’s happening next for Frans Broersen? He smiles and confides that the Smithsonian Institutionhas approached him. It’s a promising sign for Broersen and art of North Korea.
