Having both grown up around art and with education architecture and art history, Julie Hongji Seok and Kyungha Song have made a perfectly matched collector couple. Together, they have built up an art collection of around 200 artworks. Calling themselves “art travelers”, they have been actively engaging with art through spending months every year travelling around to different destinations around the globe. They have also developed their own model to make decisions of acquisition within limited timeframes. In 2022, they also launched their young artist residency in Seoul’s Hannam neighborhood, which also includes open storage for their art holdings.
LARRY’S LIST had a conversation with the couple to find out their latest purchases, their experiences of collecting art as a couple, the current contemporary art collector scene in South Korea, as well as their art travel plans this year. They also shared about why they place significant importance on meeting artists and visiting their studios before acquiring their work.

Collecting

How did you start collecting art? What is the main motivation behind your collecting?
We believe that art collecting is a way to deepen our understanding of creation in our lives. Art reveals new perspectives and leads us to places we may never have imagined—whether we could have envisioned them or not.
After enjoying the process of collecting, we are motivated to share these works in creative ways and different contexts. One of our experiments involved a revolving door (2018) with a painting by Keunmin Lee inside. As the main entrance of a café, visitors had to touch the door and pass through it. It was designed to create a more welcoming and friendly display, like a museum entrance. The painting became one of the most popular photo spots for visitors in the area. After a few years framed within the door, the painting was removed, stretched, and hung in a new space. In each of these settings, the painting is perceived very differently by us and our visitors.
Recently, we observed Lina Bo Bardi’s glass pedestal being used at the Venice Biennale and in many commercial spaces. We appreciate how such innovative approaches contribute to the broader art scene, as we’ve also been eager to create fresh and dynamic ways to engage with art. When we collect, we often consider the ideal environment for each piece. In some cases, we collect works specifically for our own spaces and develop new methods of displaying the artwork in those environments.

When did you fall in love with a piece of art? What was it?
Kyungha (K): I’ve had some moments of serendipitous understanding of a work of art. One morning, I woke up to the cold air of the room and felt the sensation of the air on my skin. Suddenly, it reminded me of Constantin Brâncuși’s sculpture “Bird in Space.” At that moment, I realized that the air itself is like a canvas, and the sculpture is a painted form within that space. I had seen the sculpture many years ago, but I hadn’t fully grasped its meaning until that morning. This kind of experience, which I would describe as a form of synesthesia, happens unexpectedly, and it deepens my understanding of art in ways I never anticipated.

What is your focus regarding the artists in your collection? Are you more interested in emerging or renowned artists?
We always aim to stay attuned to the present moment “right now” in the global art scene, understanding its dynamic and evolving nature. The art world today is faster and more diverse than it was a decade ago, so we believe it’s essential to travel and explore how artists across different continents interact with one another and express their unique originality.
The fame of an artist can vary across regions and cultures, but certain masters are universally acknowledged through prominent public exhibitions and collections. With this in mind, we try to maintain a balance in our collection between emerging and renowned artists. We believe that when these two groups are thoughtfully combined, they can create a powerful synergy.
For us, both categories are important, and we strive to collect works at the right moment. Our goal is for our collection to hold meaning, not just for us, but also for others.

What type of art has consistently attracted you? Or what is the theme that unites all the works you have acquired?
Julie Hongji (J): We believe that the essence of art lies in its capacity to console and nurture the human spirit. It’s not just about aesthetics; it’s about the energy and impact the artwork holds. To align with this deeper purpose, we seek works that capture the artist’s most brilliant moments. These works often stem from the artist’s self-driven energy, which invigorates the entire creative process. The most powerful art comes from the happiest memories, the deepest reflections, and the greatest insights of the artist. While this idea may sound spiritual, we also rely on objective standards. Ultimately, the central theme of our collection is the tranquility of the mind.
K: In recent years, we have focused on early paintings by the great masters. For example, we own one of Peter Doig’s earliest works, painted in 1982 when he was just 23. It showcases his bravery, extensive self-training, bold approach, and subtle techniques all at once. The earliest works of renowned masters offer valuable insights into understanding today’s young artists. They reveal the potential of their gestures, energy, technique, and humanity—traits that can guide us in discovering the most promising emerging talents for our collection.

What were the first and the latest artworks you purchased?
One of the early pieces in our collection is Josef Albers’ “Interaction of Color,” created at Yale in 1963. We were drawn to the unique position of his silkscreen prints, which function both as an educational tool and as fine art. Inspired by this dual nature, we organized a special exhibition in the form of a “shopping booth” featuring these works. The innovative installation received positive feedback from both the Albers Foundation and many visitors.
Recently, we acquired paintings by Katharina Grosse, Aya Takano, and Anna Koak. Katharina’s work captivates us with its exploration of boundless concepts and space. Aya Takano’s pieces resonate with us through their intimate and subtle engagement with a global audience, and we anticipate my collection will become a tattoo on someone’s body. Anna Koak’s paintings appear to be in a constant state of evolution, pushing toward a new direction. We appreciate how she connects with art history, particularly her references to the great masters of the 20th century.

How many artworks do you own? Where do you display your collection?
We currently own around 200 pieces. Some are displayed in my home, while others are kept in a few storage spaces. We typically change the displays more than twice a year. Additionally, we have a public storage space that people can visit by reservation.

Have you ever presented your art collection publicly?
Last year, we exhibited our collection publicly for the first time during Frieze Seoul week at a national heritage site called “Baeryeom’s house.” This location, a traditional Korean hanok, provided a meaningful context to showcase our collection. It was a significant milestone, as it marked the first public presentation of our collection outside our personal spaces. Moving forward, we plan to present our collection in the most appropriate conditions and settings, as these efforts align with our long-term vision of establishing a museum.
Another notable project was the opening ceremony of a private residence in Seoul. For this event, we curated an exhibition that combined works from our collection with primary pieces from artists represented by invited galleries. The exhibition aimed to capture a snapshot of the contemporary art world, featuring a mix of emerging talents and established masters.
Over the past few years, we’ve developed strong relationships with hundreds of galleries and have been invited to participate in major projects with broadcasting companies, real estate developers, and auction houses. Through these collaborations, we’ve realized the flexibility of a collector’s role in the art ecosystem, often serving as a connector among different stakeholders.
As “art travelers” with no conceptual boundaries, we’ve experienced the unique advantage of engaging in real-time with the ever-evolving art world. This active participation allows us to bridge gaps and explore the continuity of the art scene. I believe many like-minded collectors would agree on the value of such an approach.

What considerations guide you to make a purchase?
Our decision-making process can be compared to a three-legged race, where every element must work in harmony. Two key premises guide us: the past and the future. We believe that collecting goes beyond admiring a single outstanding work by an artist—it requires a thorough understanding of the artist’s journey and potential.
In recent years, we’ve developed our own model to make decisions within limited timeframes. This model is based on 10 standards, divided between past and future considerations. The past encompasses what the artist has achieved so far, while the future reflects their potential to grow and contribute meaningfully to art history.
Among these 10 criteria, the top three aspects we focus on are originality, creativity, and the possibility of the artist’s work remaining in art history. While we acknowledge we won’t always be right, our goal is to make thoughtful and regret-free decisions, supporting artists wholeheartedly after the acquisition.

How important is it for you to meet the artists who created the artwork?
For us, the artwork is an extension of the artist’s ego and identity, making the artist an essential part of the collection process. We place significant importance on meeting artists and visiting their studios before acquiring their work.
When we meet them, we often have a set of questions to better understand their journey and creative process. These include inquiries about the subjects they’ve studied and been drawn to, the experiences or episodes that have influenced them, the artists they admire, and any unique routines they have for their work or daily life. If the artist is willing to share, these conversations create a deeper connection and insight into the work, making the collecting experience even more meaningful.

What are the most challenging and most enjoyable experiences when collecting art as a couple?
From the very beginning of our relationship, art has been at the center—we even had dates in museums when we first started our journey together. Collecting as a couple feels like becoming a single entity with four eyes, four hands, four feet, and two brains, all working in harmony.
We deeply trust each other, sharing every decision and experience along the way. Growing our collection feels like growing a family. Each new artwork strengthens our bond, creating layers of connection not just to the art but also between us. 

South Korean art scene

How is the contemporary art collector scene in South Korea nowadays?
The collector scene in South Korea is more dynamic and enthusiastic than ever before. Collectors are eager to distinguish themselves by expressing their individuality and taste through their collections. Given Asia’s geographic distance from major art hubs in Europe and the United States, South Korean collectors are using their passion to overcome these limitations.
Young collectors, in particular, are breaking barriers—they travel extensively to engage with the global art world in real-time, experiencing art without constraints of time or location. When back home, they dedicate themselves to studying and collecting international artists. Globalization, combined with improved access to artists and galleries through digital platforms, has accelerated this trend.
This dynamism is evident in the popularity of major events like Frieze Seoul and the Gwangju Biennale, which continue to draw attention from both local and international audiences. Another positive trend is the growing number of collectors interested in multimedia works and sculptures, reflecting the evolving diversity of tastes in South Korea.

Which are the top art places that you recommend visiting in South Korea?
K: National Museum of Korea is a must-visit to appreciate the breadth of Korean aesthetics and cultural heritage. For contemporary art, I highly recommend Leeum Museum of Art and Art Sonje Center, both of which offer exceptional exhibitions that showcase a wide range of artistic perspectives.
J: SongEun Art and Cultural Foundation is another standout destination. Known for its commitment to contemporary art, Songeun showcases the works of both emerging and established artists. The museum places a strong emphasis on educational initiatives and public engagement, making it a vital space for experiencing and learning about the evolving art scene in South Korea.

The Art World

What was your happiest or most memorable moment being involved in art?
One of our happiest and most memorable moments in the art world was launching our young artist residency in 2022. The concept was inspired by a painting by Peter Doig from 1982, created when he was just 23. This piece reminded us of the importance of providing opportunities to artists when they are young, as their potential can be most transformative at this stage of their careers. Our goal was to create a space where young artists could expand their creative horizons, immerse themselves in new cultural influences, and develop their practice in a way they may not have been able to before. We intentionally chose to host the residency in the heart of the city to offer a dynamic environment filled with opportunities for artistic growth. The artists typically stay for 4 to 8 weeks, discovering Seoul and its vibrant art scene, and we truly cherished seeing them thrive and evolve during their time with us.

Who has inspired you the most in the art world?
K: The people who have inspired me the most in the art world are Mera and Don Rubell, who run one of the most passionate and well-organized family collections we’ve encountered. We’ve had the privilege of meeting them multiple times at art fairs, auction houses, museums, and other art events. Their enthusiasm, extensive travel, and long-term approach to collecting have been a constant source of inspiration. What stands out is their ability to continually evolve and set new standards in the art world. Their journey has helped us envision our own future, and the real-time experiences we’ve shared with them during our travels have had a profound impact.
J: For me, Miuccia Prada’s Fondazione Prada has been an incredible inspiration. Her collection’s philosophy, the deep connection it has with the development of her brand, and her commitment to public engagement resonate deeply with me. The way she has created a perfect synergy between art and her vision for Prada has taught me how to approach collecting in a way that benefits both the art world and the public. It’s this balance that continues to guide my understanding of how art can be enjoyed and appreciated by all.

You travel a lot every year. What are your art destinations in the next 12 months?
We try to attend most of Art Basel and Frieze editions, which are central to our focus this year. In addition to those, we’re planning to visit Beijing Art Week, the São Paulo Biennale, and the Thailand Biennale in Phuket. Over the past few years, we’ve been drawn to the most exciting art scenes, and our recent experience in Shanghai was particularly refreshing—not just for the art fairs, but also for the new museums, cultural complexes, and innovative shops. It sparked discussions about returning to mainland China to gain a deeper understanding of what’s happening in the Chinese art scene “right now.”

Instagram: @kontemporary_official

A selection of artists Julie Hongji and Kyungha collect:
Katherine Bernhardt
Keunmin Lee
Peter Doig
Taina Cruz
Tomokazu Matsuyama

By Ricko Leung