SEOUL IS THE RISING STAR OF THE ART MARKET, THE CONVERSATION WITH SUNHEE CHOI

IN CONVERSATION WITH SUNHEE CHOI, 

CO-DIRECTOR OF CHOI & CHOI GALLERY, 

ON THE SOUTH KOREAN ART MARKET 

AS 

'A RISING STAR'

Nazli Kok Akbas,  Art Editor , 4  October 2025, Geneva, Switzerland

Sunhee Choi (Courtesy of  CHOI & CHOI Gallery)

K-pop singers are moving global audiences, Bong Joon-ho's captivating film 'Parasite' grossed approximately 258 million dollars worldwide. Meanwhile, Frieze Art Fair Seoul attracted 70,000 visitors over four days this September. 

Is Seoul the new cultural hub of the contemporary world ?

 

The answer is, Yes, Seoul is becoming a global hub of new pop and contemporary culture, much like what happened New York was in 1980s or Tokyo in 1990s.South Korea blends art, technology, fashion, and music into a vibrant culture ecosystem that speaks to global youth and creativity.

Sunhee Choi, a prominent figure in the South Korean art world, explained this latest trend and its reasons.

Having more than two decenies in the art business Sunhee Choi, explains why South Korea is a new promising land of contemporary Culture. 

 

CHOI & CHOI Gallery, Seoul featuring works by Korean artist YU Jinyoung currently on the viewat the gallery.

(Courtesy of CHOI & CHOI and the artist) 

Nazli Kok Akbas: Sunhee, you are an art historian, gallerist and journalist. You have been involved in the art world for more than 20 years. Can you tell me about your decision to build a career in the art world?

 

Sunhee Choi: Sure, I was born in South Korea, after graduating from Sangmyung University with a degree in French Language and Literature, I moved to London to obtain a postgraduate diploma from Christie's Education. Before co-founding the Choi&Choi Gallery with my twin sister (formerly the Choi&Lager Gallery), I was a curator, art adviser and writer.

My goal in building up the gallery was to establish an important bridge between the Asian and Western art worlds, and I am happy to see that this has been achieved.

 

NKA: You are the author of the best-seller art book, Art Lessons in London, as well as a columnist for The Art Newspaper.

 

S.Choi: Yes, I have written for several publications, including Joongang Daily, Noblesse and Art Now, as an art columnist as you mentioned.My book `Art Lessons in London`, which contains stories about the British art world that I observed and experienced, was published in Korea in 2008. I also regularly give lectures and participate in talks on various art- and culture-related subjects. I believe it is important to continuously update and generate new ideas to welcome future projects.

 

Exhibition view of 'Like a Poem She Never Wrote' at CHOI & CHOI Gallery Cologne. (Courtesy of CHOI & CHOI and Jina Park) 

 

NKA: What are your observations on the latest Frieze Art Fair Seoul and Korean International Art Fair, (KIAF ), which you attended last September?

 

S. Choi: Yes, Me and My Gallery, we were present at the KIAF this September. KIAF was established in Seoul in 2002 by the Korea Galleries Association (KGA). It was founded with the aim of creating a robust domestic platform for Korean galleries and artists, as well as linking the Korean art market with the global one. KIAF was the first major art fair in Korea, establishing Seoul's reputation in the Asian art market. Prior to the arrival of Frieze Art Fair, it was the primary gateway through which Korean artists could access the international art world. For the fourth consecutive year, Korea's premier art fair and the global powerhouse Frieze were held simultaneously in the same venue. While this synergy has proven to be a commercial boon for the art market, it has also demonstrated the profound cultural impact such large-scale art fairs can have on a city. Moving beyond mere art festivals, they have served as a catalyst for making art more accessible to the public and have been instrumental in establishing Korea as a rising hub in the international art market.

NKA: What about the Frieze Art Fair in Seoul?

It's significant that it has been so successful during times of uncertainty, isn't it, Sunhee? How would you describe the reason behind the global art market hub shifting to South Korea? 

S. Choi: As you know Nazli, the original Frieze Art Fair began in London in 2003, followed by New York in 2012, Los Angeles in 2019, and Seoul in 2022. Frieze London, New York, and Los Angeles are deeply intertwined with the unique appeal of their respective cities. Therefore, when visitors step outside the fair venues, the city must offer these international guests experiences beyond just art market. Seoul confidently asserts that it offers more than any other Asian city. It boasts world-class museum exhibitions and premier displays at its local galleries. Furthermore, with its abundant offerings in tourism, cuisine, shopping, and even mountains accessible within just 30 minutes from the city center, Seoul is positioned to make these events even more compelling.

NKA: Do you think that the government's strong commitment to the arts and favorable taxation policies have been crucial in this regard?

 

S.Choi: Of course, the South Korean government supports the art market by offering significant tax advantages, including exemption from VAT and import duties, tax relief on cultural expenses, and incentives for new cultural businesses. It is these policies that explain why so many global galleries have opened branches in Seoul, combining strong local demand with favorable tax conditions.

 

CHOI & CHOI Gallery Seoul, featuring works by British artist Catherine Anholt. (Courtesy of CHOI & CHOI and the artist)

NKA: Drawing on your experience of more than two decades in the art market, what would you say are the main characteristics of Korean collectors, particularly the young collectors, the famous, MZers, in South Korea?

 

S.Choi: South Korea’s collectors are characterized by a blend of cultural pride, a global outlook and savvy investment behavior. The younger generation is increasingly shaping digital and experiential trends in collecting. The Baby Boomers (born 1946–1964) focused on traditional or established contemporary art and took fewer risks; they preferred artists with a proven market record. On the other hand the Generation X (born 1965–1980) blend their collecting investment with passion and are very comfortable with auctions and global market trends. They attend art fairs and gallery openings to develop their professional and social network. The famous 'MZers' (Millennials, born 1981–1996, and Gen Z, born 1997–2012) are highly internationalized and tech-oriented. They are influenced by social media and digital art trends and are interested in emerging artists and crossover projects. They purchase more affordable works at first, focusing mostly on experience and storytelling rather than investment.

 

 

Sunhee Choi and Nazli Kok Akbas, MAH, 27 September 2025, Geneva

(Courtesy of Nazli Kok Art Photography)

NKA: How do you adapt to the ever-changing circumstances of the art gallery business? What are your upcoming projects?

 

S.Choi: The current situation in the art market could be described as a period of adjustment. In recent years, we have observed prices inflating to an extent that does not reflect their true value. Actually, the values are now becoming more realistic. From the very beginning, my gallery, we have been committed to ensuring that all artworks are priced correctly, with respect for the art ecosystem.

How my team and I cope with continuously changing and uncertain market conditions is a very good question, (she says, smiling). During the transition, and uncertainty periods, everyone involved in the art ecosystem must take responsibility and critically evaluate the situation. We continue to organize more and more exhibitions in Seoul and Germany, we equally participate the art fairs, mostly we focus on developing our strong local and global networks and supporting artists' creation and their welfare.'

 

NKA: Thank You Sunhee taking your time, I appreciate!

Nazli Kok Art Reports, Geneva, Switzerland