Susan Baik Connects Korea and Jakarta Through Collaborative Shows
Since 2002, Susan Baik has developed a cultural network between Seoul, Singapore, Jakarta, and Los Angeles. She acquired AndrewShire Gallery in 2002 as director. The gallery transitioned to Baik Art in 2014, set up in Los Angeles in 2014 and in Seoul in 2016.
Working with international galleries to host collaborative exhibitions, Baik Art has continued to expand the notion of what a gallery can be. With a gallery space opening in Jakarta in November 2022, and a space in Seoul that opened ahead of Frieze, Baik Art is at an exciting moment.
Having participated at Kiaf SEOUL, the gallery will bring Jakarta-based artist Atreyu Moniaga's surrealistic worlds in watercolour on paper to the former fair, and TK to Kiaf SEOUL. Baik Art's current exhibition Tangled brings artists including, Elliot Hundley, Gabriel Madan, Andreas Emenius, Peyton Freiman, Else Fischer-Hansen, and more to Seoul audiences.
In this interview, Susan Baik shares her experience filling gaps and connecting cultures through Baik Art's programmes and collaborative initiatives.
Could you tell me a little bit about Baik Art's trajectory leading up to the gallery's opening in Seoul in 2016?
I took over an existing gallery in 2002, called AndrewShire Gallery, and it was probably one of the first contemporary art galleries to promote artists from Korea. It originally opened in 1989. In 2014, I closed AndrewShire Gallery and opened the gallery with a new name, Baik Art. Baik Art was at La Cienega Boulevard in Los Angeles until 2020.
Instead of having a full programme in LA, I wanted to have more programmes in Asia. So, when my lease of the gallery ended during the pandemic, I changed it to a private viewing space, accessible by appointment only.
In 2016, Baik Art and three international galleries from Paris and Cologne joined together and created a collaborative space where each gallery held two exhibitions each year. This was a new model in Korea at the time, and we were also among the first international galleries to open a space in Seoul.
After the pandemic, the three other galleries opened a separate space, and then I opened my own gallery. It's a very exciting time for me personally, because I've been cultivating a vision since starting the gallery back in 2002, and now I'm actually able to execute it.
In November 2022 you will open a space in Jakarta, too. What was the main draw to open a gallery there?
From the very beginning, when I took over AndrewShire Gallery in 2002, my mission has been to exchange different cultures and the gaps between contemporary art scenes in LA. Having lived in Singapore, I had ample opportunities to connect with artists from Southeast Asia, and the first connection to Indonesia was when we organised a nomadic residency in Jogja with Cemeti Art House.
I still remember when I first arrived in Jogja. The uniqueness of that culture, which is oriented around collectives and artist groups, was very new to me. I was very excited to see that. I share an interest in doing more regular residency programmes in Jogja with Mella Jaarsma, who's the co-founder of Cemeti Art House.
We have been establishing a connection to Jakarta for some time. It's another continuation of my mission: to bring more voices to the table, especially from Asia and initiate the cultural exchange.
Did the gallery consider participating in Art Jakarta this year, or is that something that the gallery might consider later on?
We have participated in Art Jakarta every year, even during its virtual editions. But this year, we have been working toward participating in Kiaf SEOUL and most importantly, opening up a new space in Korea. While we cannot participate this year, we will definitely do so in the future. I love that art fair.
How does the collector base differ between South Korea and Southeast Asia, would you say?
The South Korean art scene has been growing since the 1990s. In 1995, the first Gwangju Biennale took place, which was the same year that South Korea participated in the Venice Biennale with its first National Pavilion.
Korea has many museums that are supported by the government, as well as private museums, experimental spaces, and residency programmes. All the big corporations have their own collections, and the population of collectors is also large.
For younger generation of collectors in South Korea and Southeast Asian countries the paradigm has changed. It's not just the wealthy who are collecting, either. With the internet, there is no hierarchy in accessing information. It's so much easier to share and learn. Younger generations also speak English quite well and they contact galleries around the world directly, which is different from our parents' generation.
Where do you think Seoul is going as a contemporary art hub from here on out?
Frieze is putting a micro lens to what was already happening in South Korea, which is bringing more global attention.
Korean culture is very dynamic. I think when visitors come, it's not just the art or art scene that they'll be able to experience—there's also food, fashion, beauty, cosmetics. There's a lot to share. It's an altogether exciting experience.
What's more exciting about Korea becoming a global art hub is that our children will be able to see worldly renowned artist exhibitions in Korea. I think this is just the beginning. I see more foreign galleries collaborating with local galleries. I see more and more creative ideas. There are already exhibitions in trendy boutique stores and other non-conventional spaces. There will be more collaborations between different forms of art.—[O]
Main image: Exhibition view: Elliot Hundley, Snow, Baik Art, Seoul (20 May–19 June 2021). Courtesy Baik Art.
