Heaven in the Heart (Sub-title: A Collector’s Story)

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January 31 (Thur.)-February 6 (Wed.), 2013 

Opening reception: 5:00 pm, January 31 (Thur.), 2013 

Gallery YEH has arranged Heaven in the Heart (sub-titled A Collector’s Story) as an exhibition bridging winter and spring in 2013. Capitalists with great wealth are in the front line of the art market, called art collectors. Super collectors (billionaire art collectors) who are among these, dominate the top of the art market, and exercise immense influence on the determination of work prices with the stories related to artworks. Their purchase of work, whose price reaches a record high, or work highlighted by the world’s media naturally becomes a focus of attention. Collecting works of art is often considered the last hobby of well-to-do persons and artworks are referred to as the last value that money can buy. These people are always sure the level of the works they have possessed can be linked to any worldwide network, anywhere in the world. As distinguished people of the privileged of privileged classes, they brim with confidence. But do they really have concern and affection for each work of art?

Gallery YEH presents the collection of Lee Myung-sook. Her collection links to her many stories on artworks, artists, and art and her sensibility and showcases her affection for art, departing from the trend of the times and distancing the value of money with authenticity and sincerity. The history of her collection dates back about 40 years. As her father was a painter, (Lee Jun, 1919- , Graduate of The Pacific School of Fine Arts, Former Professor of Ewha Womans University, Former President and Member of the National Academy of Arts, Invited Artist and Selection Committee Member of National Art Exhibition of Korea, President of Korean Fine Arts Association, Non-Permanent Director of Seoul Arts Centre, Steering Committee Member of Seoul Olympic Games Organizing Committee World Art Festival), art books scattered in her surroundings and the smell of paint quite naturally served as momentum for her preference for painting. With this she became a true collector and silent culture critic, presenting the meaning and her memories of each work (200 pieces) that she has collected, which touches viewers.  

In the sad situation where painting is regarded only through monetary values, Lee has collected diverse genres of work, such as painting, sculpture, craft, photography, and so on, with her firm belief and art-loving mind. These works seem to reflect her life. Her sincere affectionate gaze toward works, her candid, girlish sensibility, and her pure mind make her connection with many works conspicuous. The gallery tries to showcase all these through the exhibition. 
Of 70 pieces on display, Circling (Oil on canvas, 194x253 cm, 1991) is her father’s work she calls home in her mind. The Roof of Montmartre, by Lee Cheong-woon, whose body and soul are free, and works by deceased artists such as Moon Shin, Nam Kwan, Cho Byung-deok, Lee Ung-no, Kwon Ok-yeon, and Jeon Hyuck-lim, work by Lee Ki-soon, a tapestry artist, and works by Hwang Ju-lie, Lee Jin-yong, Lee Jung-woong, Kwak Hoon, Oh Soo-hwan, and Chun Sung-myung who brought honor to the Korean art scene through their vigorous activities. Added to these the collector’s unopened stories add another interesting way to appreciating such works. Encounters with work by foreign artists like Salvador Dali, Rinald Bigi, Mark Bruce, and Soto, and the meaning of such works she considers are also expectable. 

In Korean society collectors are mostly reclusive: this means they are reluctant to reveal their identity due to the prejudice regarding an act of collecting artworks as part of investment technique or eccentric leisure activity. A social perspective seeing an act of collection as a means for speculation or pursuit of pride must be changed so as to draw out collectors to the plaza and flower a diverse collection culture. Outstanding collectors like Gansong Jeon Hyeong-phil are contributors who brought light to Korean culture. The more abundant a museum’s collection is, the more its basic physical strength gets, and thus more people could have more opportunities to appreciate them. The kernel of this exhibition is perhaps to make collectors and the general public realizes that the true power of collectors ultimately derives from sharing. 

Through the exhibition displaying works that bear a collector’s 40 year history and lingering resonance, you may find answers to the questions, “What collectors we should be and how they should be understood”. In closing, appreciating works Lee has collected as a dentist and an assistant for artists, we think heaven in our heart becomes abundant when we lend meaning to and have connection with works of art we meet. Taking this opportunity, we request art fans and journalists to have lots of interest in her collection and our collecting culture. 
Thank you.