Amorepacific has steadfastly steered its corporate trajectory with a singular, unwavering vision: ‘contributing to humankind by creating beauty and health through technology and devotion.’ Now, as part of our mission of “We make A MORE beautiful world,” we are committed to discovering unique beauty and its potential. At Amorepacific, we are taking one step at a time to create a world of New Beauty, where everyone is encouraged to discover and appreciate their own true, natural beauty. There are people who share a similar path, those who are building an empire of beauty of their own. Amore Stories visited and interviewed them who are creating beauty in different areas of the world.

Our ninth interviewee is Choo Sungah, the curator of the Leeum Museum of Art and the collaborative visionary behind the forthcoming second edition of Frieze Seoul's Frieze Film Program.

In the rich tapestry of art, a curator is a pivotal bridge linking artists with their audiences, weaving artistic narratives and dialogues. Such a role necessitates a ceaseless curiosity for art, an undying spirit of inquiry, and a prowess in fostering conversations spanning artists, artworks, and institutions. This captures the multifaceted journey of Choo Sungah, who embarked on her illustrious career as an exhibition coordinator at the Seoul Museum of Art, transitioned into independent curatorial work, and now illuminates the Leeum Museum of Art corridors. Over a decade, Choo has traversed the diverse paths of art — galleries, museums, independent venues — with an electrifying energy, infusing the Korean art landscape with a mosaic of fresh perspectives. Drawing upon these experiences, she recently took the helm as a co-strategist for the special segment of the global art fair, Frieze Seoul's Frieze Film, set for this September, synergizing with avant-garde art spaces to showcase Korean artistic maestros on the world stage. Amorestory had the privilege of delving into her life, exploring the intricacies of her curatorial journey.

Q. Can you elucidate upon your journey as a curator?

After honing my expertise across diverse exhibitions at the Seoul Museum of Art, I became an independent curator for nearly seven years, collaborating with various establishments, from avant-garde galleries to non-profit and commercial separate platforms. This journey saw me orchestrating exhibitions at revered venues such as Amado Art Space, Doosan Gallery, BOAN 1942, and Platform L. Subsequently, I returned to the institutional fold, lending my expertise to the Leeum Museum of Art.

Q. Your tenure as an independent curator before your affiliation with the Leeum Museum is notably commendable.

During my tenure as an exhibition coordinator at the Seoul Museum of Art, I harbored a profound desire to curate exhibitions that bore my signature touch while diligently assisting with ongoing showcases. Post my official inauguration with the Doosan Curator Workshop, themed “Objects: Sculptural Endeavors,” I embraced the path of an independent curator. This designation refers to those who chart unaffiliated courses with any specific institutional entity. This autonomy allows for intimate dialogues with artists, fostering trust and building relationships. This collaborative spirit results in curating singular exhibitions and paves the way for enriching opportunities.

Q: The value of curating and the importance of the curator's role have never been higher. What do you understand curating to be, and how do you perceive the role of a curator?

Curating must commence with questions — endless inquiries leading to insightful revelations. A curator's role isn't confined to mere exhibition presentations; they must perpetually question, consider timeliness, and elevate their insights and intuition to the surface. Given that pure novelty is elusive, curators must constantly grapple with the challenge of how to reinterpret art in new contexts to engage audiences effectively.

Q: As a curator, there's an expectation to have both ‘broad’ and ‘deep’ knowledge in your field. How do you cultivate your expertise in art?

Any exhibition should resonate with its audience. My approach is to visualize less conventional inquiries, making them tangible through shared experiences. These deeply personal experiences and emotions often lead to foundational questions. I've curated exhibitions intertwining literary minutiae with visual arts media in this context. Notably, exhibitions such as “Snark: Things that Vanish the Moment They're Grasped” at Gallery 2, “Shadowland” at Amado Art Space, “Prime Monument,” and “Ziggy Stardust” have drawn references from specific narratives by Lewis Carroll, David Bowie, and albums by Youth Group.

Q: You've collaborated on creating the platform ‘BGA (Background Artworks),’ offering editorial content penned by literary critics, poets, and specialized writers. What potency does text hold in articulating the value of an artwork?

Art and text are intrinsically interwoven. The text serves as an invaluable lens through which one can explore an artwork, encompassing the journey of its creation, the artist's intent, and multiple interpretations. While there's a risk of narrowing interpretative scope, the language of art, often perceived as complex, serves its purpose. Yes, accessible writing is pivotal. However, the terms we've cultivated over the years, rooted in art history and criticism, might alter in meaning if oversimplified.

Q: This year, you've curated the Frieze Film Program, “It was the way of walking through narrative.”

Launching even before the Second Frieze Seoul on August 22nd and spanning three weeks, this year's Frieze Film was co-curated with Kim Sungwoo, the Primary Practices Director. We have actively engaged with cutting-edge, non-profit, independent spaces that tangibly shape contemporary Korean art. With a deep appreciation for these spaces, we embarked on our journey with the global art event Frieze, aiming to introduce non-profit art to a broader audience. This initiative showcases films in several non-profit independent venues, including the iconic first-generation independent space, Insa Art Space. Rather than limiting to specific themes, it presents polished video works reflecting the diverse thematic consciousness of local artists — spanning non-human perspectives, bodily representations, image and society, collective memory, life, and environmental approaches, boundaries between virtual and reality, and experiments in visual aesthetics. This converges with the program's core theme of ‘unearthed narratives.’

Q: Compared with the inaugural Frieze Seoul of the previous year, what would you pinpoint as this year's salient attractions?

Undoubtedly, the centerpiece of this year remains the Frieze Film. The previous iteration of Frieze Seoul basked in a festal aura, yet it was lamentable to see a considerable segment of influential spaces, artists, curators, and critics from the Korean art sphere being overshadowed. This edition's Frieze Film is meticulously curated, not to cater to fleeting market inclinations but to authentically showcase the pulsating independent venues and our country's illustrious artists to a global viewership. Contrasting the prior year's Frieze Film, which somewhat grappled with optimal promotion and accessibility, we've now calibrated our approach to resonate with a broader audience demographic. Beyond merely a screening methodology, our emphasis has pivoted towards conceptualizing it as a holistic exhibition, facilitating a harmonious liaison with independent venues.

Q: Amorepacific, based on the collection of founder Suh Sung-whan, inaugurated the Pacific Museum in 1979. Since 2009, it has been rebranded as the Amorepacific Museum of Art (APMA), encompassing traditional and contemporary art through exhibitions, research, and publications. What are your thoughts on Amorepacific's trajectory in the art world?

While South Korea boasts numerous private art museums, only a few manifest a clear vision and purpose. Amorepacific Museum of Art stands out with its significant collection centering on contemporary art and has consistently introduced major international artists to domestic audiences. In particular, exhibitions held in their Yongsan headquarters, designed by the renowned architect David Chipperfield, appeal to the local audience and are highly recommended for international art aficionados visiting Seoul.

Q: How would you articulate your interpretation of beauty?

Beauty, inherently subjective, evades a singular definition. However, from my vantage point, authentic beauty blossoms when one ceaselessly reflects upon their essence, uninfluenced by external dictums. To embody this, I consistently adopt a unique lens to view the world, remain anchored in my principles, savor life's subtle moments, and strive for unwavering authenticity.

Q: Could you elucidate the interplay between art and beauty?

Art doesn't inherently epitomize beauty or solely chase aesthetic ideals. Admittedly, numerous spectators actively seek beauty within artistic realms. But it's imperative to venture beyond mere visual allure, delving deeper into the foundational questions that spurred the artist, the artwork, and the exhibit, understanding the context of their presentation, and recognizing their roles. The act of discerning beauty within this framework is an individual's prerogative.

Q: Are there individuals or experiences that have notably galvanized your pursuit of beauty?

My cherished grandfather now departed, and the art of music has been pivotal in my odyssey. My grandfather, whose disposition mirrored mine, frequently introduced my younger self to literary havens, parks, and nature trails. He was perpetually ensconced in literature and ardently upheld a lifelong penchant for penmanship. He bequeathed to me the profound tenet of living authentically for oneself. The life philosophies I gleaned from him — confronting life's tableau, my modus operandi, and cherishing everyday nuances — seemingly sculpted my present self. Beyond this, music occupies an indispensable sanctuary in my life. It is the temporal embodiment of moments, steadfast and unwavering. It offers solace, anchors me, stimulates my senses, and serves as an inexhaustible wellspring of inspiration.

Q: In an era where societal values of beauty evolve, Amorepacific aspires to champion “New Beauty.” What aspirations do you harbor for Amorepacific, and which roles do you envisage it undertaking?

My aspirations gravitate towards Amorepacific evolving into a brand that champions unadulterated and organic beauty, eschewing homogenization and artifice while envisaging a sustainable future and embracing forthcoming generations.

Q: Have there been personal episodes in your life intertwined with Amorepacific?

While the exact publication eludes my memory, I was featured in an article sharing my enriching experience with Sulwhasoo products during my graduate years. Furthermore, since its inception, my mother has remained a loyal patron of the brand. (Laughs)

Q: To conclude, could you shed light on your imminent objectives and aspirations?

Post Frieze Seoul, my energies for the latter half of this year will predominantly be channeled into orchestrating the forthcoming exhibit at the Leeum Museum. Regarding external engagements, balancing them seems challenging, prompting considerations for streamlining. My literary endeavors, especially critiques associated with eminent public institutions, persist at a pace I can adeptly manage. Persevering in art necessitates a long-haul perspective; hence, resilience becomes paramount. My fervent desire is to passionately engage in my cherished pursuits without succumbing to fatigue.