03 april 2025, Wouter van den Eijkel
The gallery of... Yoonseon Oh
The South Korean Yoonseon Oh co-founded Namuso Gallery in The Hague with a business partner. Namuso Gallery specializes in art from South Korea, Japan, and China. Oh has been living in the Netherlands for about ten years and has seen an increasing interest in popular and culinary culture from the region during that time—from kimchi to K-pop and from sushi to Miyazaki’s animation films.
Contemporary art from these countries, however, has lagged behind. Oh wants to change that with her Namuso Gallery. Her mission: to connect the Asian and European art worlds by introducing strong contemporary Asian artists to a European audience. “There’s a clear demand for new perspectives, and contemporary Far East Asian art, rooted in tradition yet forward-looking, resonates across cultures. I saw a clear opportunity to help bridge that gap.” We spoke with Yoonseon Oh about the gallery, her love for art, and the art of collecting.
What motivated you to open a gallery?
Art has always been an essential part of my life. From a young age, my travels were guided by a desire to experience and engage with art and culture, whether through museums, exhibitions, or historic sites. My appreciation extends beyond visual art to classical music, ballet (both modern and classical), opera, and performance. Each form has offered its own inspiration and emotional impact.
Curating came naturally to me. My business partner and I have known each other for a long time, sharing countless cultural experiences - from visual art to performing arts, music, and even fine dining. This shared passion naturally led us to curate together.
Although we come from very different backgrounds - he is a German scientist who was raised in an art-loving family and spent part of his childhood in Paris, where he was exposed to art from an early age, and I’m a South Korean with a background in business and an MBA, we found common ground in our curatorial conversations. Our tastes often differ, but we consistently align when it comes to identifying the intellectual and emotional depth of a work. That realization was thrilling: it showed us that there is a kind of objectivity in the quality of art that transcends personal preference. Together, we came to realize that art is a powerful tool for connection, education, and challenge.
Although my background is in business management, I had imagined opening a gallery or perhaps an art book café, after retirement. But with the world changing rapidly, especially through the rise of new technologies, I realized there was no reason to wait. So my partner and I decided to take the leap and turn our shared passion into a professional venture.
Collaborative exhibition with the French Embassy in the Netherlands.
How would you define the profile of your gallery?
As a Korean living in the Netherlands, I’ve long felt that artists from Asia, particularly from the Far East, deserve stronger recognition in Europe. Their work offers fresh perspectives and cultural depth that remain underrepresented in the European art landscape. After spending a year researching the art scene here, I became convinced that building a bridge between these two regions was both meaningful and necessary.
Our gallery was founded with a clear mission: to connect Asian and European art scenes by introducing strong contemporary artists from Asia to European audiences. We focus on artists who are well appreciated in their home countries but not yet (well) visible in the Netherlands or Europe. While our current emphasis is on contemporary art from Far East Asia, we also bring European artists to audiences in Asia, fostering a two-way exchange of ideas and art.
The European art market has long been shaped by Western perspectives, but in recent years, there has been a noticeable shift. Institutional and collector interest in contemporary Asian art is growing. However, much of this focus remains on a few internationally established names, leaving a gap for emerging and mid-career Asian artists whose voices are equally compelling and relevant.
Our role is to introduce these artists and provide the curatorial framing needed for their work to be fully seen, understood, and appreciated. Presenting these works requires bridging cultural and aesthetic contexts. One of our artists, for example, draws heavily from traditional Asian painting, a visual language immediately recognized by Asian audiences. Yet when we first exhibited the work in the Netherlands, many viewers perceived it as highly contemporary. These moments highlight the fluidity of interpretation across cultures and the shared resonance that transcends visual or geographic boundaries. At the same time, it’s striking how artworks created “far away” can break down old ideas about East and West. They often remind us of what we share - our emotions, questions, and hopes - across different places and cultures.
As a gallery, we aim not only to showcase these works, but also to provide the necessary cultural and curatorial context that allows them to be fully seen and appreciated. Through thoughtfully curated exhibitions, public programs, and institutional collaborations, we seek to act as a cultural connector - fostering dialogue, understanding, and lasting relationships between Asia and Europe.
Haru K, A Painting in a Painting, 2024, Namuso Gallery
Your gallery specializes in contemporary Far East Asian art – how did you sense there was interest for that in Europe?
Over the past decade living in the Netherlands, I’ve noticed a growing interest in Far East Asian culture. While there’s strong mutual curiosity between Europe and Asia, contemporary visual art from Asia still remains underrepresented. This interest is more than a passing trend, it reflects a deeper openness and a real potential for meaningful cultural exchange. Both regions have much to offer each other. European Humanism tends to center the individual as a driving force in creativity and change, while Far East Asian thought is grounded in ancestral memory, community, and sustainability. These contrasts offer fertile ground for dialogue and new perspectives.
Of course, language barriers, geographic distance, and differing values can make cultural exchange complex. However, art provides a powerful and intuitive way to connect. Through visits to exhibitions and art fairs across Europe, I’ve observed a growing openness to Asian art among collectors, curators, and institutions. There’s a clear demand for new perspectives, and contemporary Far East Asian art, rooted in tradition yet forward-looking, resonates across cultures. I saw a clear opportunity to help bridge that gap.
Prominent Korean artists such as Lee Ufan, Doho Suh, Sooja Kim, Haegyue Yang have already gained recognition in leading Dutch museums, showing that there is both appreciation and momentum. Our gallery seeks to contribute to this growing conversation by creating meaningful cultural connections through curated exhibitions and exchange.
What do you consider the most important part of being a gallery owner?
For me, the most important qualities are trust and curiosity. Art has a unique ability to create instinctive connections between people. A gallery’s role is to facilitate and support that connection between the artist’s work, expressing their identity and ideas, and the audience. Trust is the foundation of all our relationships - with artists, collectors, institutions, and fellow galleries. It takes time to build, but it’s what allows real collaboration and long-term support to grow.
Curiosity keeps everything moving. It pushes us to discover new ideas, explore different artistic voices, and stay open to what’s next. Running a gallery isn’t just about showing artworks but creating space for meaningful connections through art.
Yoonseon Oh at a Christmas gathering with her business partner
The world is undergoing significant changes: climate change has made us travel more consciously, AI is advancing rapidly, the financial gap between emerging and established artists is widening, and so on. Against this backdrop, how do you view the future of the art world in general and the gallery scene in particular?
As long as there are humans, there will be art and culture. Art is a fundamental form of human expression, alongside language. Life can be challenging, but the basic truths and values we’ve developed over centuries remain largely unchanged. While the pace of daily life continues to accelerate, art offers a way to reconnect with these enduring ideas, much like fiction in literature offers solutions to contemporary questions through established values.
Art serves as a companion to modern developments, helping us navigate our evolving world. At our gallery, we believe that the fusion of Far Eastern and Western ideas in art offers inspiration for addressing contemporary challenges. However, the gallery landscape is also evolving. Galleries will need to reinvent themselves in order to better serve their artists and remain competitive in the market.
One significant driver of the wealth gap between artists and galleries is the fact that art has become a financial asset more than ever before. We are aware that we must address this development as well. We believe that a key part of the solution will be strong collaboration with other galleries, ensuring mutual investments of time and resources in the long term. Our goal is to offer artists a long-term perspective at every stage of their careers.
As for AI, I see it similarly to when photography was first introduced -there’s both excitement and hesitation. In Asia, especially Korea, there’s a more open attitude towards new technologies, and many artists are already incorporating AI into their work. However, we need open public discussion about AI, not just within the art world, but with wider audiences. While AI is a powerful tool for image generation and creative exploration, it also raises important questions about authorship, originality, and the value of art in this new context.
I don’t believe AI in its current form can replace human artists. It’s a tool, one that artists can use to enhance their creative processes. But, on its own, AI struggles to produce meaningful work that a collector would want to hang on their wall for more than a short time.
The growing financial gap between emerging and established artists is something I’ve started to be more aware of. I’m focused on building a strong roster of emerging talents, offering them visibility, curatorial support, and opportunities to grow with us. I’ve been told by experienced gallerists that this work is incredibly rewarding, and I’m excited to embark on this journey.
HyunJoung Lee, Contemplation, 2024, Namuso Gallery
How do you select artists to showcase? What criteria does their work have to meet?
At our gallery, we focus on finding works that allow us to establish a meaningful connection between audiences in both the West and Far East. This often involves a fusion of established art forms from both regions, creating a bridge between cultures. I look for art that feels authentic, thoughtful, and aligned with our mission of connecting the art scenes of Asia and Europe. A strong, distinct voice and the ability to speak across cultures are essential.
In practice, we work with both emerging and established Asian artists who are already recognized in their home countries - through museum shows or institutional collections, but are still underrepresented in Europe. By introducing their work here, we create space for fresh dialogues and shared perspectives.
Over time, I’ve noticed that I’m naturally drawn to works on paper. In Asia, paper holds both artistic and cultural value, with Korean hanji - made from mulberry bark - standing out as especially unique. It’s beautiful in texture and deeply rooted in tradition. Interestingly, many of the artists who catch my attention, whether working in Western or Asian styles, have a background in oriental painting. I also tend to gravitate toward works that are subtly abstract or have visual density. While we remain open to various styles and approaches, these preferences have naturally emerged and now reflect part of the gallery’s evolving identity.
Yoonseon Oh visiting South Korea in 2018
What is your relationship with the international art world? Do you collaborate frequently with or feel related to international galleries?
International collaboration lies at the heart of our mission, and we regularly engage with art fairs and institutions across both regions to foster exchange and increase visibility for our artists. As a young but ambitious gallery, we focus on building lasting relationships with like-minded partners, especially those dedicated to cross-cultural dialogue and long-term artist support. Each year, we present over six thoughtfully curated exhibitions and participate in selected international art fairs to promote our artists and strengthen our reputation.
For example, we are participating in Art Busan—one of Asia’s leading art fairs—where we are presenting two Dutch artists to Korean and broader Asian audiences. This reflects our commitment to two-way exchange: not only introducing Asian artists to Europe but also bringing European artists to Asia.
Locally, we co-organize Art Walk The Hague, a collaborative initiative with five neighboring galleries aimed at increasing the visibility and accessibility of contemporary art. We are also
eager to partner with other Dutch and European galleries—particularly in bringing their artists to Asian platforms. We believe that collaboration benefits all parties and creates meaningful opportunities for artists to grow internationally.
Looking ahead, we plan to expand our network of peer galleries and institutions, especially those that share our commitment to cultural dialogue, long-term artist support, and cross-border engagement in the art world.
Sangha Yoon, A Secret Festival, 2024, Namuso Gallery
In a perfect world, which artist would you most like to represent?
There are many artists I admire for their vision, integrity, and ability to move people through their work, so it’s difficult to name just one. However, in a perfect world, I’d love to represent an artist who bridges tradition and innovation in a way that resonates across cultures. Someone deeply rooted in Asian sensibilities, yet whose work speaks to a global audience.
While I’m drawn to works with visual density, I’ve always had a deep appreciation for Korean Dansaekhwa (monochrome) masters. Their work is especially moving to me, both in terms of process and presence. I also admire younger artists who continue that legacy, exploring similar themes in fresh and contemporary ways. Representing someone who brings both depth and modernity to their work would be a dream.
Do you collect art personally? And if so, whose?
Yes, I do. Collecting art is a way for me to show support for the artists we represent. Most recently, I acquired three pieces by Sangha Yoon, one of the emerging Korean artists we work with. For me, collecting is also a gesture of commitment and confidence, particularly toward younger artists who need support early in their careers. In the past, my business partner and I have collected several works through auctions, mainly historical pieces and a Dutch photographer whose work was exhibited at Kunstmuseum Den Haag.
Looking ahead, I hope to build a small, permanent collection for the gallery. It will be a mix of works by our represented artists and iconic pieces by contemporary Asian masters. This collection is part of our long-term vision to not only preserve these works but to share them as part of an ongoing cultural dialogue.
Yoonseon Oh at the opening of an exhibition in the gallery in 2025.
What is the last exhibition you saw that left a deep impression on you?
The opening exhibition of the Bourse de Commerce - Pinault Collection in Paris in summer 2021 left a strong impression on me. The space itself was stunning, and the way the works were curated to interact with the building felt very powerful.
One moment I’ll never forget was seeing sculptures and furniture made of wax slowly melting and burning during the exhibition. Watching them transform in real time made every moment feel unique - no two were the same. It was beautiful and unsettling at once, and it reminded me how powerful impermanence can be in art.
A Paris-based artist friend recommended it, and I’m so glad he did. It felt special to witness the opening of one of the most talked-about contemporary art museums in the world at the time. It’s probably one of the most unforgettable, and possibly the most expensive, exhibitions I’ve ever experienced.
Do you have any tips for novice art buyers?
Buy what you genuinely like. Collecting should begin with a personal connection, not just an investment mindset, especially for young or first-time collectors. Be curious. Take the time to learn about the artist and the work, it makes the experience much more meaningful. I think, it’s important to realize that the art you buy is like a new friendship. It reflects who you are at that moment in your life. This connection is what makes collecting so special, and it’s something we aim to be part of at our gallery.
Your taste will naturally evolve over time, and that’s part of the joy of collecting. Even if you feel differently about certain pieces years later, they’ll always reflect who you were at that moment in your journey. And find a gallery you trust. A good gallery will help guide you, answer your questions, and grow with you.
Discover the artists that are represented by Namuso Gallery.
