According to the recently released 2024 Artist Status Survey, 75.7% of artists earn less than 12 million KRW annually, while 31% report having no income at all. The average household income of artists is over 20 million KRW lower than the national average, with severe income disparities particularly evident in photography, literature, and fine arts.

This economic instability makes it increasingly difficult for artists to sustain their creative activities, with 65.5% of those who have left the field citing insufficient income as the primary reason. The need for policies that ensure a stable creative environment for artists has never been more urgent.

But does the Ministry of Culture, Sports, and Tourism’s (MCST) recently announced “Culture Korea 2035” policy truly address these realities?

Cultural Policy Should Not Be Dictated from the Top Down

Cultural policy cannot be determined solely through consultations among institutions and policymakers and then unilaterally implemented.

Culture is a fundamental element that shapes human consciousness and the zeitgeist, and thus, creators, artists, and cultural consumers must be at the heart of policymaking. However, rather than reflecting the voices of artists and the cultural sector, the Culture Korea 2035 initiative appears to be a top-down framework imposed from above.

Becoming a culturally advanced nation is not about enforcing pre-designed policies. Instead, effective cultural policy must be rooted in field research, actively listening to artists' needs, and supporting creative professionals in ways that ensure both sustainability and impact.

Cultural initiatives should not be dictated by policymakers who present seemingly well-designed plans and expect the sector to comply. True cultural advancement requires policies that emerge from the field, prioritizing the voices and experiences of those actively engaged in the arts.


 
1. Regional Cultural Development Requires a Bottom-Up Approach, Not Institutional Relocation

The Culture Korea 2035 plan proposes relocating national arts organizations and institutions to regional areas to balance cultural development. While reducing Seoul’s overconcentration of cultural resources is a valid concern, merely moving institutions will not automatically lead to regional cultural revitalization.

Culture is not driven by institutions alone; rather, it thrives through the artists themselves. Without creating an environment where artists can sustainably work and grow, institutional relocation becomes little more than administrative reshuffling.

For cultural policy to be effective, it must shift from a top-down approach, where a small group of policymakers dictate strategy, to a bottom-up model that involves extensive dialogue with regional artists and ongoing monitoring. Instead of relocating institutions, the focus should be on empowering local artistic ecosystems through tailored funding programs and creative support systems.

The sustainable growth of regional culture cannot be achieved by simply moving headquarters; instead, direct support should be provided to local artists and curators who are actively shaping the regional cultural landscape.


 
2. Addressing Cultural Disparities: Spaces Are Not Enough—Content Must Reflect Community Needs

The Culture Korea 2035 plan also includes initiatives such as establishing Children’s Art Villages nationwide and expanding Senior Leisure Centers to enhance cultural accessibility for the elderly.

However, the critical question is not about creating physical spaces but about the content and programs within them. If cultural spaces are built without considering the actual needs of the community, they risk becoming symbolic but ineffective structures.

A true cultural policy should not operate on the premise of “We built this facility—now use it.” Instead, it must prioritize developing meaningful cultural programs tailored to each community.

For example, a Children’s Art Village should not merely function as an educational space but should be transformed into a collaborative hub where local artists engage in creative exchanges with young participants. Similarly, Senior Leisure Centers should not simply offer passive cultural activities but should encourage active artistic participation.

To genuinely reduce cultural disparities, policies must extend beyond age demographics to include marginalized groups such as immigrants and people with disabilities, ensuring greater cultural inclusivity.


 
3. K-Content Industry Growth: Creators, Not Conglomerates, Should Be the Priority

Culture Korea 2035 outlines ambitious plans to develop large-scale cultural infrastructure, such as the K-Content Cultural Complex, National Film Museum, and Game Complex, to enhance Korea’s global cultural influence.

However, these initiatives primarily benefit large corporations, making it difficult for independent artists and small production studios to reap any meaningful benefits.

For the sustainable development of the K-content industry, policies must focus on fostering an ecosystem where independent creators can thrive. This includes:

- Establishing funding programs for emerging artists
- Creating fair distribution structures
- Supporting self-sufficiency for independent artists and creators

Additionally, to protect creators' rights, the government must enforce fair contracts and strengthen copyright regulations to prevent exploitation. If these fundamental issues are not addressed, K-content risks becoming an industry dominated by corporate giants rather than a true cultural movement.


 
4. AI and the Arts: Technology Must Respect the Role of Human Creativity

The Culture Korea 2035 plan also includes a proposal to support AI-generated cultural content and develop an AI copyright protection system.

However, without a comprehensive record and archive of Korea’s cultural and artistic heritage, how can AI technology be meaningfully integrated into the creative process?

Art is fundamentally a record of human experience and thought—not something that should be entirely handed over to AI for production and preservation. Premature reliance on AI-generated content could undermine the very foundation of human creativity.

AI should be regarded as a tool that enhances human artistic expression, not one that replaces it. To ensure ethical and sustainable integration of AI in the arts, Korea must establish:

- Clear copyright guidelines for AI-generated works
- Regulatory safeguards that prevent AI from disrupting the essence of artistic creation

If the balance between human creativity and AI-driven innovation is not carefully managed, the unique value of human artistry could be irreversibly compromised.
 


Conclusion: Cultural Policy Must Be Centered on Artists and the Field

Cultural policy should not be designed as a one-sided “benefits system” but rather as a framework that enables creators and cultural consumers to take the lead in production and exchange.

Thus, a bottom-up approach is essential—where policymakers focus on listening to the voices from the field and providing meaningful support.

For Korean culture to achieve true globalization, its cultural infrastructure must first be strengthened to support high-quality content production. This requires long-term engagement with artistic communities, fostering an environment where creators can continuously produce and share their work within a self-sustaining cultural ecosystem.

Before embracing “Culture Korea 2035,” we must ask: For whom? For what?

Jay Jongho Kim graduated from the Department of Art Theory at Hongik University and earned his master's degree in Art Planning from the same university. From 1996 to 2006, he worked as a curator at Gallery Seomi, planning director at CAIS Gallery, head of the curatorial research team at Art Center Nabi, director at Gallery Hyundai, and curator at Gana New York. From 2008 to 2017, he served as the executive director of Doosan Gallery Seoul & New York and Doosan Residency New York, introducing Korean contemporary artists to the local scene in New York. After returning to Korea in 2017, he worked as an art consultant, conducting art education, collection consulting, and various art projects. In 2021, he founded A Project Company and is currently running the platforms K-ARTNOW.COM and K-ARTIST.COM, which aim to promote Korean contemporary art on the global stage.