This Fall, I had the honor of receiving an ARAD microgrant for professional development. The grant helped me travel to Paris, France where I attended the 2023 Paris Photo, one of the largest art fairs in the world dedicated to the photographic medium. This year’s edition of the fair featured 154 galleries and 35 publishers, drawing in more than 65,000 visitors, marking a 7% increase compared to last year. Attending this fair was an insightful professional development opportunity that helped me hone my professional skills in networking, presenting, and understanding the role of art fairs.

Photo: Paris Photo 2023 held at the Grand Palais Ephemere

At the fair, I was able to personally meet and talk with established photographers like the American photographer Todd Hido and the Spanish duo Albarrán Cabrera. Additionally, I met international collectors, gallery curators, and publishers who were at the fair to find this year’s prized prints and publications. Amid the fervent atmosphere of the fair, we eagerly discussed the ever growing role of photo books in the international photography market and discussed the various ways in which mass-produced books may approach the tactility of a physical photo print. Such serendipitous encounters led me to reflect upon fundamental questions like “What does it mean for a photographer to be published?” and “How do we define the network dynamics  between artist, gallery, publisher, and collector?”

I also coincidently got the chance to introduce the works of Korean photographer Myung Duck Joo to a tour group of international collectors. This was a thrilling and educational endeavor that allowed me to practice public speaking skills and the different ways to present unfamiliar art to new audiences. The most rewarding part of this experience was that I was able to represent Korean photography to those more familiar with Japanese photography as the pillar of Asian photography. Myung Duck Joo, as a first-generation Korean photographer, brought a unique perspective to the world of analog photography to the peninsula, and being able to contribute to the recognition of his art felt like a significant milestone. As I presented Joo’s captivating works to international collectors, I could sense their genuine interest in discovering a fresh voice within the canon of analog photography, bridging the cultural gaps in their understanding of the history of photography.

Photo: Tour group presentation of Joo, Myung Duck’s project titled “My Motherland”

Last but not least, one of the most enlightening aspects of my visit was gaining first-hand observations of the intricate dynamics between artists, galleries, publishers, and collectors. The synergy between these key players in the art world was palpable, as artists passionately discussed their creative processes and artistic backgrounds with gallery representatives, publishers explored potential collaborations with galleries, and collectors were keenly searching for new practices and ideas in between all of these discussions. Observing these interactions shed light on my understanding of the symbiotic relationships that fuel the art ecosystem, emphasizing the importance of collaboration and mutual support. Paris Photo was not just a showcase of individual talent but a vibrant hub where artistic visions converged, fostering a collaborative spirit that transcended geographical boundaries.

Photo: Scene of the Galleries Sector of Paris Photo 2023

I hope that these collaborative settings will continue to nurture dynamic discussions that lead to impactful solutions for the various challenges facing society today. I would like to thank ARAD for granting me the ARAD Fall Microgrant to visit Paris Photo 2023 and directly witness the flow of creativity and inspiration in the art market.