SEOUL — The South Korean art market is neither as simple nor as succinct as it once was. Insa-dong, the former center of the industry, gave way to neighboring Samcheong-dong over the last two decades, which is again seeing a shift in power.

While one major public institution is planning to make a home in Samcheong-dong (where today souvenir trinkets outnumber valuable artworks), a number of influential private galleries have moved away to Gyeongbok Palace’s west end to what is largely known as Hyoja-dong. The historic residential area a few steps from the presidential Cheongwadae, colloquially known as the Blue House, actually comprises numerous neighborhoods of distinct names, but is unified in the multitude of charming small businesses populating the weaving alleys.

What began with a migration of experimental galleries in the early aughts has expanded to a rise in larger gallerists and even an influential name from outside Seoul joining in the ranks of the alternative hole-in-the-wall spaces.

Artside, noted for being the one of the first to introduce contemporary Chinese art to Korea, moved to Hyoja-dong from Insa-dong in 2010. It has stood watch over the last few years, seeing a steady increase in gallery concentration in its new home as Insa-dong slowly became more known as a popular landmark than an artistic hub.

“Hyoja-dong was originally a neighborhood for literati, merchants, and everyday folks,” says curator Gustav Yim, adding that this lent the area a specific, authentic appeal. It was this history that drew the gallery to the neighborhood, as well as the fact that only avant-garde spaces (such as Brain Factoryand Gallery Factory) had set up shop here — already distinguishing the area as one of intrinsic creative value.

Project Space Sarubia, one of Korea’s pioneering alternative art spaces, also moved to Hyoja-dong the same year in 2010, after establishing its name in Insa-dong for more than a decade. Observing the recent changes, curator Lee Kwan-Hoon commented on his hope the surge in galleries wouldn’t change the neighborhood drastically. “It’s good that there are more people interested in this area and come to visit, but in a capitalist society that also means the real estate will strengthen and rent will eventually rise [like Insa-dong]. And that is not good.”

The possibility of an over-commercialization in the area is unlikely to occur anytime soon, however, as Hyoja-dong residents fight to protect the neighborhood filled with traditional “hanok”homes. Such is their fervor that even the recent addition of Leeahn Gallery’s new Seoul branch (an opening that took more than two years in planning) this month caused some controversy. While the sleek, concrete building was passed relatively smoothly, the gallery’s rooftop Antony Gormleydécor caused locals to protest — arguing that the human form perched dangerously atop a building seemed macabre.

The Daegu-based gallery is attributed to developing the art scene of the smaller metropolitan city 140 miles southeast of Seoul, and will now be a key figure in bringing larger business to the area. A particular specialty of Leeahn is introducing major international artists to local audiences.

“Our director [Ahn Hye-ryung] selected this area because she felt it had a certain elegance to it. It’s off the beaten path and quiet, with lots of alleyways filled with cafes, small galleries, and traditional hanok,” said Hur Boony, a manager at Leeahn Gallery’s new space. “It fits our gallery concept, to hold subtle yet powerful exhibitions.”

In another aspect of industry shifts, others have left the Insa-dong and Samcheong-dong area in prospects of more lucrative environment. Arario Gallery, once located at the heart of Samcheong-dong sandwiched between eateries, left its rented venue for a more permanent space in Cheongdam-dong in mid-2011. The Gangnam neighborhood has an array of strong commercial galleries (PKM Trinityamong them) paired with ever-diverse programming at sites like Songeun Art Space.

“The Cheongdam area is much more commercial, which we felt would induce a better atmosphere to connect with collectors and other art buyers,” said spokesperson Choi Min-young. “Samcheong-dong was also commercial, but mostly tourist-based. And our building there had plumbing issues, causing the gallery to flood every time it rained.”