During this time he worked under filmmakers Paul Sharits and Hollis Frampton who introduced him to structural filmmaking and Sergei Eisenstein’s films. In 1974, while at Buffalo, he co-founded, with Charles Clough, the exhibition space Hallwalls, organizing shows with Vito Acconci, John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra, and establishing relationships that proved seminal to his development. It was at this time that his life-long friendship with Cindy Sherman began. Longo is best known for Men in the Cities, his critically acclaimed, larger-than-life, photorealistic drawings of contorted figures, done from 1977 to 1983. Using charcoal, graphite and ink, this monochrome series depicting the reactive movements of businessmen and women in static suspension became icons of 1980s art. Longo has had retrospective exhibitions at the Hamburger Kunstverein, the Menil Collection in Houston and the Isetan Museum of Art in Tokyo, and his work has been exhibited in the Whitney Museum Biennial in New York, documenta in Kassel and the Venice Biennial, among others. He is represented in the collections of the Art Institute of Chicago, the British Museum, London; the Centre Georges Pompidou, Paris; the Guggenheim Museum, NY; the Los Angeles County Museum of Art, CA; the Menil Collection, Houston, the Museum of Modern Art, NY; the Stedelijk Museum, Amsterdam, the Tate Gallery, London, and the Whitney Museum of American Art, NY among many others. He lives and works in New York.

Mi Seon Yoon’s work is given vitality through the temporal narrative of her life. Her portrait works, completed in the form of repetitive spheres, are colored with graphite to add emotional depth. The works are given the meaning of an act of resolution because they begin with an obsessive life experience. In this way, Yoon’s works are unique focal points that reveal emotional darkness in its pure raw form.

Minji Ryu recalls the emotions she experienced while observing the landscape in her daily life and investigates the manner in which gathered images are displayed in paintings. As a graduate of the Department of Fine Arts at Seoul National University of Science and Technology, she acknowledged the inevitable gap between the experience of gazing at reality and drawing it and took a moment to recognize the landscape that was shared through abstraction and conceptualization. Her paintings focus on the experience of seeing and reproduce the impression produced by substituting an object for a function consisting of light and darkness as a physical image. In this manner, the artist hopes that paintings will serve as a channel for evoking past experiences in the minds of the audience, so reviving their perspective on current life. 

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

Blake Daniels, born in 1990 in Cincinnati, Ohio, is an artist known for his unique blend of figurative and abstract art. Working between New York and Johannesburg, Daniels has a rich artistic heritage and developed his passion for art early on. With a Master of Fine Arts from the University of the Witwatersrand and a Bachelor of Fine Arts from the School of the Art Institute of Chicago, where he received the Edward L. Ryerson Fellowship, Daniels employs various techniques, including traditional oil painting and mixed media. His works explore themes of intimacy and human connection, portraying intricate interpersonal relationships set against mystical backdrops, creating an intimate, enchanting atmosphere for the audience.

Painting is a gauge of gravity, according to Jeongyoon Park. The artist, who is taking a master's degree in the Department of Fine Arts at Seoul National University of Science and Technology, has been focusing on the concept of gravity. Instead of defying or destroying gravity, she investigates what is possible with gravity. The artist actively utilizes various materials and methods in her works, experimenting with the horizontal possibility of the painting by incorporating fragmentary or complex elements into her works to show various art universes. 

Jourdain Jongwon Lee is sculptor, and artist based in New York. He moved to the United states from Korea in 2010 and had M.F.A. from Long Island University. He has been working on his ‘Golem’ series since 2008 through Seoul to New York. The name of series, Golem is originally from Jewish folk lore. Golem is an animated anthropomorphic being, created entirely from inanimate matter. The Golem series is connected to the idea of protection, guardian, and golem which is connected to shamanism in Korea.

Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

Ursula Palla was born 1961 and grew up in Chur, today she lives and works in Zürich. In her work she interlinks video and room sculptures and works with sensitive materials such as moulded sugar, coal dust or snow. The fragility of nature and wild life is the focus in many works. On a first level an enchanting aesthetic make these accessible. Yet all works are based on comprehensive research, and only its knowledge completely reveals the depth and urgency of the work. The video and room installations by Ursula Palla are poetic and at the same time show up voids that often leave behind a stale feeling and remind us of our responsibility towards nature and environment. This makes the artist’s work highly topical.
While in Ursula Pallas’ early work the accent was on the human being as a figure between appearance and disappearance, after 2000 the plant and animal world came into focus as motifs. The artificiality of nature crystallises ever more clearly as the central theme of the multimedia oeuvre.


In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

Kitti Narod trained at Wi`ayalai Pohchang Art College, Bangkok, from 1996 - 1998, and later obtained his Bachelor of Arts degree from the Rajamonkong Ins=tute of Technology in 2000. He has exhibited extensively both domes=cally and interna=onally, including in Singapore, London, Bath, Edinburgh, Manchester, Dublin, Cork, Montreal, and Melbourne.
Ki} Narod creates pain=ngs that convey a sense of joy and op=mism through gentle and warm portrayals of daily life and human rela=onships. In his pain=ngs, everyone and everything exist together in a utopia. This no=on may seem unrealis=c to some, especially during an era of social division, but the ar=st’s work tries to remind us to appreciate the simple pleasures and raise a`en=on to everyday mundane ma`ers. In which, euphoric feelings will not seem so una`ainable. The ar=st considers his works to be an intersec=on for diversity, where all the physical and spiritual are equal.
Ki} Narod’s recent solo exhibi=ons include “Summer Wind”, Tang Contemporary Art (Hong Kong Sar, China, 2022; “Fragrant City: Ki} Narod Solo Exhibi=on”, Tang Contemporary Art, Bangkok (Thailand, 2021); “Roles in Life”, We Gallery, Shenzhen (China, 2020); “Joy Land”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Ki} Narod Exhibi=on by O‘logy”, PPP, Taipei, Taiwan (China, 2019). Recent group exhibi=ons include “Falling”, Tang Contemporary Art, Beijing (China, 2022); “The Space Between Us II” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2021); “The Space Between Us I” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2020); “A Silent Voice”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia”, Bangkok Art and Culture Centre (BACC), Bangkok (Thailand, 2019).

Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

Xooang Choi(b. 1975) has been creating works that unfold various phenomena arising in the relationship between individuals and society through realistic depictions of the human body. His works possess the power to evoke tactile sensations that resonate thoroughly with viewers’ hearts, prompting them to reflect on the world they live in and the situations they find themselves in. In the recent works, Choi examines the process of actively embracing various intermediate parameters within the artwork, moving away from a subjective position of making sculptural decisions to expand concepts and forms encompassing regions, histories, places, and memories.

He has held solo and group exhibitions at prestigious galleries and museums both domestically and internationally, including the National Museum of Modern and Contemporary Art, Korea; Sungkok Art Museum; Gwangju Biennale; Changwon Sculpture Biennale; Yeosu International Art Festival; Doosan Gallery Seoul and New York; Hakgojae Gallery; Gallery SP; Space So; Yoon Seon Gallery; Musee d'Ansembroug (Belgium); Art Seasons gallery (Singapore); National Centre for Contemporary Arts (Moscow, Russia); Vestfossen Museum (Norway); Brandts Museum (Denmark); Jewish Museum (Berlin, Germany); Galerie Albert Benamou (Paris, France); Musée de la Halle St Pierre (Paris, France); Fine Art Gallery of Luxun National Institute (Shen Yang, China), among others.

Jin Han investigates and depicts incidents related to universal feelings of sadness and anxiety. She is currently studying visual arts at Seoul National University of Science and Technology, she actively exhibits his work to the public. The artist analyses emotions such as melancholy and an inherent sense of isolation, beginning with a sensation of anxiousness based on fragments of autobiographical recollections. The artist creates a distinctive sense of self-using thin, overlapping, and dripping brushstrokes to 'bring out' the memories and feelings onto the canvas. Through her art, she offers contemporary audiences a message of shared experience, empathy, and healing.

Misol Lee establishes rules within her radius of daily life, such as her studio and walking routes, allowing her to persist in her painting work. By executing these rules and documenting daily minute changes, she adopts the attitude of a performer rather than a creator towards her paintings. Her method of repeating brush strokes in specific amounts and at specific times becomes a ritual to sustain her life as an artist every day. Thus, when painting a day's worth of work, it's more important to focus on the brush strokes at hand than to predict the finished state in advance. The paintings, filled with daily repetitions, become landscapes imbued with time, and show how the artist, who persistently clings to the objects around her, interacts with the world within the realm of time.

Lee Koz, through her artwork, delivers a deep contemplation on profound themes. The boundaries between memory and dreams, and the translational gaps and accompanying confusion that emerge from these boundaries, are experiences many people encounter but find difficult to articulate clearly. The artist attempts to represent these intricate concepts through her paintings. She explores how techniques evolve between the history of representation and the desire for documentation. Reproduction raises questions about what and how we remember, and these questions play a central role in a artist's creations. Lee Koz communicates his unique perspective on memory, dreams, and the spaces in between through her art. By addressing these topics, she connects with the lives of all, providing an opportunity for deeper thought and self-reflection.

LeeEu removes all figurative elements to focus on the materiality of the medium. The artist invites us to a sensitive and highly pictorial experience. We stroll through the fundamentals of painting: gesture, material, color. Sometimes the fleeting image of moss, of furrows dug by the wind. But soon, pure pictoriality takes over in the pleasure of colors and the overflow of elusive materials moved by an internal and mysterious movement. It was during her time as a fine arts major student at Hongik University (Seoul) from which she graduated in 1999, that she learned from the great masters of Dansaekhwa, a Korean non-figurative painting movement born in the 1970s. LeeEu’s love for the fine arts was cultivated and fostered through this experience and is still prominent in her work today. She arrived in France in 2003 and attended the school of decorative arts (École des Arts Décoratifs) in Strasbourg. In 2007, a diploma in hand, she entered a 16 months residency at the Cité Internationale des Arts in Paris. Having these new experiences, as well as encountering artistic movements such as Supports/Surfaces, allowed the artist to broaden her artistic horizons.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

MANE's work presents a story that evokes childhood experiences. However, the artist imbues it with dreamlike qualities that render it unrealistic and obscure. Characters and objects from the artist's real-life memories appear in the composition but are rearranged to create a new narrative that is both recognizable and unfamiliar.

Memories can be ambiguous, much like a dream. However, happy memories often end with our mother's voice, which is softly muted in the background. And, there were books in the past that seemed taller than our height. The weighty tomes imparted unfamiliar tales, ones that compelled us to stay up late and read. 

–From MANE’s note

Guernica Redacted (After Picasso's Guernica, 1937)

P24-12

P17-23

P24-9

P24-11

P24-10

Flowery

A tree with the street lamp

The shape of leaves

The color of days 

Untitled

Surface

A moon

The way of leaves

Orchids and Haze

Utopia

Beyond the Horizon of a Black Hole

The Orbit of a Red Comet

Machine's Score

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