Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Yujiro Ueno is an up-and-coming artist creating paintings with motifs of dragons, tigers, birds, and other creatures based on the idea of "chi" in Eastern thought. Based on the theory of Yin-Yang and the Five Elements of the Universe, which views all things in the universe as two opposing elements

Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


Sung Tae Kim specializes in the process of transforming a flat surface into a three-dimensional object. The works are a plane with three-dimensional potential and a processed surface, depicting space through installation. Interestingly, behind this complex process, we find the artist replacing the segmental method of measurement with psychology.

Shih Yung Chun is renowned for his diverse range of artistic mediums, which include painting, sculpture, photography, literature, and installation art, all of which are deeply anchored in his investigation of the ordinary and the ceremonial in human behavior. His work begins with the hands-on creation of dolls and minor objects that appear in his paintings. These porcelain dolls and objects, which are the result of a labor-intensive process, are then depicted on canvas in various compositions and stories or transformed into videos. The ceramic objects created in this way themselves become installation pieces, either placed on shelves or hung in plastic bags. Shin’s art is concerned with subtleties in everyday life, particularly the disordered and unexpected details. Utilizing a surrealist style, he dissects the intricate nature of time in his work. He adeptly merges two- and three-dimensional elements, creating a perplexing space that transcends traditional dimensions. His unique methods involving texturing, layering, and surface modification add layers of depth that transcend the tangible aspects of his art. It is like a game with all the prior rules eliminated. In his dual “looking-away”, we find people fleeing the world or take a motionless trip to indulged themselves in another quotidian world, even for merely a moment.

Shih Yung Chun (b.1978) lives and works in Taipei, Taiwan. He received his B.F.A. in the Department of Western Fine Arts from the National Taiwan University of Arts. He has held solo exhibitions at HiArt space (2021, Shanghai), YIRI ARTS (2021, Taipei), Hive Center for Contemporary Art (2019, Beijing), 798 Line-Gallery (2016, 2012, Beijing), Art Experience Gallery (2015, Hong Kong), and more. He has also participated in group exhibitions at KICHE (2023, Seoul), Long Museum West Bund (2022, Shanghai), Hive Center for Contemporary Art (2021, Beijing), FreeS Art Space (2018, Taipei), YIRI ARTS (2018, Taipei), Long Museum Pudong (2013, Shanghai), and more.

Étienne Hajdú was a Hungarian-born French sculptor. After emigration to Paris in the '1930, he became a part of the Hungarian circle of artists and writers. He fought in the French Resistance during World War II.

Born in 1992, and graduated from the Program in Master of Oil Painting Course, Department of Painting, Tokyo University of the Arts. Mikame’s paintings are created in a manner that appears to drift back and forth between opposite ends of the spectrum of the abstract and the objective. Familiar elements that exist within the artist’s surroundings, the artist’s experiences, and the various phenomena that emerge around the artist are conveyed through means of a harmonious balance between the paint and the brushstrokes. At a glance harnessing a precise air of brevity yet at the same time profoundly orchestrated, the works seemingly evolve into abstract portrayals, while in other moments embody a sense of objectivity. Mikame’s works illustrate forethoughts towards the consistent conditions of painting while simultaneously enticing the viewers with her very own unique world, anticipating the artist to further expand her future endeavors towards contemporary painting.


Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

Anouk Lamm Anouk is ar=s=c prac=ce spans pain=ng, drawing, sculpture, installa=on, and wri=ng. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk iden=fies as trans-non-binary and by virtue of this and living as a Person with au=sm, it is crucial to them to rid themselves of the external a`ribu=ons and labels that come from norma=ve society in order both to see and encounter others without the violence of classifica=on and an=cipa=on, to be truly open.
The star=ng point of their pain=ngs is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connec=ng visual element across several series. Their colour pale`e is strictly limited, most oDen to earthy colours, hues of black and off-white are also present; reduc=on is key. Anouk works both in series and independently of series – some pain=ngs are solely abstract, while others are predominantly figura=ve – all of which is connected by unique handwri=ng and gestural strokes. Text or text fragments are also part of their prac=ces. The texts are inten=onally unobtrusive, some=mes they require viewers to look for them. These give a hint or raise ques=ons.
In their work, Anouk returns to certain mo=fs, beings, and rhythms, which they unite together into a singular, holis=c cosmos, with the aim of conjuring peaceful spaces for contempla=on with a strong undercurrent of desire. This can be seen in their mostly figura=ve representa=ons in the “Lesbian Jazz” series, which features abstract symbols and mo=fs embedded next to naked bodies. The bodies on the canvas are oDen female or non-binary, some=mes sexless, and always anonymous. Faces or facial expressions are rare and usually leD out, because “Lesbian Jazz” portrays above all iden=ty, a lifestyle, a community, and not individualised portraits. Their ar=s=c prac=ce emerges from the urgent need for queer visibility in a world rife with discrimina=on, and their pain=ngs explore the visual languages of fluid iden=ty and body as they are coded and re-coded within society.

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.

Lucio Fontana was an Argentine-Italian artist known as the founder of Spatialism. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. He was best known for his monochrome canvases known as Concetti Spaziale that he would cut or puncture, leaving distinctive gaping slash marks and holes that imbued the finished work with an almost violent energy. In his seminal writing, White Manifesto (1946), the artist traced ideas for creating a new medium that blended architecture, painting, and sculpture.

Aysha E Arar born in 1993, Jaljulia, where she lives and
works.
E Arar uses painting, video, performance and poetry
; she paints on paper, canvas and on the wall, moving
from narrative to abstract painting, where she combines
imaginary creatures based on Palestinian legends. At
the center of her practice lies her own identity. She
practices an art of resistance to oppression through the
power of images and voice, a quest for freedom and its
meaning. In her own words, “I don’t know how to draw
realistic paintings, I draw from the world of imagination
and fantasy. This allows me to merge imagination with
reality and all the contradictions that I live in”.

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

Wu Wei was born in 1981, Zhengzhou, Henan Province, China. In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing.
He won the 6th Anniversary Award for the New Ar=sts Space Award in 2015, and won the 3rd New Star Art Fes=val Art Award in 2012. He par=cipated in interna=onal art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art (Beijin,Bangkok), Ipswich Museum(England), Ichihara Lakeside Museum(Japan), Power Sta=on of Art (Shanghai), Zhejiang Art Museum, Beijing Minsheng Art Museum, Art Museum of Nanjing University of the Art, Whitebox Art Center (Beijing), Blue Top Art Gallery(Chengdu), MOCA Yinchuan, Host Cloud Art Museum, The Shouter(Shanghai), Leonard Pearlstein Gallery (Philadelphia, U.S.A), Asian Library of University of Bri=sh Columbia (Vancouver, Canada), HuA Gallery (Berlin, Germany), Migrant Bird Space (Berlin, Germany), GlogauAIR(Berlin, Germany), FLUC Art Space (Vienna, Austria), Gallery SP(South Korea,Seoul) and many other art ins=tu=ons; public collec=ons includes Minsheng Modern Art Museum, The Museum of Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Founda=on, White Rabbit Gallery (Australia) and other ins=tu=ons.

Molly Greene is an American painter who lives and works in Los Angeles, California.
Before devoting herself to art, she spent ten years studying. In 2013, she received a Master of Environmental Science (MESc) degree from Yale University. In 2019, she completed a PhD in American Studies, also at Yale University. During her many years of study, she focused on a variety of topics such as gender and sexuality, post-humanism or animal studies, among others.
She began exhibiting her work as an artist in 2018 in the United States.

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

The narrative in literature, as a distinctive discourse system, is based on real life. Through logical coherence, description, lyricism, and interpretation, it creates a distance between fiction and objective reality. The creative inspiration for this exhibition's works originates from Yan Jingzhou's journey to the UK. However, the imagery of British elements goes beyond regional characteristics. Much like accomplished science fiction writers and film directors, Yan Jingzhou, through the creation of an alternative world, brings to light historical or contemporary truths that often elude conventional narratives.
Yan Jingzhou's creations are consistently rich with imagination. His unique perspective, akin to a distorted mirror, reflects an apparently similar yet exaggerated infinite world within the confines of a finite frame. In the town of "Buster" in the fictional world constructed by Yan Jingzhou, most characters still possess the classic characteristics of the "Old Buster." The difference lies in Yan Jingzhou's artistic iteration, expanding from a focus on specific character images to a more extensive depiction of various domains through the technique of fictional narrative. One could say that Buster permeates every nook and cranny of the town. Essentially, Buster and the town can be situated in any corner of the world.
In the construction and portrayal of scenes, Yan Jingzhou exhibits a more precise and vivid mastery. He skillfully intertwines reality and imagination through metaphorical techniques, reflecting the authenticity of life and reconstructing a colorful world. In the town of Buster, seemingly ordinary scenes reflect the humorous aspects of everyday life. The simple tone both highlights the charm of the characters and contrasts with the bitterness of life.  The narratives within the town can unfold in diverse directions, accommodating individuals of varying identities and colors. The plot may feature straightforward actions or embrace a diverse amalgamation of characters and settings, transitioning from a semi-realistic portrayal to a novel aesthetic creation and narrative expression.
In front of the green dessert shop in the West district, a police officer holding doughnuts in both hands unexpectedly locks eyes with a thief who, in disguise, is attempting to slip away. At a bar in the North district's nightlife scene, a bartender with a face covered in mayonnaise casts a sidelong glance at a drunken patron lying down. The youngster peddling chewing gum on the diagonal street in the West district during the day morphs into a playful ghost reveling in the East district at night. Around a long table, individuals of different skin tones, each with a distinct expression, gaze at the baked beans held by the first person. In a fast-food restaurant, two adults are distributing three kinds of condiments to seven children, and so forth. Countless stories are unfolding in the town—upper and lower districts, the sky, dinner parties, exams, str

Candice Joo creates paintings and sculptures of chains to explore notions of individuality, collectivity, and the potential powers in each. Joo’s tensely arranged yet tightly interconnected landscapes of chains are where she reimagines ideas of the empowered self and of collective power. Joo received her B.F.A. from the Parsons School of Design in New York City. Select solo exhibitions have been held at Jang Design Art Gallery and Punto Blu in Seoul. Joo’s work has been featured in group shows at Helen J. Gallery, USA and Art Fairs and collaborated with Tiffany & Co., New York/Beijing.

JEJn usually attempts to depict incomplete human nature through paintings. People today reject their underlying sentiments of fear, incompleteness, and weakness to naturally avoid them. However, the fragmentary phenomena that result from these emotions are also believed to be part of human nature, and the artist interprets and conveys these inconvenience things through his individual sense of humour and cartooning technique. He asks the audience what would happen if the heaviness and hardness of the facts that people are confronting were presented to them as a hilarious black comedy. 

Shit Coin, limited edition including original artwork

Cildo Meireles, Revue

Flow— Carp— No .8

KulikalaDragon No .3

Memoir No. 11

Memoir No. 10

Memoir No. 9

Memoir No. 8

Memoir No. 6

Memoir No. 7

Memoir No. 5

Memoir No. 4

Memoir No. 3

Memoir No. 2

The Memoir No. 1

Memoir No. 16

Memoir No. 15

Memoir No. 14

Memoir No. 13

Memoir No. 12

Memoir No. 18

Memoir No. 17

Untitled

KURO(2)

High Heel Fitting Specialist

Obstacle training.A-2

Puppets in the Closet

Toy Packaging.A - obstacle training

Pool Game

Étienne Hajdu

Black cat

Baby goat

Love

Flowers and Dog

Spider and Butterfly

The spring of Seoul

A house on a mountain

Crying bird

Spring

Summer

Blood

Persimmon tree

Family

Flower

Rose

Prey

Raising things

Birth

Singing Birds

White cat

Adam and Eve

Near by Oddness; Library Station

오마이걸 - 불꽃놀이

Nearby Oddness; Missing Garden

BUDAFEST TRAVEL

HAKATA TRAVEL

Nearby Oddness; Harmonize

Nearby Oddness; 2020

프리다;  Bellas flores, No tragedia.

Nearby Oddness; The Classic

Nearby Oddness; A garden inside it

Nearby Oddness; In Mild January

Live Is Life

Nearby Oddness; 2019

Nearby Oddness; Lost in reflection

SHIMONOSEKI TRAVEL

Nearby Oddness; Komm Süsser Tod

Nearby Oddness; Into The Unknown

Girl Cares N°4

I miss the place where I am from N°3

P24-12

P24-10

P24-11

P17-23

P24-9

Concetto Spaziale, Attese

Alice in the Middle East

Warm Hand

throw away your papers boy

Ginghamchck pattern

Dot pattern

Stripes-8

Stripes-10

Coil

Hatch

Rumor

Hiroshi Sugimoto, Revue N° 1

PPTRD 005, limited edition including original artwork

PPTRD 040, limited edition including original artwork

Old peter with his uniform backwards is forced to dance around the pole by Biscuitman Johnny

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