Joonun Kim expresses the inherent anxieties in everyday landscapes through painting. Assuming that personal lives are a result influenced by social structures, she documents the strangeness derived from minor aspects. Instead of showcasing anxiety and trauma directly in her works, she subtly captures the landscapes left behind afterward. In this surreal space-time, questioning whether it's reality or a dream, she maintains a sharp perspective by observing her surroundings. To avoid being swept into apathy or making rash judgments about situations, she disciplines himself to maintain a moderate level of objectivity. Her major exhibitions include the solo exhibition "Time Dilation" (2022, Sahngup Gallery), and group exhibitions "And Live" (2021, Art Space Mullae), and "Mind Sculpture" (2021, BGA).

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Danh Vo examines how cultural values, conflicts and traumas are constructed and inherited through work inspired both by his own experiences as well as historical and political events. When he was a child, Vo’s family fled Vietnam and settled in Denmark. His family’s assimilation to European culture and the political events that precipitated their flight from Vietnam are intertwined in his artistic practice; Vo’s work illuminates the interwoven strands of private experience and collective history that shape our sense of self. Using both historically rich readymade objects and personal details that directly and indirectly touch on his own life experiences, Vo examines the larger implications how meaning changes with context, as well as how objects accumulate symbolic weight.

My paintings are inspired by everyday scenes that come to mind. I look at moments that catch my eye or are captured spontaneously in a new light, and in the course of my work, I crop or enlarge parts of them to give them a new meaning as paintings, beyond their realistic meaning. 

"Isaac Oz" is an artist group consisting of originator Lee Seung Hwan, developers Kim Yoo Jung and Kim Ji Myung, and performers Kim Hyo Jung and Jeon So Hee.

In popular music, producers, composers, and singers achieve top-tier results through a highly specialized division of labor and chemical synergy. A film director is not a monarch who monopolizes the identity of a single work but rather an alchemist who draws out the best chemical combination. In these fields, the chemical synergy of division of labor is naturally accepted. However, in all areas of art, it is only in fine arts (contemporary art) where the solipsistic thinking of the capital ‘I’ still prevails. The capital ‘I’ refers to oneself (‘I’) and also represents the first letter of ‘identity.’ It is also the ‘I’ of the id, one of the three components of Freud’s personality theory.

Isaac Oz is a project that seeks to overcome the ‘I’ through close division of labor. Isaac Oz rejects the myth of art by killing the identity of ‘I’ and the id of ‘I.’ It introduces the artist’s name as a brand within the title of "artist" to ally with the system while resisting the capitalistic structure. We do not live as a subject or self, nor with self-consciousness. We can only live inter-subjectively. Inter-subjectivity means living in a relational way, constantly being influenced by others, the other, the world, and the universe, and returning that influence.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

Diverse and heterogeneous fragments coexist in Man Seop Kim's works. He studied Western painting at Mokwon University, earned a master's degree in Western painting from the same graduate school, and is actively using collages or montage techniques in his works. The images and symbols of his works are based on his daily experiences. He generates tension by capturing the moments when conflicting emotions, such as happiness and sorrow, love and anger, collide. The artist mimesis the coexistence of various beings in modern society through the confrontation and harmony that occur in the creation of works. 

Changyeol Gu translates the sensorial language of plants—acquired through growing up near lush fields and overgrown meadows—into a painterly language of his own. Observing how natural forms continually shift their appearance through colour and shape, the artist identifies mechanisms of seduction devised for reproduction and systems of protection evolved for survival. These elements are perceived not merely as formal characteristics of nature, but as autonomous languages in themselves.

By radically enlarging or intensifying the structures through which plants communicate and endure—such as the arrangement of pistils and stamens, the colours and scents that attract pollinators, and the thorns and hairs evolved for defence—the artist summons onto the canvas the distinctive wonder of what he terms “speaking plants.”

Sejin Kim focuses on subtle sensations that arise in the body before they are clearly defined by language. Rather than emotions that have already been interpreted and organized, the artist is drawn to raw states that exist prior to such articulation.

Tracing sensations that pass by fleetingly or disappear before they can be fully grasped, these elusive states are translated onto the surface. Rather than conveying a fixed meaning, the work is closer to recording how a particular sensation once existed.

Such intangible sensations ultimately reside in the human body. Kim sees the form of the body as revealing human existence more directly than language, and attends to the traces of sensation that remain within it. Drawn to this honesty of the body, the artist adopts the human figure as a central motif.

Hye Yeong Kim (b.1995) is an emerging artist based in Korea, whose work explores themes of solitude, isolation, and stillness. Trained in traditional Korean painting, Kim combines Korean pigments with contemporary media, including acrylics, oils, and oil-colored pencils on linen and canvas, to produce highly detailed and realistic works. Her paintings often depict vacant homes, solitary figures, and expansive landscapes, creating tranquil spaces that invite quiet reflection and contemplation. 

Central to Kim's practice is the belief that solitude is a crucial condition for personal growth and self-discovery. Drawing inspiration from Paulo Coelho’s notion of solitude as a transformative force, Kim’s work offers viewers a respite from the distractions of modern life. Through her serene, immersive landscapes—often featuring the sea—she creates spaces where viewers can engage deeply with the artwork and reflect on their own experiences. With her unique fusion of traditional techniques and modern sensibilities, Kim is quickly establishing herself as a distinctive voice in the Korean contemporary art scene.

Hyeon-A Cho is currently working in Seoul and made her debut in 2014 with a short story series titled <Water tank> on Naver Webtoon's Rookies's short stories. The following year, she posted another short story, <Lunar New Year's Eve>, on the same platform. In 2018, she received the 2019 Today's Our Comics Award and the China Jinlong Award for Foreign Comics for her work <Your Letter>. Currently, <Your Letter> is being produced as a theatrical animation and plans are underway to publish a North American comic book version soon. While drawing advertisements and cover illustrations for young adult novels, she is preparing for her next work, <Santa Scout>.

From 1973-76 he attended the University Witwatersrand, in Johannesburg, South Africa. He studied at the  Johannesburg Art Foundation, Johannesburg, South Africa, from which he graduated in 1978. In the early ‘80s he moved to Paris to study theater, attending the École Jacques LeCoq, and investigating acting, directing, and filmmaking, with little success. In the late 1980s he went back to art, making drawings and animated films and other films. Between 1989 and 2011, he created 10 Drawings for Projection, a set of 10 animated movies, which caused him to understand that the films were fundamental to his work. Kentridge has also directed several operas. He has been awarded The Carnegie Prize, Pittsburgh in 2000, and is the recipient of several honorary doctorates, including an Honorary Doctorate from the Royal College of Art, London in 2010.

He was Humanitas Visiting Professor in Contemporary Art at Oxford University, Oxford, UK in 2013. He was honored as a Commandeur des Arts et des Lettres.  In 2016, his solo exhibition “Thick Time” opened at Whitechapel Gallery in London. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993). His work is in the collections of the Tate, London, the Museum of Contemporary Art, Chicago, the Metropolitan Museum of Art and the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, among many others.

Kitty Kaburo (b. 1987) is a Filipino artist of Korean descent. She works with various traditional and non-traditional mediums, incorporating each of their peculiar properties to simulate transformations and effects of time, the elements and human activity on our environments, communities and planet. Shegraduated from the University of the Philippines’ College of Fine Arts in 2015, receiving an Outstanding Thesis award and a series of videos has been shortlisted for the Ateneo Art Awards in 2017. Aside from the Philippines, she has also exhibited in varied locations, including Indonesia, Taiwan and South Korea.

Frédéric Bruly Bouabré was an Ivorian artist and philosopher best known for creating a unique visual language that combined drawings, symbols, and text to preserve Bété culture and share universal knowledge.

Lugosis is a contemporary artist, tattooer, and graffiti writer from Italy, currently based in Berlin. His work is heavily inspired by cartoons and animation from various origins, through which he explores biographical events, social connections, and youth culture.


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

My work begins with the perspective of a person strolling alone through a city. People created cities and erected buildings out of necessity, but what truly protected the city, as people flooded in and then ebbed out, were the buildings that stood there, looking down on them. While some buildings possess great historical and artistic significance, most were ordinary, unremarkable buildings where people spent their daily lives. They were the face of the city, telling me different stories every day. People spend most of their time in the city, or more precisely, among these buildings. Above all, the city's buildings are built to be solid, and that's how they should be. I believe this mirrors the daily lives of people who live each day with a calm demeanor, concealing their complex inner selves. The buildings in my paintings, interwoven with lines that are solid yet gentle, linear yet organic, capture the emotions of those who live in the city.

As I mentioned earlier, I want to conclude by saying that every profession has a role to play within society.
As an artist, there's one story that I've always held close to my heart. This is a passage from a letter the painter Paul Gauguin wrote to a friend. I read it so long ago that I don't remember the exact text, but it's now a phrase I remember, slightly modified, as my own. "A painter is someone who captures the tremors of emotion so trivial and everyday that people often miss them and presents them to others." Even now, as an artist, this passage provides the basis for asking and answering the recurring questions, "What should I paint?" and "Why should I paint it?" It also fuels my hope that my work goes beyond simply expressing my emotions. I believe that my ongoing mission as an artist is to capture and visually present the tremors of emotion that people undoubtedly experience in life but fail to accurately express, or lack the need or space to do so.


Boonhlue Yangsouy has created exquisitely aesthetic and individual arts. He has participated many group and solo exhibitions. “Behavior = Identity” 2015, “Lady and Chandelier” 2017, “Love Is” 2019, “The Spirit of Six” 2019 and international stages including Art Expo Malaysia Plus 2017, Art Central Hong Kong 2019, Art Expo Malaysia 2019, Art Fair Philippines 2020, ART CENTRAL 2023 , ART CENTRAL 2024 and Art Busan 2023.


Deborah Segun (b. 1994) is a multidisciplinary artist from Lagos, Nigeria, and now based in London, UK. She obtained a degree in Fashion Design at the Polimoda Institute of Fashion Design and Marketing in Florence, Italy in 2017. During her studies in fashion, she translated her own art
production into clothing, creating conceptual and sculptural wearable pieces.

Atreyu Moniaga is an Indonesian ar=st based in Jakarta. He graduated with a degree in Communica=ons and Visual Design from the Jakarta Ins=tute of the Arts (IKJ) and started his career in the crea=ve scene as a freelance illustrator and photographer before fully immersing himself as a fine ar=st.
His works are influenced by dark fantasies with a =nge of surrealism, in which he combines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. His works are characterised by a whimsical universe , led with beau=ful ornamental details.
‘Complex emo=ons that are oDen perceived as nega=ve, such as despair, grief, and anguish are fuels to my ar=s=c process. I try to convey these emo=ons through the visual universe I invented,
though I hope my audience can find a source of hopefulness and self- acceptance to confront their own grim facets. I oDen allow myself to be lost in my own thoughts, where I feel unbound in crea=ng these fic=onal stories and characters found in my works, my universe.’

River City Bangkok, in collaboration with the Embassy of Mexico in Thailand, presents “Unportraited”, a solo exhibition by the renowned Mexican artist Diego Rodarte. Known for his experimental and boundary-pushing painting practice, Rodarte brings to Bangkok a provocative new body of work that reimagines portraiture for the contemporary gaze.

Chu Mirim(b. 1982) is based is Seoul. Using pixels as elements in her work, Chu engages in formative experiments that go beyond design and fine art. She critically explores keywords related to computer graphics, pixels, and the internet etc., and she has great interest in producing work where the cross- sectional aspect of images used in social network sites may be viewed from various angles. All her works, in particular, transform a visually hidden web-based society into a series of images, reflecting the artist’s intention to directly present the digital landscape around us. As time passes, her perspective which looks at the life forms of the contemporary young generation gets brought out across a more diverse spectrum.

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.

Leather boots and ants

Leather

Dog with a bent back

Mother's hand

The flowers soon revived in water

Vase, Flower, Picture Frame

City without dog

어떤 도시조각

여기는 blue

내 우주는 돌고 돌아서

Alchemy 21.2g

Alchemy 11.8g

Alchemy 12.2g

Alchemy 12.6g

Alchemy 16.8g

Alchemy 15.5g

Alchemy 10.7g

Alchemy 13.6g

Alchemy 10.8g

Alchemy 10.9g

Alchemy 15.0g

Alchemy 13.0g

Alchemy 13.1g

Alchemy 14.6g

Alchemy 24.1g

Alchemy 24.7g

When finishing becomes printmaking

The man with the surfboard picture

Island

Midnight Cafeteria

Driver

So many holes

Yellow eyed cat

Consideration of the direction where I should go

Defending Apples in Hunter's Swamp

Rehearsal to move forward

A poem talking about love and a comment of a song

All I do in the reminiscence room is dreaming

Shinseon play in front of a lost myth

Antique shop owner's break time

숨이 트이는 듯 한 기분이 드는 이유에 대하여

Me and my cocktail bar challenge

나에게 선물을 주기 위해 떠나는 여행

Finding gems among the useless things

An in-depth study of me on the bookshelf, desk and Chair

Predator: Survive in the Jungle, Modern people, ironic, world and myself

그녀를 찾아가기 위해서는 나를 먼저 찾아야 한다.

Encounters with the unknown and habitual inquiring mind

가슴이 벅차오르는 순간 침착해야 하는 법이다.

How to dream with a refreshing sky

At mom's garden, I am still listening the song

Juliet was observing at the aquarium

me and the way of conversation of myself

Profound Tension

Threshold of serenity

Residue

passing through layers of concealment

Standing before traces

Revealed through permanence

Contemplation

Imminence

Still, It Is, Even Now

Though faded, it remains

Gathering toward dispersal

Encounter 조우

Omen 징조

Spine 등허리

Hollow 오금

Small Curve

Day and Day After

We Go Where the Light Lives

In Search of a Summer We Never Knew

Self-sustaining

Transferred 14

Transferred 11

Transferred 12

Transferred 13

All Reflected in the Water Are Me

A Plant that lives long in gentle warmth

A Long-flying Bird

Overlapping Light

A Boundless Map

In the Night, Wings

Blissful sleep

Transferred 12 (Shipment)

Transferred 7

Transferred 8

Transferred 9

Transferred 10

The Night Sea Devours Many

The Swallow's Resting Sea

The Uninhabited House

Walking Through a Long Day

Slowly to the horizon

The Sea Unfolds Together

Where the Tiger Butterfly Dwells

Door to Nowhere

Swaying: The Past

Swaying: The Periphery

Your Letter

Unremember Me

Lilac Girls

Twin Fates

Untitled

Family Portrait

Bite the law

Hunting

Community garden trimming ac6vity at the East District

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

Artists