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.

Park Mira observes emotions, exploring where they originate and what factors contribute to their
formation. While acknowledging that emotions are largely personal and subjective, she is interested in how emotions can be construed and interpreted within the context of society. She primarily works with black materials to carve out images and narratives that emerge in the space between consciousness and the unconscious.
She stages uncomfortable and discordant situations at the boundary between reality and the imaginary, exploring narrative structures that unfold simultaneously within the frame. She seeks to connect spaces, stories, consciousness, the unconscious, the virtual, and the real, using mediums such as drawing, animation, instalation, and painting.
Park Mira has held solo exhibitions including 《Pairing》 (2023, SeMA STORAGE), 《Interlude》 (2022, Art Space Boan 2), 《Walk In The Dark" (2020, A-Lounge), and 《The Waves at Night》 (2019, Gyeonggi
Museum of Modern Art Project Galery). She has also participated in group exhibitions such as 《Between Shot》(2023, Galery In HQ), 《Kaleidoscope》 (2022, A-Lounge), 《Over and Above》 (2022, DooNamJae ArtCenter), 《Mappin Memory: The Bunker》(2022, SeMA Bunker), 《Guide Mark》 (2021, Galery In), 《What if》 (2021, A-Lounge). In 2023, Park Mira was honored with the “Chongkundang Yesuljisang” and recognized as a “SeMA Emerging Artists &Curators” Park Mira is currently participating in a residency program at the Suwon Art Studio after completing residencies at the Gyeonggi Creation Center in Residency Program and the Cheong-ju Art Studio.

Jongheon Bae (b. 1969) discovers artistic values in ordinary things with deep thinking and lyrical sensibility, and expresses them through visual media. He creates his own works without restrictions on form and material. He majored in painting at Gachon University and its graduate school, and completed a doctorate in fine arts at Kyungpook National University. Jongheon Bae held a total of 17 solo exhibitions, including Gallery SoSo's 《Trying Nothing》. He also participated in several group exhibitions at home and abroad including Animamix Biennale(Shanghai), Busan Biennale(Busan), Changwon Sculpture Biennale(Changwon), Jeonnam International Ink Biennale(Mokpo), Daegu Photo Biennale(Daegu), the National Museum of Modern and Contemporary Art, Sungkok Museum of Art, Arko Art Museum, SFAC Galleries in San Francisco, ArtN space in Shanghai, and DUMBO Art Center in New York. He published a massive book, 『Bae JongHeon_JagUpZipSeo』(2015, Seoul: Monocle), which is a compilation of his artistic world, including artist's notes summarizing his artistic thoughts, work records, and catalogs. Bae Jongheon won the Goam Art Award in 2014, and his works are collected in the Arko Art Museum, Seoul Museum of Art, and Gyeonggi Art Museum. Following the Glenfiddich Artist-in-Residence in Scotland in 2021, he is working as an artist-in-residence at the Changdong Residency at the National Museum of Modern and Contemporary Art in 2023. In there he is expanding the scope of his work through inspiration from new spaces and life.

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).

He focuses on the instinctive five senses that can be felt in screens, spaces, and objects that encourage erotic imagination. While visualizing the ‘desire for the unreachable’ in two-dimensional or three-dimensional works, he is also exploring the tactile sensations that can reach it. By recording and re-sensing the body in three-dimensional and flat surfaces, he is attempting to explore the body that has been sensed and the body that is being eroded by the desire to be sensed.

The artist mixes representations of the human body from the past to the present and places them in a contemporary context. The story of the inevitable relationship between wounding and healing is told in a way that remains ambiguous due to the dual representation of the image.

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

Billy Gibney has exhibited in New York, Norwich, London, Madrid, Milan, Melbourne, Sydney, Amsterdam, and Auckland, and he approaches existing objects and scenes not simply as subjects of representation but as “mediators” that condense narrative and memory over time. These mediators expand across a wide range of sources, including the artist’s personal photographs, film stills, online auction images, and privately owned objects and souvenirs. To foreground this mediating role, Gibney treats the surface of his paintings with materials such as glass powder and wax, which metaphorically evoke stones or fossils bearing traces of time. Through this material process, his images are endowed with a sense of historicity, durability, and permanence, and his paintings emerge as crystallized condensations of the forms and scenes through which he perceives the world—visual records that directly articulate the artist’s worldview.

Ping Hatta (b. 1990), is an artist whose work explores the intersection of strength and softness within femininity. Inspired by personal narratives, nature, and everyday moments, she paints vibrant, surreal portraits that capture the nuances of womanhood—both its resilience and vulnerability.

Rimm Chae uses ottchil (Korean lacquer) to jump back and forth between past and present as well as East and West as she creates a powerful visual expression of the marvelous journey of nature. At Art Miami, held from November 29 to December 4, Chae presents a monumental work entitled Mountain and Island, her artistic interpretation of ideological colors and saekdong (traditional multi-colored stripes) that reflects a distinctly Korean sentiment.

He works with a variety of materials such as wood, stone, and thread, exploring themes of art and life, the ecology of nature, and the cyclical passage of time.

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.


The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

Yerim Choi's paintings focus on the present. The 'moment' is one that has not been found or is easily neglected. The artist has the desire to capture and convey these moments to the public. She majored in the Department of Fine Arts at Seoul National University of Science and Technology, and she continues to capture and recall pleasant recollections. Warm moments pause the movement of busy individuals, and the artist uses this moment to communicate with the audience and transmit warmth. Warm moments give confidence to confront the next difficulty, allowing for the next stage of recovery in daily life. The artist believes that the world as seen through her eyes will be reinterpreted and conveyed with a new tenderness.  

Intense Abstract Painting Using Light and Physical Properties.

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.’

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Creating captivating and labor-intensive work with the idea of continuing the legacy of the abstract expressionism movement from the 50s and 60s, Taher Jaoui's paintings are rich assemblages of layered forms, vibrant colors, expressive gestures, and mathematics signs and formulas. Applied on canvas through a dynamic interaction, a physical back-and-forth dialogue in which perspective and orientation continuously change until all the elements are balanced right, these opulent creations are the artist's way of expressing himself.

Driven by a permanent quest for innovation and meaning, Gehry has designed many major buildings over the last forty years, mainly in the United States and Europe. Notable among them is his residence in Santa Monica, which served as his manifesto, the Guggenheim Museum in Bilbao, the DZ Bank Building in Berlin, the Walt Disney Concert Hall in Los Angeles, the IAC Building and the New York Tower.  In 1989, Gehry was awarded the Pritzker Architecture Prize. At the time, the jury praised Gehry, stating: “Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes.
His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theater and the back-stage, simultaneously revealed.” In 2006, Gehry was the subject of a Sydney Pollack documentary, Sketches of Frank Gehry. Vanity Fair magazine ran a cover story labeling him “the most important architect of our age.”

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. As artist Kim Joo-hyun stated, the “stability derived from uncertainty” does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments. As seen in 〈Destiny of Warmth〉 (2025), diluted pigments accumulate, erode, and leave powdery residues. The duration of the production process remains unknowable until one observes the layers of color built up on the canvas's edges. However, it is intriguing that the physical time required for the layers of water and pigment to settle and stabilize on the canvas is comparable to that needed for the sedimentary layers or soil in an actual riverbed.


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