WAL, Wal Chirachaisakul (born in 1991) is an artist of oil paintings, printmaker, and a trailblazer in the art scene for a decade. Emerging from a family deeply passionate about the business of playthings, WAL found unwavering support and genuine enthusiasm for art within his family, which has been a constant pillar throughout his artistic journey. Starting his artistic exploration at College of Fine Arts , WAL later pursued advanced studies in the Department of Painting, specializing in printmaking, at Silpakorn University. During his academic pursuits, WA;L’s artistic prowess shone through, earning him prestigious awards, notably clinching the championship in Mezzotint art competitions both domestically and internationally, spanning Japan, Russia, Canada, and more.

LEE Jeongbae (b. 1974) creates works that mirror the image of nature among the city's landscapes, which are privatized and tailored to conform to human needs and desires. Prior to this, the artist experimented with various mediums, including painting, photography, video, and installation. In 2016, LEE began to take an interest in representing deteriorating landscapes that had gradually lost all original meaning through the encroachment of capitalism. These segmented images, which become objets, each act as a landscape that portrays various scenes from nature. LEE Jeongbae's works, which examine the daily life of the city, capture fragments of mountains, rivers, and the sky that peer through the cityscape. These images are separated by geometric forms and expressed through the use of artificial materials such as FRP and aluminum panels. Nature, which has been torn apart by capitalism and materiality, is recomposed by LEE into atypical forms and painted over with color. Completed through a delicate process of painting the surface of the sculpture hundreds of times, these works represent new abstract landscapes expressed through LEE's perspective.
 
Since LEE Jeongbae's first solo exhibition at Munhwa Ilbo Gallery (Seoul, Korea) in 2005, he has shown at Artside Gallery (Seoul, Korea); Window Gallery at Gallery Hyundai (Seoul, Korea); 16 Bungee at Gallery Hyundai (Seoul, Korea); Seodaemun Prison History Hall (Seoul, Korea); Pibi Gallery (Seoul, Korea); Goodspace Gallery (Seoul, Korea); and the Seoul Metropolitan Government (Seoul, Korea). LEE has also participated in various group exhibitions at the Busan Museum of Art (Busan, Korea); Korean Cultural Center in Brussels (Brussels, Belgium); Buk-Seoul Museum of Art (Seoul, Korea); Seoul Olympic Museum of Art (Seoul, Korea); Arario Gallery (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea), and more. In 2011, LEE was awarded the "JoongAng Fine Arts Prize," organized by the Seoul Arts Center (Seoul, Korea). His works are included in many significant collections such as MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea); Seoul Museum of Art (Seoul, Korea); Arario Museum (Seoul, Korea); Joongang Ilbo (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea); and ART OMI Collection (New York, USA).

Tingky is an artist who pays attention to the various 'emotions' felt in everyday episodes. Most of the things she experiences are caused by emotions and desires such as joy, sorrow, love, hate and anger. And emotions constitute the landscape of her mental and social life. She believes that emotions are the energy to preserve her existence, and that bad and passive emotions can be overcome through stronger, more joyful and active emotions.
Based on the philosophy of emotion, Tingky created a unique character, 'Kaekumi', with unique and playful humor and wit. Kaekumi dreams of happiness, hope and freedom in a finite and absurd life. It is a symbol of freedom to decide and act on its own feelings and desires. And as an active being in life, it is sometimes even heroic. Tingky reveals a different side of the world that could not be known through Reason, through Kaekumi and the magical powers of emotions. Influenced by the colors and utopian worldview of American and Japanese animations in the 2000s, she delightfully portrays that utopia is something that can be found in practical life.

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. 

Seok Min Park’s work explores the ideas of time and space, depicting the fundamental concepts that make up our world. Park’s works introduced by Gallery Kabinett are often categorized as abstract, but the works depict specific landscapes that exist on a borderline, allowing Park to occupy a unique position without being confined to the category of abstraction.

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.

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.

Language is the very basis of David Douard’s work. The texts and poems he collects on the Internet are manipulated, transformed in order to become a vital flow, feeding into his sculptures. Through language as an ingredient, David Douard redefines space as hybrid and collective by injecting anonymous, chaotic, deviant, ill and frustrating poems in it. As he recreates an infected environment where the real world used to be, the fantasy brought by new digital technologies expands.

JHR’s projects explore the ways in which the problems we face in reality are dealt with in the virtual space. Hyeryun JUNG(b.1977, S.Korea) has been creating material/non-material visual works with aspecial interest in the organic relationship humans develop with their environment. She completed her Ph.D.(2014) in Fine Arts at Pusan National University. Her main solo exhibitions include US2-Migration(Soma museum of art, Seoul, Korea, 2023), Treasure island(Rhee Seund Ja Jinju Art Museum, Jinju, Korea, 2020), Landscape of –1(L'H du Siege Art Center, France, 2019), and Serial Possibility-planet(HIGURE17-15cas, Japan, 2016). She has also participated in numerous projects and group exhibitions at home and abroad such as the inaugural exhibition of the Museum of Contemporary Art Busan(2018), Biennial InterAction NAPOLI(Made in Cloister, Napoli, Italy, 2023) and Kenpoku Art Triennale (Fukuroda Falls, Japan, 2016).
She received the First Soorim Art Award from Soorim Cultural Foundation(2017), was selected as a Young Sculptor of Today by Kim Chong Yung Museum(2012), and joined residency programs at L'H du Siege(Valenciennes, France, 2018) and Kuandu Museum of Fine Arts (Taiwan, 2013).

Soo Kyoung LEE (b. 1969, S. Korea) lives in Paris and works in Paris, Brussels and Seoul. She is represented by Galerie Oniris in Rennes, MM Gallery in Brussels (Belgium) and Accompany in Busan (South Korea).

Soo Kyoung LEE creates her work by accumulating, visualizing, and erasing various actions through momentary intuition and constant observation. When several layers are stacked as the finished work is erased and overlapped again, the background color and shape may turn into the main character or new shapes may be created on it again. In a plane, these layers produce infinite depth, repetitive time, and rhythm.

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.

SONG is a graffiti artist from Changhua, Taiwan, and a core member of the street art collective FLOW DOWN. His work fuses the visual language of graffiti with otaku subculture, developing a unique form of “Manga Graffiti” that exists between wildness and vulnerability. Through this lens, he constructs emotionally charged character universes that reflect the inner conflicts and desires of contemporary youth navigating life between urban chaos and personal struggle. His representative series include Takumashii Syonen, Bitten Boy, Eyes, and Houses.

Zhu Jinshi, born in 1954, is a pioneer of Chinese abstract art and installation art. He began to create abstract paintings in the early 1980s and moved to Berlin in 1986. Since then, he has been experimenting with performance, installation, and conceptual art. In 1994, Zhu returned to
China, dividing his time between Berlin and Beijing until 2010. At present, he lives and works in Beijing.
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu started his career with abstract painting, but while his installation practice stands alone from his
painting practice, it has also inspired new forms of painting. Only when the two are viewed together can the striking aesthetic value of Zhu’s works be touched.
Zhu Jinshi’s paintings were first influenced by modernism. Three of his works were exhibited in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of the first Chinese artists to create abstract art, Zhu initially experimented with random brushstrokes and
limited colour to create abstract paintings. He gradually developed his unique “thick painting” style that he still uses today, which is usually applied with heavy colour and thick paint.

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.

Tat or Nattee Sujithara was born in Bangkok in 1983. He received a Bachelor Degree of Fine Arts in Painting from Chiang Mai University in 2006. After graduation, he opened a solo exhibition ‘Color of Life’ at Neilson Hays Library in Bangkok in 2009. He later took on many portraiture and illustration projects, and also worked on ideas for next exhibitions. With more experiences in an art world, he decided to be a full-time professional artist and opened his second solo exhibition ‘Circle of Thought’ at The Meeting Room Art Gallery in 2019. He received the Triennale Prize in Drawing Category from the 5th Bangkok Triennale International Print and Drawing Exhibition, at Bangkok Art & Culture Centre in Bangkok. He currently works and resides with his family in Chiang Mai. 


Scott Young is fascinated by the strange and subtle relationships we project onto objects and possessions. His paintings are contemporary reimaginings of still life and vanitas, featuring objects and motifs with charged social meanings, carefully arranged in coded dialogues. Often employing painting techniques that mimic faux marble or wood, his work hints at the artificiality inherent in our extractive relationship between nature and culture.

Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

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