Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

Mónica Loya (b.1990, Mexico) has shown at KÖNIG in Mexico City and exhibited widely across Mexico, the United States, the United Kingdom, and Portugal. Her work merges sharp visual instincts with everyday imagery, constructing dissonant compositions that evoke the surreal logic of dépaysement. Found moments from smartphone snapshots and scenes from daily life are reconstructed on the canvas in new, ambiguous contexts. Through witty compositions, fluid lines, and vibrant tones—often red, blue, and pink—Loya transforms the ordinary into invisible yet emotionally potent events. The viewer is invited to observe and complete the work through their evolving emotional engagement, stepping directly into her open-ended world.

Kang Se kyung explores the passage of time and the emotions that quietly accumulate throughout life. In his paintings, the recurring image of an old automobile serves as a symbolic self-portrait while also reflecting the shared human experience. The rust, scratches, and worn surfaces are not signs of decay, but traces of lived time—honest records of memories, resilience, and emotional growth.

Since returning from Japan, AeGoh has passionately showcased the uniqueness of her painting through five solo exhibitions, beginning in 2016. Notably, from 2017 onward, she has cultivated a distinctive artistic realm by establishing her home in the heart of a serene forest, where she creates semi-abstract works that embody the vibrant colors of nature. The artist perceives her family, everyday individuals, plants, animals, light, wind, and still life as equitable beings that engage and coexist within nature, capturing the shared rhythms of life on her canvases. AeGoh's work originates from her personal narratives but expands into universally relatable expressions of life through simplified forms and harmonious color combinations viewed from a liberated perspective.

Hijo Nam is a Korean-born contemporary artist based in New York, with a BFA and MFA from Pratt Institute.
Her work spans painting, installation, and textiles, exploring themes of existence, cycles, and motherhood.
In her recent exhibition Threads of Origin, she visualized the flow of memory, myth, and healing.

Jiyoon Jeong - has held group and solo exhibitions in the UK and Hong Kong.  She has a strong domestic fanbase and is an emerging artist with a lot of potential for future success.


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.

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Artist Jamsan is an artist who moves fluidly between the commercial and fine art fields, engaging in a wide range of creative practices. In the early stages of his painting career, he developed Mastic Art—a new approach that reconstructs materials such as cement, brass, and steel, merging sculpture and painting into a unique artistic language.

Recognized as one of Korea’s leading concept artists, he has produced outstanding works in advertising and art since 2004. His major projects include the concept art for Seo Taiji’s “Sogyeokdong” album, Nike’s Park Ji-sung CF, and Samsung Galaxy Note 2. He was selected as a representative Korean artist for the 2018 PyeongChang Winter Olympics (15 Featured Korean Artists), and in 2020, he created the concept art for the tvN drama “It’s Okay to Not Be Okay.”

Currently, Jamsan is widely loved for his “Red Chair” and “Rose from the Star” series. Continuing to introduce new bodies of work, he is shaping and expanding a genre he defines as “Surreal Fantasy Painting.”

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

Georg Baselitz has had a profound influence on international art since 1980 and is indisputably one of the most important artists of our time. He shaped a new identity for German art in the second half of the 20th century; in reaction to the trauma and tragedy of the Second World War, he developed an artistic vocabulary which draws on the work of his forebears, whilst remaining unique and wholly individual. Since then, Baselitz has consistently renewed his practice through formal developments, often responding to art history and his own extensive oeuvre to develop his central themes through an ever-evolving, yet distinct, mode of artistic expression.

The artist has been painting his compositions upside down since 1969. For Baselitz, this novel format was a way of emptying form of its content, navigating between abstraction and figuration, and revolutionising a medium that was then regarded as irredeemably conventional. His directly tactile method of painting with his fingers in the 1970s encouraged a freer use of colour and material that would come to the fore in his expressionist colour fields of the 1980s. This was a seminal decade for the artist, opening with his selection to represent Germany at the 1980 Venice Biennale alongside Anselm Kiefer, which marked his first foray into sculpture.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas. The artist, who majored in Business at Hongik University and received a master's degree in Arts and Cultural Management from the graduate institution, is claimed to have been interested in traditional Japanese culture for a long time. In particular, the Japanese dry garden culture, known as Zen Garden, influenced his current style of painting. Instead of incorporating incidental components in his works, he attempts to convey the meaning solely through the flow of brushstrokes. Exploring the true nature of life, the artist reveals via his works the necessary approach to life in our materialistic society. 

AhHyeon Lee materializes the unreal world created from the perspective of insects into physical space. After receiving her bachelor's degree in Painting from Kyung Hee University, she continued a master's degree in Painting at a graduate institution. She has communicated with the public through her works with shifting gaze and dreamlike colours that transcend the two-dimensional and three-dimensional since her graduation. The artist began her work by considering the invisible or unrecognized vision in today's visual environment and raises the issue of the incompleteness of 'seeing' as we perceive its contents. She eliminates the human subject and creates a symbolic representation of the insect's gaze through painting, crossing the tension that results from the world of insects being repeatedly created and destroyed by others, as well as the feelings of disgust and dread of insects from a human perspective. In her investigation of insect traces, she examined and experimented with the physical characteristics of mediums and invited viewers to enter an imaginary environment.

Jack Kabangu (b.1996, Zambian) is a Copenhagen-based self-taught contemporary artist whose practice fuses the rhythms of urban culture with the layered identity of the African diaspora. His paintings are charged with bold color contrasts, tactile textures, and recurring mask-like faces that recall both tribal iconography and contemporary street culture. Drawing inspiration from graffiti, hip-hop, and personal memory, Kabangu stages the dualities of joy and pain, beauty and ugliness, light and darkness in a raw yet poetic manner. Using brushes, fingers, and scrapers, he leaves visceral traces that infuse his canvases with immediacy, evoking echoes of Jean-Michel Basquiat while forging a distinct visual language of his own. Rapidly gaining international recognition through exhibitions across Europe, Asia, and the U.S., Kabangu is emerging as one of the most compelling voices reimagining identity and expression in today’s global art scene.

After extracting the narrative structure of various stories, the artist reconstructs the events and reproduces the images to seek discourse with contemporary narratives. By removing or reconstructing the direct object of the event, the artist attempts to emphasize the essence underlying the narrative to create a dialogue with the audience.

『Patchwork』 series presents the theme of ‘corporealization’ as the counterpart of ‘nation’ and ‘body’ as the constitution of the world. From the Frankenstein-like figure of the combined ragged giant to the cyborg combined with mechanical devices to assist the body, from the small screen to the large screen combined with multiple screens, the evolving or expanding life reflects the state of war of all against all: “Man’s selfish nature to protect himself inevitably shapes the form of a powerful force to realize it”. The main forms (and the result of various agreements) of the entries, such as replacement, substitution, assembly, combination, and expansion, are presented as a body and a state (the mortal god) formed in this state of struggle, and through the exhibition, they come together to form a world.

Hong Jung-Ouk is a Seoul-based artist and Associate Professor of Painting at Hong-ik University. Working at the intersection of painting, sculpture, and installation, his practice persistently interrogates the ontological conditions of the painted surface—questioning why a canvas must always be rectangular, and why it must hang on a wall.

Rather than abandoning painting for three-dimensional work, Hong expands its logic outward: frames become polygons and circles, cloth is removed to expose open structures, and glass, acrylic, wire, and light are combined to create works that occupy the threshold between painting and site-specific installation. His ongoing series—INFILL, cacophony, ENTITY, and ulterior—reflect what he calls "evolution": each work finding its most optimized form through iterative material and spatial experiment.

Hong holds a Ph.D. in Technology Art from Chung-Ang University, an M.F.A. from the Slade School of Fine Art, UCL (London), and degrees from Hong-ik University, Seoul.

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.

Natalie Sasi Organ examines fragmented historiographies, creating artificial yet familiar scenes of composite memories and territories. Investigating the liminalities of her own biracial experience, Sasi Organ confronts the personal and cultural tensions of migration, displacement, and assimilation. Her practice, defined by continuous dualities and dichotomies, mirrors the binary thinking of cultural hybridity, also tracing the artist’s personal search for living in the in-between. Drawing from settings close to her heritage, Sasi Organ builds a composite archive of visual evidence, often crossing generations and geographies. She transforms mundane objects and domestic scenes into testimonies of transitory belonging, fostering unforeseen interactions with intimate subject matter. Forming a practice of recollection and recontextualisation, Sasi Organ highlights the ephemeral and overlooked, challenging the subjective ambiguities of identity and memory.

Based on the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

Todam assembles fragments of memory to sculpt new afterimages. By presenting familiar subjects in their distorted, recollected forms, he renders the recognizable strange. His works hovering between warmth and unease add a subtle charge to each viewer's personal memories, opening space to reimagine the subjects that live within them. What appears at first glance to be roughly made is, in fact, the product of meticulous sketching and dozens of simulations. These deliberately planned imperfections carry a force strong enough to displace the clear, universally recognized image of the original.

Genesis Kai is the AI-infused alter ego of Korean-Hong Kong new media artist Ming Shiu.
Through her conceptual framework “Pothosophy,” she redefines desire not as lack but as a structuring tension that shapes reality.

Working across AI-driven collaboration, video installation, and hanji prints, she reinterprets East Asian heritage and diasporic memory through a contemporary philosophical lens. Since her debut at Asia Now (2022) in France, her works have been exhibited internationally across Paris, London, Dubai, Hong Kong, and Seoul.

KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

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