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. 

아르투(Artue)는 동시대 예술 현장의 역동성을 자양분으로 삼은 역량 있는 예술가들의 작품을 엄선하여 생동감 넘치는 미술의 본질을 세계에 알리는 데 헌신하고 있습니다. 예술가들을 위한 플랫폼 구축은 갤러리, 컬렉터 및 미술 애호가들을 연결해 지리적, 물리적 경계를 넘어선 총체적 경험을 제공하려는 아투의 핵심 미션과 연결됩니다. 아투를 통해 매력적인 미술의 세계를 발견하고 그 어디에서도 만날 수 없는 기회를 경험해 보시기 바랍니다. 

Artue is dedicated to bringing the vibrant essence of art to the world stage, presenting a curated selection of works by talented artists who embody dynamic contemporary scenes. By creating a platform for these artists, we foster connections among galleries, collectors, and art enthusiasts, offering an immersive experience that transcends geographical boundaries. Discover the captivating world of contemporary art through Artue and unlock unparalleled opportunities for growth, exposure, and success. Join us in celebrating the diverse and remarkable contributions of artists to the global art community.

Artue - Korea

Equilibrium

The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

"Objecthood" is a concept that emerged from minimalism, often translated as "objecthood" or "materiality." It aims to strip objects of unnecessary elements, focusing on the essence of the object and the inherent properties of the material, to present works that are non-imitative and non-representational.

Based in Busan, Objecthood Gallery seeks to introduce the artistic worlds of emerging domestic and international artists who understand and interpret this pure concept of objecthood. The gallery also serves as a new platform to offer moments of relaxation and leisure in our modern lives.


OBJECTHOOD

Entangled  Flow

RCB Experimental Art Lab, an innovative project by River City Bangkok, is more than just a gallery—it’s a dynamic space where artistic boundaries are pushed, and new horizons are explored. We encourage a variety of artists, both new and experienced, to "Explore" unexplored creativity, "Experiment" with ideas and stories from various art media, and "Exchange" conversations between Thai and international artists to spark new creativity. We also intend to provide a platform where artists, viewers, and collectors may share ideas and support. The talented artists ; Art Jeeno, Chonnapas Yokyai, FAHFAHS, Munins, Phichai Keawvichit, Tuagomstudio, Tum Ulit, and WAL, have all shown their work with us.

RCB Experimental Art Lab

Path 2

SoYeong Kim has been constructing illusionary images through an expressive painterly style that maximizes the effects of light. In her work, darkness deepens in response to illumination, while the gaze emerges with heightened clarity. The areas of light, rendered as empty spaces within the composition, possess a translucent, screen-like texture—prompting viewers to reconsider the very nature of the image.
By sensitively capturing the boundary between the image projected onto fragmented elements and the image generated by light itself, Kim seeks to illuminate the essence of visual experience and the moment an image comes into being.

CDA is a gallery stands for ‘Creative’, ‘Discovery’, and ‘Appreciation’. The gallery mainly presents creative activities in various fields of contemporary visual arts in the form of exhibitions. CDA exhibition mainly focuses on paintings but subjects to all kinds of genres and mediums such as sculpture, prints, photography, animation, and video. The form of the exhibitions is also balanced, with a mix of solo and group exhibitions, as well as art fairs and collaborative projects. We sincerely hope that our activities will serve as a spark for the realization of meaningful projects for creators(artists) and an opportunity for audiences to expand their inspiration and collecting.

Flesh 1

As I pile up my work and mash it into canvas, I feel transported to a chance encounter—a fateful moment suspended within the canvas. I approach art not as a methodical process, but as a series of intuitive accidents. Each mark becomes a trace of something unplanned, yet somehow inevitable.

With the Flower

"Contemporary art and a lion" is one of the representative works of the series 'The Form of Hat', which sought to create a new painting by directly clashing the disparities between drawing and the painting that the artist, a cartoonist, felt. The hat in the art indicates rank, power, and usefulness, but by connecting it to the meaning of painting, it portrays the look of being uselessly hung indoors. The artist uses numerous techniques, such as painting and animation, to express images that are subjectively interpreted differently by each viewer. In this way, the artist continually experiments with the interpretation method of modern painting in art history and constructs his own new art worldview.

Contemporary art and a lion

Staying at the Oharano Studio residency in Kyoto, Japan, the artist presents works that condense the sensations of observing nature at specific moments into the form of a “portrait.”
A “portrait” is not merely a depiction of outward appearance, but an act of capturing the expression and emotion a being reveals at a particular point in time. Jang Geon-yul’s new works expand this traditional notion of portraiture to natural elements—clouds, flowers, and trees—gazing upon and recording their fleeting presence as if tracing a human life. In doing so, the artist renders the cycles of disappearance and emergence in nature as portraits of vanishing existence.


Since its establishment, Gallery Kabinett has aimed to play a pivotal role in managing and establishing promising artists, both domestically and internationally. Through strategic institutional introductions and comprehensive artist development programs, we seek to explore the various possibilities of visual arts by close collaboration with other industries.

We strive to enhance the competitiveness of Korean art and align it with global standards, all while showcasing Korean artistic elements to ultimately exert significant global influence.

Gallery Kabinett

Portrait of Mountains and Clouds7

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.

In Search of a Summer We Never Knew

Gallery THEO is founded in Seoul, South Korea in 2020. The priority mission of THEO is to establish a sustainable art cycle rooted in diversity. THEO was established by two directors who have built their careers in the art markets of the UK and the US, bringing their international expertise and networks to the Korean art scene.
The primary objective of Gallery THEO is to showcase the wide-ranging spectrum of Korean art and its richness. The gallery is dedicated to supporting young and gifted Korean artists, regardless of artistic genres, and identifying the commercial potential in their work. By providing a platform for these artists, the gallery aims to foster their growth and development within the rapidly evolving art ecosystem.
In addition to promoting local artists, Gallery THEO actively seeks to encourage diversity and bridge cultural boundaries. The gallery accomplishes this by establishing strong relationships with relevant institutions and collaborations with galleries both locally and internationally. By engaged in collaborations with artists and directors from various backgrounds, Gallery THEO strives to introduce international artists to Korean and Asian audiences, thereby promoting cross-cultural exchange and expanding the artistic discourse. 
Through challenging projects and a commitment to artists excellence, Gallery THEO envisions a gallery space that can co-exist and thrive alongside art creators, adapting to the dynamic art landscape.

THEO

Two Birds

“Crying Bird” is a figurative painting. The emotions of the surviving bird, which laments the loss of the departed mate, and the viewpoint of the world watching it coexist in work. The artist creates a narrative of conflicting feelings within the canvas using a contemporary interpretation of Oriental painting, including flowers blooming and falling, a cat playing, a dead bird, and a bird weeping. The artist's belief that everyday life is nonsense is revealed by the contrast between the unassumingly beautiful landscape and painful emotions.

Crying bird

This limited edition by Philippe Parreno is a unique object consisting of a custom-made plexiglass box, a special, clothbound edition of the Revue and its accompanying booklet and a double-sided print of Parreno’s Iceman (2020), 2023, in two stages.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

Passionate about prints, Lee Ufan had, for many years, the desire to succeed in creating an extremely long etching. He wanted to push horizontality to its limits. It was at Michael Woolworth’s studio that he was able to realize this dream. Confronting himself, with all his physical strength, to the hardness of the steel plates and the vastness of their length, he created two different works as two ways to explore an infinite trajectory. Together an artistic, physical and technical feat, these impressive etchings are the result of a very intense cooperation between the artist and the entire workshop team.

Untitled (II)

"Caterpillar" contemplates growth, beginning with the intrusion of the unspeakable.

Caterpillar

The artist discusses the modern people constantly trying to find their destined partner through the artwork. The painting resembles medieval cathedral stained glass and relates to the artist’s concept of humanitarian love. The artist discusses several types of love and offers a message of solace to the audience. He depicts anticipation and curiosity about the upcoming relationship through the image of a person leaving with a mismatched chair. 

Destiny

A portrait is a depiction of a specific individual, which became an established style of painting during the Renaissance. Since then, many artists have created portraits with a wide variety of themes. Some portraits have pursued realism while others have emphasized the beauty or exaggerated the ugliness of their subjects. In the past, the creation of a portrait typically required the artist and subject to be face-to-face, but in Portrait of dazzle, neither the artist nor the subject know who the other is (and in this case, the subject is not even aware that they are a subject of a portrait). In this series, portraits of the modern person are created from the countless photos of faces posted online by tracing and projecting the eyes onto a dazzle camouflaged silhouette of a person whose race, sex, hairstyle, or body shape differs from that of the original subject.
	By using photographs of real people, Portrait of dazzleencourages viewers to consider that the eyes depicted may belong to people they know or even themselves and brings to attention growing social issues like digital tattoos, deepfakes, and generative AI.

	Dazzle camouflage was a type of ship camouflage used during World War I. As its name suggests, it was meant to dazzle and confuse the human eye. In an era where radar technology did not exist, an enemy vessel’s range and heading needed to be visually identified for targeting. The complex black and white patterns painted on ships with dazzle camouflage reportedly made it difficult to ascertain the target's distance and direction of movement and hindered the calculation of accurate firing solutions. Because dazzle camouflage is such an apt metaphor for the confusion caused by the uncertain veracity of information online, it is a frequent motif in my work. 

 / Artist Shigeki Matsuyama

Self-portrait for multiple accounts #08

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

Wind Tree

Gana Art, established in 1983, is a leading contemporary art gallery in Korea known for its role in advancing Korean art culture through diverse exhibitions both domestically and internationally. With spaces like 'Gana Art Hannam' (opened in 2018) and 'Gana Art Nineone' (opened in 2020), the gallery responds to contemporary art trends and focuses on discovering and supporting emerging artists. Gana Art also extends its influence through public art projects, expanding exhibitions beyond indoor spaces to the outdoors, and remains committed to the globalization of Korean art through international collaborations and exhibitions.

Gana Art

Shadow_05

In her “Seascapes” and “Constellation” series, Kang explores the relationship between the terrestrial and the celestial, addressing themes of transformation, memory, and the passage of time. In the “Seascapes”, water functions both as a symbol and a subject, capturing the ever-changing flow of nature. By combining photographs from various seas with found imagery, Kang creates composite landscapes that transcend specific locations, evoking a universal, timeless sea. In the “Constellation” series, Kang reimagines the night sky as a dynamic canvas, where stars form sculptural constellations that merge mythological and personal narratives. By grounding these constellations in the earthly realm, she imbues them with personal memory, linking the celestial to the present.

From Moon

Equilibrium Blue

POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

I work primarily with oil paint, applying it with intention but disrupting it before it sets. While the paint is still wet, I smear it with a towel—blurring, lifting, softening. In these gestures, I relinquish control and make space for chance. Sometimes the towel removes an image I thought I needed. Other times, it leaves behind a trace more evocative than anything I could have deliberately created. The smearing becomes a collaboration between my hand, the material, and the moment.

Yunseob Kim has experimented with a new methodology for creating flat images using diverse mediums, including drawing, painting, and animation. Since he majored in animation at Kongju University and maintained an interest in cartoons, he is allowed to create paintings that deviate from traditional genres like drawing and sculptures. In 2007, he began utilizing self-portraits, hand drawings, and cup drawings in his paintings and videos. He also worked in drawing, text, installation, and video in 2011. In addition, since 2014, the artist has delivered private narratives to the audience in a variety of techniques and subjects, including the “Hell” series, which focuses on digital physical properties experiments and the investigation of moving images. The artist is constructing his own universe by discussing the definition of time, events, visions, beings, and devildom as well as posing problems regarding the identity of modern painting in art history.

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

Eunju Kim attempts to sense light and capture it as a unit of particles and waves. After earning a bachelor's degree in Western painting at Chung-Ang University and a master's degree in the School of Fine Art at the graduate institution, she is exhibiting her works in various venues. The artist creates her own artistic universe by casting light and circular units over all objects. Focus on the shape of light projected onto the object rather than the object itself, and consider the origin of visible and invisible beings and include them in her works. 

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. 

Philippe Parreno is a French Artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno’s work redefined the exhibition experience by taking it as a medium, placing its construction at the heart of his process.
Parreno has exhibited extensively and has work in major institutions worldwide. His presentation at Cahiers d’Art inaugurates a year of major exhibitions and projects, including solo presentations at the Leeum Museum in Seoul, the Haus der Kunst in Munich, and an important project at the Fondation Beyeler in Basel.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Ed. 7/10, 4AP, 3HC

Ed. 6/10, 4AP, 3HC

Soyoung Seo is an artist who converts figurative components into abstract images. She recently worked in several fields, including graphics, painting, and design, and combining illustration with NFT works. She develops her work in the form of collages, pursuing the unique atmosphere formed by the collision of unrelated places and objects, and is fascinated by humans' raw and unrefined emotions. Since she describes her work as a series of daydreams and investigations, she allows the audience to join the beautiful and unstable realm of dreams and unconsciousness that we lose as we grow older, providing a vibrant world of inner sensations.

Gon Jeong depicts diverse forms of love through his paintings He is currently working in Seoul and gets inspiration from people's conversations and emotions. It is believed that it is completed through the process of being comforted and empathized in everyday human relationships, and the artist intends to convey a message of consolation to visitors through love-themed works.  

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

Annette Hur (b. 1984-) explores the unconscious manipulation and subversion of female sexuality within culture through her large-scale oil paintings and abstraction of Korean silk fabric. The artist gained attention in the art world after being invited to the 'KingWoman' special exhibition at the Urban Zen Center by Donna Karan in New York in March 2019. The exhibition, commemorating International Women's Day, aimed to raise awareness of the importance of women, and Heo's works drew attention by reflecting her experiences and emotions in her pieces. She focused on expressing her experiences of patriarchal environments, domestic violence, depression, and efforts to overcome them through her art. The excessively abstracted forms mimic the body, organs, and surface wounds, creating tension around everyday violence in the surroundings. While the overall imagery is abstract, she narrates stories of bodily experiences exposed to unsafe environments such as fingers, wounds, and vomiting within her works. Choosing a method of expression that transforms vulnerability into strength and acceptance into resistance, Heo continues her active artistic endeavors with numerous solo exhibitions.

An artist working in Seoul, South Korea. Studied painting and art history at Ewha Womans University and graduated the Graduate school with a master’s and Ph.D. degree as well. Solo exhibitions include ‘Manifesting Blacks 發玄’ (Seongnam Cube Art Museum, 2019), ‘Fire & Waves’ (Cheongju Art Studio, 2020), and ‘Esquisse Symphony’ (Sahng-up Gallery, 2022).” Selected for Arts Council Korea’s The First Application in the Life of an Young Artist (2023) and named ONSO ARTIST by Hyundai-CMK Foundations (2022), Artist-in-residence for the 14th term at the Cheongju Art Studio (2020). Recipient of the Outstanding Thesis Award twice for master’s thesis and doctoral dissertation on own artworks.

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