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.

OBJECTHOOD

Still Table

THEO

Summer Drop

accompany

K250723

Behind a  trellis full of blooming flowers a peeping face appears, with two blue eyes, and, two braids hang on the other side of the wooden trellis. seeking connection, but also shy, the girl is looking at the viewer as if seeking recognition. The flower hides her face, no need to see her, she wants to see and not be seen, but her braids tell a different story about her playfulness. like a climbing plant she wants to reach beyond and look for a human connection. 

Artemin Gallery

Soft Spot

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.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

untitled

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. The air spray and physical brushstrokes of the monsters in his works aggrandize their expressions and visualize the tension between the suppression and release of emotions. For Yun, the monsters embody the suppression of emotions and function as a medium to project the viewer's memories and emotions. Going beyond language, the artist focuses on non-verbal communication such as facial expressions and gestures. The clothes worn by the monsters actively reflect the artist's taste as demonstrated by the various hats. These devices conceal their faces while reinforcing their presence—condensing mechanisms of modern culture.


ROY GALLERY

I'm Crazy, at Sunset

Jack Kabangu (b.1996, Zambia) 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.

Dark face painting (Untitled water boy)

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)

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. 

Artue - Korea

Equilibrium Mono Black

Zelalem Merga, an Addis Ababa–based artist, transforms discarded materials into evocative portraits that explore the complexities of contemporary life. His practice reimagines the value of everyday objects, urging us to reflect on consumption, renewal, and the resilience of human creativity. Through this dialogue between nature and society, Zelalem’s work captures both the unease and the beauty of our times.

I know Love

오토니엘에게 꽃은 자연의 경이로움을 넘어 살아있음을 일깨우는 매개체입니다. 꽃의 의미와 상징을 반영해 세상을 새롭게 바라보는 통로로 삼는 그의 작업은 많은 이들의 공감과 사랑을 받아 왔습니다. 아투에서 만나는 “더 문 로즈(The Moon Rose)”는 2019년, 파리 루브르박물관이 영구 소장을 결정한 그의 회화 연작 〈루브르의 장미〉를 모티브로 해 그 의미를 더합니다. 순수하고 영원한 사랑, 그 꽃말처럼 자신의 정열을 만개하는 장미는 보름달 모양 거울에 담겨 서정적인 분위기를 자아냅니다.

For Jean-Michel Othoniel, flowers are not just natural wonders but also mediums awakening the essence of life. His work, which reflects the meanings and symbols of flowers, offers a fresh perspective on the world and has garnered widespread empathy and love. "The Moon Rose" at Artue is inspired by his series "La Rose du Louvre," a collection permanently housed at the Louvre Museum since 2019, adding depth to its significance. It captures the essence of pure and eternal love, symbolized by the rose in full bloom, set against the backdrop of a full-moon-shaped mirror, creating a poetic harmony.

The Moon Rose

Framing: Prints can be ordered float-mounted in oak-painted wood.

The Orbit of a Red Comet

Yodo Gallery was established in 1960 by Yasuko Kotani, who had been a managing director of Osaka Formes Gallery which introduced Fauvism, Ecole de Paris and Surrealist European artists to Japan. She contributed to the development of local and international art scenes in Osaka after the war, especially by having first solo exhibitions by Joan Miro and Andres Derain in Osaka.

YOD Gallery was established in 2008 as a contemporary art gallery branch of Yodo Gallery, with a mission to present a new sense of value and expression to and from Japan. It has been supporting local art scenes and emerging artists working with new media, including video, photography, and installation.

In 2020, a new branch of the gallery, YOD Editions, was established. Focusing on cutting-edge young artists, street art and edition works, it promotes art mainly through digital platforms and elevates accessibility and inclusivity of art.

YOD TOKYO opened in Omotesando in 2022 as the Tokyo branch of YOD Editions. Besides holding curated exhibitions, we also develop apparel POP-UPs based on the concept of fusion of art and fashion. 

In 2024,  YOD Gallery opened its new space at TERRADA ART COMPLEX, Tennozu, Tokyo. YOD Gallery (Tokyo) will continue the spirit of YOD Gallery, which has been active for 16 years, by reviewing the ‘now’ while taking into account the history of art, and presenting exhibitions that find artists and works with a unique artistic vision, from the traditional to the experimental.


YOD Gallery

Production No.67

Accompany introduces active artists and their works at domestic and abroad through various exhibitions and projects. It aims at presenting a new perspective on contemporary art and a space where you can grow with competent young artists. Also, we would like to help customers who want to enjoy culture and arts permeate their daily lives.
We’re running Space O'rm, a complex cultural space in Seogwipo, Jeju, and a gallery in Haeundae, Busan.

Untitled

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.

Mobile

flexible window blinds, (right) Seocheon, Seoul

Dain Lim captures the feeling of rest through sensory experiences in peaceful spaces, focusing on her "Window" series.

"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.


JAVA

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.

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. 

Born in Ukraine in 1993, Katia Lifshin lives and works in Tel Aviv, Israel. She studied art at Pima College in Tucson, Arizona, before continuing her practice independently, gradually shaping a distinctive visual language.

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.

Born in Hanover in 1964, Baumgarten studied at the “Staatliche Akademie der Bildenden Künste Karlsruhe” and the “École Nationale Supérieure des Beaux-Arts de Paris”, later receiving his MFA from Tokyo University of the Arts in 1999. Since 2008, he has served as professor in the Department of Painting at Hongik University, establishing his practice in Seoul. His sustained artistic concern has been the hybridity of architecture and lived experience within urban neighborhoods. When he first visited Seoul in 1993, the dense vistas of red-brick and concrete houses climbing the hillsides struck him as at once unfamiliar and compelling. He has since focused on the hybrid landscapes born of the encounter between Western architectural order and Korean sensibilities of habitation, articulating them through his visual idiom.

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. His “monsters” embody human repression and mirrors the viewer’s memories and psychological states through anguished or vacant gazes. 

Yun’s first solo exhibition was with ROY GALLERY (2025). He has further participated in group exhibitions at Lotte Gallery (2024) alongside famed contemporary artists in Mr. Doodle and Travis Fish. He has also exhibited actively at Postedit Gallery (2025), Space Fountain (2023). He continues to garner international attention through shows at Monat Gallery (Spain, 2023), Vinyl on Vinyl Gallery (Philippines, 2025) and Verygood Gallery (Philippines, 2025).


HUH, HU?, Solo Exhibition, ROY GALLERY, Seoul, South Korea


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.

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. 6/10, 4AP, 3HC

Ed. 7/10, 4AP, 3HC

Zelalem Merga, a visionary artist hailing from Addis Ababa, Ethiopia, is known for his profound connection to emotions and the natural world. Born in 1989, he earned his BFA from Addis Ababa University Alle School of Fine Arts and Design (Graphics Department) in 2013, and currently resides in the vibrant Ethiopian capital.
Driven by passion and an unwavering commitment to innovation, Zelalem transforms discarded materials into mesmerizing works of art. His creative process is fueled by an innate desire to elevate the ordinary, encouraging viewers to reconsider the value of everyday objects and contemplate their own consumption habits.
In Zelalem's artwork, there is an underlying sense of disquiet, reflecting the complexities of the modern world in which we live. Through his masterful use of recycled materials, he constructs captivating portraits that challenge the status quo and leave a lasting impression on the art world. Each piece is a testament to the transformative power of art and the potential for renewal within ourselves and the world around us.
Zelalem Merga's work is not only an ode to the beauty and splendor of nature but also a celebration of human creativity and resilience. As an artist who truly embodies the essence of Artue's brand, we are honored to showcase his remarkable talent and share his unique perspective with our community of art enthusiasts.

장 미셸 오토니엘은 프랑스를 대표하는 현대미술가로서, 그의 예술 작품은 주로 설치미술, 사진, 조각 등 여러 매체를 통해 표현된다. 삶에서 이뤄지는 다양한 만남과 문화에서 끊임없는 영감을 받는 그는 80년대 후반부터 이를 자신의 개인적 경험과 결합해 왔다. 특히 주재료 유리를 이용한 독특한 작업 방식으로 유명한데, 다채로운 색상과 크기, 투명성, 반짝임 등을 활용해 인간 존재와 관념, 삶의 의미를 다룬다. 영롱한 그의 유리구슬은 수공 과정에서 생긴 일부 흠집들과 공존하며 깨지기 쉬운 유리의 본래 속성을 동시에 연상시킨다. 오토니엘은 이를 인간 삶과 연결해 현재를 살아가는 모든 이들이 상처와 고통을 극복하고 세상과 마주할 수 있는 희망을 전한다.

오토니엘은 1992년 제9회 카셀 도큐멘타 초대작가로 주목받았으며, 2000년 파리 지하철역 개통 100주년 기념 프로젝트로 세계적 명성을 얻었다. 최근인 2019년 루브르(Louvre)의 요청으로 작업한 회화 작업이 미술관에 영구 소장 되었고, 올해 문화 발전의 공로를 인정받아 프랑스 최고 영예인 레지옹 도뇌르 훈장을 수상했다. 한편 그의 작품은 미국 뉴욕 MoMA, 뉴욕 브루클린 미술관, 파리 퐁피두 센터, 파리시립 현대미술관, 까르띠에 현대미술재단, 이탈리아 베니스 페기 구겐하임 컬렉션, 서울 삼성미술관 리움 등에 소장되어 있다. 

Jean-Michel Othoniel, a prominent contemporary French artist, is renowned for his works spanning various mediums including installation, photography, and sculpture. Drawing continuous inspiration from diverse encounters and cultural experiences since the late 1980s, he blends these influences with his personal experiences. Othoniel is particularly acclaimed for his unique approach using glass as his primary material, employing a spectrum of colors, sizes, transparency, and shimmer to explore themes of human existence, concepts, and the essence of life. His luminous glass beads, coexisting with imperfections from the handcrafting process, reflect the fragile nature of glass, symbolizing hope for all to overcome life's challenges and pain.

Othoniel gained international recognition as an invited artist at the 9th Documenta in Kassel in 1992 and furthered his reputation with a major project commemorating the centenary of the Paris Metro in 2000. His recent achievements include permanent inclusion of his painting series by the Louvre in 2019 and receiving France's highest honor, the Légion d’honneur, for his contribution to cultural development. His works are housed in numerous renowned collections such as the Centre Pompidou, Fondation Cartier pour l'Art Contemporain, and the Louvre Museum Paris; Museum of Modern Art and New York Public Library, New York; Boghossian Foundation, Brussels; Leeum Samsung Museum of Art, Seoul; Budi Tek-Yuz Museum, Shanghai; and the Peggy Guggenheim Collection, Venice.

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

1~80

based in Chiba. The theme of the complex emotions and instability of young people is expressed through their hesitation and frustration as their humanity. Kimura believes that emotions, which can be seen as negative, sometimes cause people pain, but at the same time give them a sense of being alive. LOST BOYS, one of his best-known works, depicts just such moments.

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.

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