Changyeol Gu translates the sensorial language of plants—acquired through growing up near lush fields and overgrown meadows—into a painterly language of his own. Observing how natural forms continually shift their appearance through colour and shape, the artist identifies mechanisms of seduction devised for reproduction and systems of protection evolved for survival. These elements are perceived not merely as formal characteristics of nature, but as autonomous languages in themselves.

By radically enlarging or intensifying the structures through which plants communicate and endure—such as the arrangement of pistils and stamens, the colours and scents that attract pollinators, and the thorns and hairs evolved for defence—the artist summons onto the canvas the distinctive wonder of what he terms “speaking plants.”

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

Gathering toward dispersal

Some landscapes touch the body before they are understood. Standing before Seonghwa Hong’s paintings is like stepping into the stillness of a hushed dawn.
As Merleau-Ponty suggested, seeing is not a mere act of analysis but a way of being intertwined with the world. Figures adopt the pulse of plants as their breath and the patterns of leaves as their skin. By emptying the self rather than imposing artificial definitions onto the raw linen, Hong allows her subjects to enter the space on their own terms. Through the patient accumulation of layered color, the canvas gradually reaches a density that lifts itself toward a moment of quiet liberation.
Here, time suspends its horizontal flow and sinks into depth. Moving beyond artificial definitions, this exhibition becomes a serene first breath—inviting us to sense the true texture of existence, momentarily freed from the frantic pace of the world.


| Elevate Artists to the Center of Culture |
Since its opening in 2019, Gallery Collast has consistently presented a diverse and unique range of solo and curated exhibitions. The name "Collast" is a meaningful fusion of "Collaboration" and "Artist," reflecting our commitment to creating creative works that spark a new wave in contemporary art through deep partnership with artists.

Located in the vibrant and youthful district of Seongsu-dong, Seoul, we aim to introduce contemporary art to a broader public. Our mission is to facilitate multifaceted communication between artists and collectors, contributing to a virtuous cycle within the art market. Moving beyond the traditional "white cube" gallery format, we pursue a new gallery identity that rawly captures the artist's passion and energy.

As an open space for everyone, we prioritize interactive exhibitions over one-way displays and actively support bold, adventurous artistic endeavors. We respect the diverse currents of contemporary art and believe that natural dialogue and an intimate atmosphere between artists and visitors can dismantle the barriers to the art world.

Gallery Collast seeks new dimensions in contemporary art, moving forward with the conviction that freedom is the ultimate driver of innovation.

COLLAST

Serenity 38

Buwon develops paintings and art toys rooted in his long-standing interest in toys and street culture, centering on a rabbit character modeled after himself. Behind its charming appearance, the character embodies emotions from growth and uncertainty to humor and cynicism, reflecting the artist’s personal narratives. Moving fluidly between digital and analog, 2D and 3D, he continues to expand his distinctive artistic universe through global brand collaborations and international exhibitions.

Gallery STAN is a contemporary art gallery based in Seoul, dedicated to presenting bold and thought-provoking works by emerging and established artists from Korea and beyond. Founded with a vision to serve as a dynamic platform for experimental narratives and cultural dialogues, the gallery is committed to fostering artistic practices that engage with the complexities of our time.

Through solo and group exhibitions, public programs, and interdisciplinary collaborations, Gallery STAN seeks to blur the boundaries between visual art, performance, design, and new media. The gallery places a strong emphasis on curatorial experimentation and social relevance, offering both local and international audiences a space to encounter new ideas and perspectives.

As an active player in the global art ecosystem, Gallery STAN also participates in major art fairs and collaborates with institutions, collectors, and curators to support the long-term growth of its artists. At the heart of its mission lies a belief in art’s ability to question, connect, and transform.

Gallery STAN

Testosterone 02

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. The “stability derived from uncertainty” mentioned by artist Kim Joo-hyun 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.

Pageroom8 aims for an organic and infinite relationship between exhibitions and books. With the opening of a space in March 2021, special exhibitions are being held in earnest. The exhibition is largely composed of several series projects and special exhibitions, efficiently and intensively introducing the works of emerging and established artists.

PAGEROOM8

Red Depth

GALLERY IN, located in Yeonhui-dong, Seodaemun-gu, is a space dedicated to making Contemporary Art easily accessible and friendly to the public. We aim to introduce artists, both domestic and international, fostering communication with art lovers through various exhibitions. GALLERY IN annually showcases an exhibition featuring Japanese craft artists. We have plans to create various projects beyond crafts in the future.

GALLERY IN

Still Life on the Table-Cherry Cake

This work was composed while imagining a group of forms—possibly plants or animals—ascending a steep terrain. It emerged from a chain of reflections on the meanings embedded in the act of “climbing.”

While considering how one might endure the longest on sharply inclined ground, the artist arrived at the idea of ascent, ultimately realizing that all such methods are ways of efficiently resisting gravity. This line of thought naturally extends to a meditation on “standing,” connecting the work conceptually with the accompanying piece, ‘둥글납작하게 서 있는’.

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.

오르는 모습들 Ascending Forms

The forms depicted by artist Bac Jung-won seem to transcend mere observation, as if they were penetrating and dissolving into their very existence. It is as if one tunes into their self-awareness, accepting the sensation of time. Though oil paintings, the toned-down colors and watercolor-like silhouettes, rendered with relatively high saturation and transparency, are positioned precisely where needed. They make us see the actual, moistly water-laden forest, the grapevine, and the waves crashing in the deep night. The artist's subjects are somewhat distant from those we associate with linear life cycles. Perhaps the simultaneous coexistence of transience and eternity felt within them represents a twisted sense of time—one that embraces even the clumsy death that no one can truly know unless experienced.

A Rainforest

“Translation does not repeat the original; it expands its possibilities.” by Walter Benjamin
This statement by Walter Benjamin describes precisely how Hwang Hyeyoung’s Nana’s Wonderland operates. Borrowing the structural framework of Alice in Wonderland, the artist brings it into her own pictorial universe, opening new imaginative possibilities.
At the center of the exhibition, the fairytale book and the paintings mirror one another, forming a “living story” that the viewer enters rather than reads page by page. Nana’s Wonderland is not a simple variation on a narrative; it is a process in which text and image build a world together. Nana’s journey becomes the first scene through which the artist reveals how her artistic world expands and reconstructs itself.

ALICES

The Light of Space Race series illuminates the individual within the historical current of the Space Race between the United States and the Soviet Union. Initiated in the name of humanity’s great leap forward, the series explores the duality of light and shadow inherent in advanced technologies—achievements that were ultimately driven by political and military ambitions

Hippie Hannam is a gallery that moves beyond prevailing trends, working alongside artists who engage with the world through their own distinct sensibilities to create new and meaningful experiences. By revisiting familiar scenes and approaching them from alternative perspectives, the gallery explores the diverse possibilities of contemporary art.

Hippie Hannam seeks to foster an environment where artists and audiences meet organically, and where art becomes part of everyday perception. Through these encounters, the gallery aims to offer an open platform in which contemporary art can be experienced with ease, allowing each visitor to engage and reflect at their own pace.

Hippie Hannam Gallery

Light of space race 4

Through Lines of Sight, SPACE776 Seoul poses a question central to contemporary art: not simply what is depicted, but under what conditions one looks. Situated at the intersection of the visual history shaped by the modern invention of the automobile and contemporary painterly sensibilities, the exhibition quietly reveals the flows and rhythms that emerge as disparate lines of sight overlap within a shared space.

Space776 exhibits early to mid-career artists who work in a variety of mediums ranging from live multimedia performance art to traditional oil painting. The gallery accommodates artists from around the globe, taking their works to local and international art fairs such as Volta New York, Volta Basel, Art Miami, Palm Beach Modern + Contemporary, and Art Busan. 
Space776 was founded in Bushwick, Brooklyn in 2013. In 2020, the gallery relocated to its current residence at 37-39 Clinton Street on the Lower East Side of Manhattan. Space776 also opened a location in Seoul, South Korea in 2020 in accordance with the gallery’s mission to promote the international exchange between local New York artists and the Korean artistic sphere. 

Space776

어떤 도시조각

“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.

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

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)

 2CHOEY builds his work on curiosity, questioning, and neutrality. His name derives from the Thai word “เฉย,” meaning a state free of bias. His signature “finger-faced” characters embody emotional neutrality, allowing viewers to interpret the narrative openly. Balancing precision with spontaneity, clean coloring with deliberately imperfect lines, he creates a harmony of structure and freedom. His evolving techniques mirror his continual questioning, which remains the constant foundation of his artistic identity.

2CHOEY สร้างสรรค์ผลงานบนพื้นฐานของความอยากรู้อยากเห็น การตั้งคำถาม และความเป็นกลาง ชื่อของเขามาจากคำภาษาไทยว่า “เฉย” ซึ่งหมายถึงสภาวะที่ปราศจากอคติ ตัวละครเอกลักษณ์อย่าง “ใบหน้ารูปนิ้ว” สะท้อนภาวะอารมณ์ที่เป็นกลาง เปิดพื้นที่ให้ผู้ชมตีความเรื่องราวได้อย่างอิสระ ด้วยการสร้างสมดุลระหว่างความแม่นยำและความฉับไว การลงสีที่สะอาดควบคู่กับเส้นที่ตั้งใจให้ไม่สมบูรณ์—เขาก่อให้เกิดความกลมกลืนระหว่างโครงสร้างและอิสรภาพ เทคนิคที่พัฒนาไปอย่างต่อเนื่องของเขาสะท้อนการตั้งคำถามไม่รู้จบ ซึ่งยังคงเป็นรากฐานสำคัญของอัตลักษณ์ทางศิลปะของเขา

Birds On In A Cage

Some say
that in a mirror you see your face,
and in a work of art you see your soul.
But what does a mirror within a painting see?

A man removing his gloves,
before a mirror,
feeling the abyss within himself.

Artemin is a human gene located on the human chromosome 1 (1p34.1), so called as ART. Its main function is related to the development of neuroblast and the peripheral nervous system.

Artemin Gallery was founded in 2020, and our name was inspired by the gene, aims to have a keen and rapid perception of art, similar to the transmission of nerves. We committed to discovering the connection between art and everyday life, searching for potential artists, and exploring the infinite possibilities of contemporary art.

Artemin Gallery

Gloves

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

Portrait of dazzle #262

"Landing," one of Lee Jungwoong's latest works, depicts an octopus adhered to a painter's box. In this exhibition, it proposes a different perspective with its abstract yet realistic composition. The artwork dramatically showcases a painterly expression, blending realism with a touch of theatricality.

Obscura is a Seoul-based art gallery that first founded in 2015, then as SPACE IKKI, located in Seoungbuk-dong area. The name of the gallery derives from the Latin phrase camera obscura, meaning “dark room,” which refers to the first optical device used as a painting-aid, whereby an image is projected through a hole onto its opposite wall in a darkened room. 
​Obscura aims to make contemporary art accessible to a wide range of audience and provide various artistic and cultural contexts for interdisciplinary efforts, by emphasizing performative elements of curatorial practice and exhibition making. With keen eyes on sophisticated work by artists with solid and idiosyncratic practice, Obscura has been supporting and promoting contemporary artists in the fields of painting, installation, photography and new media.

Obscura

Landing

If an essence is obscure, it is rather more interesting to capture this ambiguity than to actually determine its quality. The genuine fun in this act becomes a device for escape from the loneliness of the work. I utilize the spectacle of eccentricity that exists between the fissures of signs and amplify the unfamiliarity by inserting trivial stories–constantly disrupting them. I capture the moment of slippage as the meaning of a sign slips and slides without settling, and I shake it so that it does concretize completely. The entanglement in my narrative is an attempt to connect “me, things, materials, and the world” through a different reading of the subtle emotions that emerge from the collision. In the cracks that appear amidst the perfect seven rainbow bands, I fear the results of revelation but aim to discover a new balance amongst the endless cracks and unfamiliar sensations.


Launched in 2022, ROY GALLERY currently operates four total exhibitions spaces located in the Apgujeong and Cheongdam neighborhoods of Seoul. Soon to open a new project space across from Dosan Park, the gallery seeks to solidify its position in the art world with an expansionistic and progressive mindset.  
ROY GALLERY actively engages with domestic and international artists through extensive research and exchange and embraces experimental genres through curatorial emphasis on creative exhibitions for collectors. As a new gallery, we develop programs that respectfully examine the core intrinsic values of artists and their works. By underscoring distinct and diverse projects, the gallery explores ways to appreciate art and creativity from its own unique perspective.

ROY GALLERY

Taobmaets

Rooted in the principles of Eastern painting, Hong Seonghwa expresses the rhythm of emotion through line and void. Her controlled strokes carry inner vibration, and the spread of ink leaves traces of time and sentiment. By blending traditional technique with modern composition, she visualizes the breathing and movement of feeling. Her work resonates like a silent rhythm, inviting viewers to look inward and sense their own emotional echoes.


Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

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.


Hyewon Na is a painter born in Gwangju, South Korea. Her work explores conflicting yet coexisting emotional states, such as anxiety, violence, imperfection, sacrifice, love, and beauty. Through her art, she reflects on human vulnerability and the tension between finitude and eternity. Her work is a study of how to aesthetically represent these human contradictions. Much of her inspiration comes from history, society, religion, and more.
She earned her Diplom from the Hochschule für Bildende Künste Dresden (under Professor Martin Honert) in Germany, and has participated in numerous solo and group exhibitions in South Korea, Berlin, Dresden, Paris, and other cities. She currently resides and works in Berlin, Germany.

Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Hwang Hyeyoung develops her practice around the central figure of the “girl.” In her work, the girl is a symbolic being who transcends specific gender and age.
Through this figure, Hwang reflects her own fragility, immaturity, and honesty, unfolding stories that resonate with her personal journey of growth. She expresses deep empathy for those experiencing the turbulent waves of adolescence, portraying the moments of growth encountered over time by both the girl in her paintings and the artist herself in reality. The forest in which the girl resides symbolizes the trials of adolescence; the expression of diverse emotions, the courage to confront threats and anxieties, and the adventurous spirit to explore new challenges and unknown worlds are all depicted as integral parts of the process of growing up.

ROKKANKIM is a South Korea–based artist who presents works across a range of genres, primarily producing media works through collage and video compositing techniques.

Drawing inspiration from the social and cultural phenomena of the 1960s and 1970s, the artist combines these references with personal experiences to create surreal visual narratives. ROKKANKIM is particularly interested in duality—the coexistence of opposing qualities such as good and evil, positivity and negativity. His work invites viewers to experience each piece in their own way, much like how a single event or phenomenon can be interpreted differently depending on individual perspective.

His representative series include Space Oddity, which explores the dual nature of astronauts’ lives alongside the beauty and fear of outer space, and Sea the Wall, which examines the layered and often conflicting relationships between the sea, architecture, and humanity.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

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. 6/10, 4AP, 3HC

Ed. 7/10, 4AP, 3HC

YuChun Chen (b.1980, Changhua, Taiwan), now living in Tamsui. She received her M.F.A. from the Graduate School of Fine Arts, Fo Guang University. Her works are mainly oil paintings and film photography. She focused on themes of past memories, dreams and the continuity of time, traveling through the atmosphere of both the real and the imaginary.

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.

Jeongwoong Lee(b.1982) who constructs a fantasy narrative with obscure multilayered symbols and conducts realistic painting works, graduated from the School of Arts at Sungkyunkwan University, with a B.F.A. Main exhibitions include Close Encounters (CHAMBER 1965, Seoul), Notwithstanding (Obscura, Seoul), Moscow/Seoul Common Idea (Museum of Moscow, Moscow, 2021), P hung a picture (D/P, Seoul, 2021), Shaack (Obscura Gallery, Seoul, 2021), Laputa, The Fall (Pontone Gallery, London, 2018), Laputa (Shineartists Gallery, London, 2015), Young Korean Painters (Shineartists Gallery, London, 2014), Dream Awakening (Gallery 16th, Seoul, 2012), Two-Windows vol.2 (Gallery Hyundai, Seoul, 2010), Window Gallery (Gallery Hyundai, Seoul, 2009), Reverie (Art Space Hue, Seoul, 2009), among others. Lee has also participated in numerous international art fairs, such as HK Art Fair in Hong Kong, Art Stage Singapore, London Art Fair, The Preview in Seoul, and Daegu Art.

Stripping away the symbols that we indifferently encounter daily, Kim depicts the unreadable shapes on canvas. The artist’s refusal of readily accepted norms of social symbols feels both lighthearted and romanticized in her art.

Rainbow Bands with Marching Signs, Gyul.E Kim Solo Exhibition, ROY GALLERY Apgujeong

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