Pierre Paulin’s “Alpha” furniture series was first designed in 1970 for President Georges Pompidou’s private apartment in the Élysée Palace in Paris. Earning its name from the original manufacturing company that produced the model, the present lot represents a turning point in French design aesthetics. New technological innovations, including polyurethane foam, allowed Paulin to create forms which were more organic and sculpted. His resulting furniture invited relaxation. The present lot’s cream-colored curves and contours with soft fabric upholstery lure individuals to peacefully recline. Together, the sofa and armchairs constitute a complete living room suite. The present lot is a fantastic opportunity to acquire a contemporary edition of these iconic designs.

Pierre Paulin is a French architect and furniture designer who was active in the late 20th century. His designs are characterized by their curved, flexible, and innovative features, and he is often hailed as an icon of 20th-century design alongside Brutalism.

Paulin, Paulin, Paulin® is a family-owned brand established in 1927 by Pierre Paulin, renowned for its exceptional quality. Through their unique designs, they innovate spaces and stimulate the visual senses of observers. Their works primarily emphasize material selection and design finesse, offering aesthetics that transcend time, representing a significant brand in France's design heritage.

Paulin Paulin Paulin

Alpha Club Chair

The Alpha Sofa is a graceful blend of form and function and radiates magnetic allure like no other. Its stunning and meticulous design includes cushy channels and charming curves that never disappoint. Let yourself be enveloped in warmth and softness, akin to a comforting hug. 

Alpha Sofa

Pearl Lam is a driving force within Asia’s contemporary art scene. Founded in 2005, the gallery plays a vital role in stimulating international dialogue and cross-cultural exchange between the East and West.

Following a rigorous programme, Pearl Lam presents museum-quality exhibitions that re-evaluate and challenge perceptions of cultural practice in Asia. With a thoughtfully balanced roster of Chinese and international artists, the gallery is strategic in its curation, positioning itself as an educator.

The gallery maintains spaces in Hong Kong and Shanghai. With a team of international staff, Pearl Lam’s reach is global, having presentations at major international art fairs including Art Cologne, Art Basel Hong Kong, Frieze Masters, and West Bund Art and Design.

Pearl Lam

Pattern 8

Winter Still Life

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

SEOJUNG ART is an art gallery that strives to engage with the public as an institution dedicated to exploring new cultural and artistic possibilities, with a focus on contemporary art. Established in 2015, SEOJUNG ART has played a pivotal role in recognizing and fostering emerging talent both locally and on the international stage. Following its success, the gallery has further expanded, opening branches in Seoul and Busan.

SEOJUNG ART astutely identifies trends in both domestic and international art culture and markets, aiming to propel artists onto the global stage. As part of its mission to foster dialogue with art professionals, the gallery has showcased emerging talents at numerous international art fairs in cities such as Paris, Miami, and Tokyo. Additionally, the gallery is forging connections on the international scene by presenting solo exhibitions featuring artists, like Rusudan Khizanishvili and Guy Yanai, who have not previously been showcased in Asia, especially Korea.

SEOJUNG ART aspires toward sustainability in our timely quest to find aesthetic methods and actionable plans for art, with an emphasis on its public nature. Its ongoing interest spans not just the realm of art but also broader societal issues that are emerging as long-term challenges, which allows it to deliberate on the sustained influence of artistic practices. By offering a new perspective, the gallery is in pursuit of ways for art to gain a footing as a universal value, moving beyond domestic activities and towards global interaction that benefits society as a whole.

In addition to hosting exhibitions, SEOJUNG ART offers educational programs, including art theory lectures and seminars to provide more comprehensive and profound understanding of art. Through persistent and thoughtful efforts to lower the barriers to art and widen its accessibility for the broader public, the gallery seeks to foster a fresh realm of communication, encouraging ongoing dialogue within the community.

In its endeavors, SEOJUNG ART emphasizes enriching the aesthetic value in everyday life and strive to cultivate a progressive international art and culture network. By promoting the artistic integrity and value of creators, it is committed to playing a central role in the advancement of the Korean art scene. With a foundation in artist sponsorship, nurturing, and discovery, it breathes vitality into the art world. As an institution always in pursuit of innovation, SEOJUNG ART continues to exert a lasting influence.

SEOJUNG ART

Institutional Performance, V&A

Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

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

虎上 One upper

Nicolas Krupp Contemporary Art was founded in autumn 2000 and is based in Basel, Switzerland on the edge of the Messeplatz towards Badischer Bahnhof, within very short walking distance of the main entrance of the Art Basel.
The program focuses on international contemporary artists. The gallery shows works in a variety of media including painting, drawing, sculpture, objects, photography, video art, performance and works in new media (computer).
Thanks to the large room height and the 200 m² area, the gallery space provides an ideal surrounding for the presentation of installations and conceptual art works. Besides it’s exhibitions the gallery is also producing multiples with emerging artists.
The gallery shows about 6 solo and group exhibitions annually and participates in 1 – 2 international art fairs.

Nicolas Krupp

Untitled

아투(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

Red 

chooses urban life and surrounding people as subjects for her paintings, portraying what she sees: sceneries of city landscapes in middle of development, self-portraits with her clothes pulled up to the shoulders at the center of desolate construction site and streetlights brightening the darkness of way home from work or gathered people around dinner tables. Like such, the artist has been focusing on disappearing sceneries or unnoticed individuals who are living their lives somewhere. From this aspect, Leeje could be categorized as Post-Minjung artist. She, however, prioritized the attitude of aesthetic while seeking her subjects through affectionate gaze and conveying them in her works, rather than giving a harsh critique. Thus, Leeje tries to build a relationship with the world by exploring the possibility of paintings that can depict memories, emotions, solidarity, and friendship.

A-L, located at Jongno-Gu, Seoul, suggests wide spectrum of contemporary art-world, via exhibitions and projects which enables our clients to understand current trends of contemporary art. Our gallery strives to, not only discover talented and promising artists but also aid them to be active world-wide. We are currently focusing on various foreign art fairs, hoping that in near future, we could establish diverse channels for our artists to go abroad. By inducing our artists’ productive activities, we would like to provide opportunities for Korean art-lovers to communicate closely.

Future memory

For me, water is a subject that expresses a vague sadness just by its existence. It is cold, transparent, and like tears, it slips out of your hand and flows downward when you try to hold it. If I primarily used the sea to talk about deep and rippling emotions, the aquarium, in contrast, is calm, with its depth fully visible and water still inside. What did I want to convey through this? Perhaps the only certainty is that I felt a strong attraction to the small glass box filled with water. In this small glass box, only the floor, plants, and water exist, with occasional rocks or driftwood. The background visible in the back is endlessly dark, and from above, artificial light shines down, making the objects inside the box appear as if they're glowing by themselves. No animals exist within, but that very fact makes this small glass box seem like it is painting a kind of utopia. However, when you look at the landscape placed in the middle, reflected infinitely by the double-sided glass, and follow the point where the two sides meet with your eyes, you realize that it is not some sort of utopia but merely a glass box.

Garden

“Route-crash” is one of the 2021 projects that re-presents a painting done in a previous stage as a surface, form, or object. While excluding the physical use of the medium, only visual elements such as shadows, light and shade, color combinations, and outlines remain, it creates an illusion among spaces. As the canvas’ physical properties and events are once more flattened, packaged, carved, and transferred by pigments, the visions become more vibrant. These visual elements interact, and his art brings the audience’s eyes to a world with greater clarity. 

Route-crash

"The Artist..." by Zelalem Merga is a striking mixed media self-portrait that showcases the artist's exceptional talent and Artue's dedication to celebrating remarkable art. Painted in yellow tones, the artwork features an article paper attached to the top left corner of the canvas, adding a unique texture and visual interest. A naked woman lying in front of the artist, who is none other than his wife, adds an intimate and personal touch to the painting. With its captivating colors, textures, and subject matter, "The Artist..." is a testament to Zelalem Merga's remarkable artistic vision and technical prowess.

The Artist...

By digitizing or systematizing items or spaces, such as clocks, calendars, drawers, and color tables, Jiyoung Yoo brings objects that give structure to rational perception and buttress the framework of our daily lives into her creative practice. The originally intended structure and function of these objects are partially lost. Through the artist's intervention, their purpose and uses are naturally replaced with something else, leaving only the bare minimum physical form.

KICHE aims to present the works of both Korean and international contemporary artists, building an
alternative platform for communication, cooperation, and partnership within and outside the art scene.
The gallery seeks to experiment its mid-long term vision by closely collaborating with art experts and
institutions, establishing itself as a creative, engaging gallery space. With such approach, KICHE
continues to play a role in deepening the artist’s unique practice; as well as, expanding the extent of
opportunities and exposures.

KICHE

8:00 AM

“The Tourist – Image Architect series”, which started in 2020 and has lasted into 2021, expose the place he observed on the canvas by transforming the daily photographs taken into abstract paintings. On the canvas, the instant images that have been composed add the texture and time of the accumulated paint to form a new space. The artist used a picture collage to cover and erase the space by adding color and geometric shapes on an empty area, leaving behind the place where he was simultaneously gazing.  Matière and its texture, which are thickly applied on black and white images, conceal and disclose parts of a certain space beyond the artist’s painting attempts, thus stacking the artist’s sense of space in memory and the duration of the process. 

Orchids and Haze

The four leaves left by the shadow

Enigmatic Repose: The Mystique of a Woman Seated

Pierre Paulin, born in 1927, originally trained as a sculptor but shifted to design after injuring his right arm. His iconic designs for Artifort in the 1960s, including the Mushroom Chair and Ribbon Chair, showcased his innovative use of materials and clean lines. Influenced by German design principles and early modernists like George Nelson and Charles Eames, Paulin also emphasized the social aspect of modern design. His work adorned prestigious spaces like the Élysée Palace and the Louvre Museum's Denon Wing. Posthumously awarded the title of "Royal Designer for Industry," his designs remain timeless icons of 20th-century design, epitomizing the essence of Brutalism.

2 seaters

3 seaters

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Nam Kim (b.1991) is an American-born Korean artist living and working in Vienna. Nam attended Ewha Womens University in Seoul from 2010 to 2015 and earned her Bachelor degree of fine arts (painting) and art history. Between 2017 and 2023 she studied with Professor Kirsi Mikkola and Alastair Mackinveb in Academy of fine arts Vienna.
Nam Kim mainly use painting for her artistic practice. Nam’s painting is about self-reflection, a process of learning about oneself. She attempts to understand and examine what the essence and the core of humanity are, focusing on capturing psychological fragments that occur in human relationships.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

Ed. 1/3, 3AP

Leeje (b.1979) chooses urban life and surrounding people as subjects for her paintings, portraying what she sees: sceneries of city landscapes in middle of development, self-portraits with her clothes pulled up to the shoulders at the center of desolate construction site and streetlights brightening the darkness of way home from work or gathered people around dinner tables. Like such, the artist has been focusing on disappearing sceneries or unnoticed individuals who are living their lives somewhere. From this aspect, Leeje could be categorized as Post-Minjung artist. She, however, prioritized the attitude of aesthetic while seeking her subjects through affectionate gaze and conveying them in her works, rather than giving a harsh critique. Thus, Leeje tries to build a relationship with the world by exploring the possibility of paintings that can depict memories, emotions, solidarity, and friendship.
Leeje has held solo exhibitions at A-Lounge, Seoul (2023), Space Sansumunwha, Seoul (2021), Chosun Gallery, Seoul (2017, 2014), OCI Museum of Art, Seoul (2010), and Alternative Space Loop, Seoul (2006). She also has been enthusiastically participating in group exhibitions, including Walkie Talkie Shaking, Art Space Boan, Seoul (2022); With Nature: Still Life and Landscape, Seoul Museum of Art, Seoul (2020); The Funeral Growing Everyday, Post Territory Ujeongguk, Seoul (2019); Twin Peaks, HITE Collection, Seoul (2016); Sixth Sense, OCI Museum of Art, Seoul (2015); Spectators, Doosan Gallery, Seoul (2014); Do Window Vol,4, Gallery Hyundai, Seoul (2012); Painters, PKM Gallery, Seoul (2011); and Intuition, Hakgojae Gallery, Seoul (2010).
Leeje received BA and MA in Fine Art from Kookmin University, and currently lives and works in Seoul. In 2019, she has been selected as one out of three artists for a prominent program supporting artists’ creative works, the Chong Kun Dang Art Award.

Jin Han investigates and depicts incidents related to universal feelings of sadness and anxiety. She is currently studying visual arts at Seoul National University of Science and Technology, she actively exhibits his work to the public. The artist analyses emotions such as melancholy and an inherent sense of isolation, beginning with a sensation of anxiousness based on fragments of autobiographical recollections. The artist creates a distinctive sense of self-using thin, overlapping, and dripping brushstrokes to 'bring out' the memories and feelings onto the canvas. Through her art, she offers contemporary audiences a message of shared experience, empathy, and healing.

Jonghwan Lee attempts to extract the vitality of painting from the illusion of paintings medium's physical relationship. For this purpose, he frequently combines pictures from his prior works with new elements. Instead of being recognised for what the image itself represents, they are recognised as a material for paintings. Through the interaction between image and medium, vision and reality, the artist evokes the painting with a subjective vital eye. In addition, while he dissects, penetrates, deconstructs, examines the relationship between pictures produced in paintings and mediums, and investigates the 'vitality of painting.' The process begins with the hypothesis and repeats as 'production-observation-confirmation-hypothesize-resetting'. There are no such things as an independent project; rather, they are interconnected, moving forward and continuously reflecting.

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.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

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.

Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

Alimi Adewale was born on 8 May, 1974 in Lagos, Nigeria. Although he studied mechanical engineering, he developed an interest in art by going to exhibitions. He furthered his extensive knowledge of art after graduating by attending various art workshops around the world.
Adewale uses the mediums of painting, sculpture and installation to explore urban issues and the lives of everyday people in cities. Some of his work examines the impact of excessive urbanisation, rapid modern development, and the growing global economy on society. His practice combines elements of minimalism and abstraction to evoke the dynamism and intensity of the cosmopolitan environment. Most of his work has a profusion of rich textures and oftentimes an uncommon
sculptural finish, whether utilising photography and oil paint (Owambe, 2015) or thick lumps of oil mediums (House of Assembly, 2013).
The artist mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compared to traditional African sculptures, creating an oeuvre that
is distinctly current and as witty as it is macabre.

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