Kim Ji-yoon (b. 1995) documents the landscapes she encounters through video and images, and reconstructs them into painting by focusing on the passage of time, the energy permeating the scene, and the fleeting moments of change and flow. Scenes easily captured with digital devices and smartphones are re-experienced through the screen, carrying layers of time and traces of light and temperature that were not perceived in the moment. The artist captures these sensations and builds time onto the canvas through the repeated gestures of brushstrokes and the act of rubbing the painted surface, using oil paint as her primary medium. The accumulated colors and textures on the canvas become another landscape of time—formed through the warmth at her fingertips and the resistance of the paint as she works across the surface.

"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

Silent Autumn

Seo Jaejung’s work begins with translating perception and formative sensibility shaped by spatial experience into visual language, where architectural elements such as columns, stairs, and arches unfold as variations of space emerging from a single line. Between deconstruction and recomposition lies a tension of psychological forms suspended between completeness and incompleteness- a multilayered spatial sensibility where reality and unreality, reason and emotion intersect.

Since its establishment in 1994, Gallery Simon has been committed to presenting exhibitions that reflect the evolving currents of contemporary art. The gallery hosts solo exhibitions by its represented artists—such as Sangkyoon Noh, Hyungkyung Bae, Airan Kang, Sunmyoung Choi, Sowon Kwon, Joohyun Kim, Shinil Kim, Jayoung Ku, Changwon Lee, Taii Kim and Jieun Kim—alongside group exhibitions including "Arrival", which introduces emerging artists active in both local and international scenes, "Digital Transitions", showcasing leading global media artworks, and curated projects led by invited curators.

Through its exhibitions, Gallery Simon aims to illuminate each artist’s creative vision, artistic integrity, and reflections of the contemporary moment while exploring new aesthetic approaches within the field of contemporary art. The gallery also works to elevate the presence of Korean contemporary art by maintaining active collaborations with major museums and galleries worldwide and by supporting artists with strong potential and distinct voices.

Gallery Simon

Uncertain Organic Space 22

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.

Abyssal Emanation

Nature Haan continues to encapsulate moments and emotions of everyday life in his work. 'The night of fish market' is part of a series documenting the artist's daily experiences, capturing landscapes we often overlook. He observes these everyday scenes with a loving gaze, sometimes discovering moments that shine extraordinarily. Through his work, capturing incredibly ordinary moments on canvas from his unique perspective, Nature Haan records memories, shares the little nuances of daily life with viewers, and reconstructs those moments.

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

The night of fish market

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

Artist Park Younghwan continues a painting practice that merges imagination with architectural composition, rooted in the tradition of East Asian landscape painting. Through variations of ink, hanji (traditional Korean paper), blue ink, and dense black ink, he layers subtle tonalities onto a monochromatic surface, juxtaposing nature with geometric forms, and figures with symbolic elements within a single pictorial space.
Within these landscapes appear perfect black spheres, modernist Western buildings, entangled branches, and figures drawn from memory — together constructing an imagined order that coexists with the artist’s personal sense of temporality.
The sphere, Park’s fundamental unit, serves as the most symbolic element within his compositions. Each varies in size and depth of ink, tracing the passage of time across the canvas. The spheres embody both the artist’s presence within multiple moments and spaces of his life’s journey, and the visible traces of his continual pursuit toward an ideal form of 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

Contemplation

Peter Ravn explores the existential conditions of being human in contemporary society. Through the loss of identity, control, and certainty, he exposes the latent tension that defines modern existence. His figures appear simultaneously as agents and as victims, inhabiting a liminal state between action and surrender. Rather than offering a linear narrative, Ravn constructs staged scenes and cinematic mise-en-scènes that invite the viewer’s interpretation. His visual language, informed by his background in graphic design and film, evokes theatrical moments of conflict and reflection—an aesthetic inquiry into the psychological and social dimensions of anxiety.

Architecture is a practice of space and design—and also of sociology, history, philosophy, literature, and more; it is art in action and interaction, use and relation. Directed by an architect, “The Untitled Void” is a space intended for thought, inviting the formulation of new and living questions rather than the simple display of packaged conclusions.

The Untitled Void values collaborative process as a part of our curatorial approach. We are committed to showcasing artists and projects that trouble binaries and transcend the ego, boldly engaging the issues of our shared past, present, and future. We place no limits on genre or medium; we love to be surprised and challenged.

The Untitled Void

Group Dynamics Team Formation No. 1

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.

Portrait of Mountains and Clouds2

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. 

Equilibrium

For Lee, nature is not a fixed, external truth. It is something that accrues meaning through time, something that becomes natural through familiarity. A dolmen, once a human construction, becomes part of the landscape over millennia. A path in the forest, shaped by repeated footsteps, comes to feel inevitable and organic. Even the cars we drive, artificial in essence, now blur seamlessly into our everyday scenery. Nature, in this view, is not an opposition to artifice but a fluid, perceptual category, one that is constantly being negotiated. 

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

D-Stone 10

Jaehyuck Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

Tipping Point-密-11

Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

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

Untitlted (asparagus)

Winter Dawn

<Vessel> is a piece from the project "Habitat," which signifies a study of the way flat paintings are displayed and their expansion into space. It represents an attempt to expand the domain of painting by applying the connection and method between the artist's current work and living in the same space and reconfiguring and relocating it to new spaces around them. The project centers on flat paintings and includes the surrounding living area and elements that influence them in the exhibition layout. By connecting with environmental elements, it amplifies emotions and often provides clues for conceptualizing future works through installation activities.

Vessel

This artwork incorporates portraiture, still life, and landscape painting, blurring the boundaries between figures and background, and coexisting with images and symbols. The artist expresses the emotions beneath ordinary situations through collage and montage. With the collision of diverse fragments, his work, which is both a self-portrait of the artist and a portrait of the current generation, mimesis the fragile social features of modern people’s bodies and minds. In the contemporary art market, where short titles have become a norm, the artist’s lengthy titles reveal his challenge to the unreasonable order of the older generation and his anxiety as a young artist, while his brushstrokes calmly summarize the issues he experiences and struggles with in his life. 

Consideration of the direction where I should go

“How to make –the illusion” is one of the series shown in the 2021 solo exhibition <Drawing, Draw creating>, which includes a concern of images generated using the screen. She attempted to discover the language of materialistic painting through the physical labour stage in which paper is folded and cut, and a non-material creating step in which images are edited on an iPad; the painting language of the body is then captured through the interaction of the two processes. Through the artist's hands, the originally symmetrical forms in pieces have become imperfectly symmetrical, defining the artist's conception of the physical stage of art. 

How to make -the illusion

River City Bangkok is a renowned arts and antiques center located on the banks of the Chao Phraya River in Bangkok, Thailand. Known for its impressive collection of Asian antiques, art galleries, and boutiques, it's a popular destination for art enthusiasts and collectors. The center also hosts a variety of art exhibitions, auctions, and cultural events throughout the year. In addition to its art focus, River City Bangkok offers a unique shopping experience, dining options, and picturesque views of the river, making it a vibrant cultural hub in the heart of Bangkok.

River City Bangkok

Memoir No. 9

Seo Jaejung’s work explores the translation of perception and spatial sensibility into visual form. Drawing from architectural environments—described as “a space within a space”—she uses elements such as columns, stairs, and arches as mediators that generate layered visual associations. Her compositions often begin with a single line and unfold through the deconstruction and recomposition of architectural structures, revealing psychological forms that exist between completeness and incompleteness. These processes create an “architectural psychological space” where reality and unreality, reason and emotion, intention and chance coexist. Through such multilayered structures, Seo seeks to develop a painterly language that blurs the boundary between two- and three-dimensional space, offering an expanded experience that opens onto another realm.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

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.

Park Younghwan has sustained a painting practice grounded in the tradition of East Asian landscape painting, combining imagination with architectural composition. Through variations of ink on hanji including cheongmeok (bluish ink) and dameok (dense, fully-loaded ink) he lends subtle chromatic strata to black-and-white surfaces, juxtaposing nature and geometric form, figures and symbols, within a single scene. Perfect black spheres, Western buildings in modern styles, tangled stands of trees, and figures recalled from memory all find their place on the picture plane, where a fictive order and the artist’s personal temporality are realised simultaneously within the landscape.
The sphere (gu), the artist’s basic unit, appears as the most emblematic object in the work, distributed across the surface in differing sizes and gradations of ink as though tracing the arc of elapsed time. It becomes, at once, the artist himself present in the many times and spaces of a life’s journey and the record of a process moving toward the most ideal form of living to which he aspires.

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. 

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

Equilibrium Mono Black

Taesoo Lee is a Korean sculptor known for creating heavy-looking objects using lightweight materials. His work explores the gap between perception and reality by crafting hyper-realistic sculptures of boulders and steel beams that visually defy gravity. Through optical illusion and material deception, Lee challenges viewers’ assumptions and offers a playful yet thought-provoking commentary on how we perceive the world.

Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

Diverse and heterogeneous fragments coexist in Man Seop Kim's works. He studied Western painting at Mokwon University, earned a master's degree in Western painting from the same graduate school, and is actively using collages or montage techniques in his works. The images and symbols of his works are based on his daily experiences. He generates tension by capturing the moments when conflicting emotions, such as happiness and sorrow, love and anger, collide. The artist mimesis the coexistence of various beings in modern society through the confrontation and harmony that occur in the creation of works. 

Haeun Hong has continued to record, analyse, and decompose colours, images, techniques as materials, the body's movement to paint, and the materiality of the outcomes. She received a bachelor's degree in Fine Arts from Hongik University, a master's degree in Fine Arts from the same graduate institution. For her, who found great delight in discovering immersion and beauty when observing nature and transitioning it to paintings, life is described as a perpetual process of discovering its beauty. As an artist, she sees her fate as collecting shapes and colours and transforming them into paintings. She wishes to cover the manner in which contemporary people consume and generate images, as well as the materialisation of screen images through the body. Haeun Hong expresses the materiality of painting that the artist examines through the process of drawing on paper, cutting it, and placing it with scissors, which is a distinctive method of artistic production. 

Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


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