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

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

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

Gallery Kabinett

Portrait of Mountains and Clouds2

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

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

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.

at the cliff

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

Germany-based Jieun Choi creates abstract narratives that capture fleeting moments and inner psychological landscapes. Through the delicate interplay of form and atmosphere, she explores the boundaries between abstraction and figuration, consciousness and intuition.

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

Sisters

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)

Artist Statement (Excerpt from 2023-24 Artist Notebook)

As an artist in a modern society accustomed to digital screens and colors, I have been deeply immersed in exploring how to express landscapes through digital and painting mediums.

In <Landscape Elements>, each natural object can be seen as an extreme expression of atmospheric colors, light materials like clouds, dense foliage, or the dawn. My perspective is to show a two-dimensional expression and space, which is intuitively reflected when I first sketch out my composition. In the refining process, I focus on creating natural objects and landscapes that are as simple and two-dimensional as possible, while still evoking a sense of three-dimensional form.

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

Landscape Elements

YISLOW's work goes beyond mere image consumption, leaving space for viewers to project their own experiences and emotions. The figures and landscapes in her paintings are concrete yet abstract, softly crossing the boundaries between reality and imagination. This perspective allows us to discover stillness within urban noise and find extraordinary narratives in ordinary everyday moments.

The Little Star's Friend

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

Behind the curtain: Venus 002

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas (x4)

Seasons (Series of 4)

The Limited Edition of this issue is presented in a blue linen box and features White Form, a special cover created by Ellsworth Kelly, which replaces Black Form I, the cover artwork of the standard edition. Each Limited Edition is signed and numbered by the artist, whose signature appears adjacent to Red Form for Cahiers d’Art, 2012, a color lithograph that was created specially by the artist for this first issue of the new Cahiers d’Art revue. The Limited Edition of Cahiers d’Art 2012 N°1 Ellsworth Kelly is limited to seventy-five numbered copies in English and seventy-five numbered copies in French. 

Ellsworth Kelly, Limited Edition Revue

Gyubin Seong draws her paintings based on the fun, interest, and curiosity about the neighbors she meets in her daily life and their surroundings. She adds her imagination to memorable events to reconstruct images. She creates stories that include not only what can be observed visually but also clues from other senses like hearing and smell. She looks at each object in detail and aims to observe and depict them carefully, so that the touch and memories of the objects can be conveyed to the viewer. However, she tries to deliver the form, atmosphere, and texture she felt by fumbling through her memories, even if the perspective collapses and the shape distorts, rather than using a stereotyped description method.

Light a candle

This piece originates from an accidental glitch encountered during the pixel art creation process. Traditionally, pixels are expected to be symmetrical, with clearly defined front and side perspectives. However, this work challenges that convention, seeking to expand the boundaries of pixel art expression. Despite its distorted forms, the piece retains a deep affection for the artist’s muse—‘Moha, the cat from home.’ Embracing unexpected transformations, it explores new possibilities within the realm of pixel art while celebrating the unique beauty that emerges from serendipity.

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.

The Same ‘Moha’ 3

Kukje Gallery, initially founded in Seoul’s Insa-dong by chairman Hyun-Sook Lee in 1982, relocated in 1987 to its iconic K1 building in the heart of Sogyeok-dong, a neighborhood rich with historical and cultural context. Since its inception, Kukje Gallery has served as a vital cultural hub in Seoul, introducing important works by renowned modern and contemporary artists. Major solo exhibitions have showcased the work of internationally acclaimed artists including Louise Bourgeois, Alexander Calder, Anish Kapoor, Robert Mapplethorpe, Candida Höfer, Jenny Holzer, Bill Viola, Ugo Rondinone, Roni Horn, Jean-Michel Othoniel, and Julian Opie. At the same time, Kukje Gallery has been committed to educating collectors and institutions across the globe on Korean art history, as well as promoting the work of some of the nation’s most important artists including Wook-kyung Choi, Kim Yong-Ik, Koo Bohnchang, Ahn Kyuchul, Hong Seung-Hye, Kyungah Ham, Haegue Yang, Sungsic Moon, and Suki Seokyeong Kang. Also a regular participant in international art fairs including Art Basel, in which the gallery has taken part since 1998, Kukje Gallery remains deeply committed to establishing dialogue with international audiences previously unacquainted with Korean art.
Equally as important, Kukje Gallery supports important postwar Korean artists including Kwon Young-Woo, Park Seo-Bo, Ha Chong-Hyun, and Lee Ufan. Internationally recognized as the leading champion of “Dansaekhwa (also known as the Korean Monochrome),” Kukje Gallery has introduced these seminal artists into the global art scene. As Collateral Event of the 56th International Art Exhibition – La Biennale di Venezia in 2015, the gallery mounted an unprecedented exhibition of Dansaekhwa artists, celebrating these important figures and providing essential context to recognize their historical contributions. The following year, the gallery launched another special exhibition in collaboration with the Boghossian Foundation in Brussels, titled When Process Becomes Form: Dansaekhwa and Korean Abstraction. In 2018, Shanghai’s Powerlong Museum presented Korean Abstract Art: Kim Whanki and Dansaekhwa, the first-ever comprehensive exhibition of Korean abstract art to be held in China, which established a platform for continued dialogue on the aesthetic impact and ongoing importance of Dansaekhwa internationally.

Kukje Gallery

Washington, D.C.

Tonight We Dine on Lambs and Baby Chickens (II)

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

untitled

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. 

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.

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.

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 1992, Jieun Choi majored Korean painting at Dongguk University and continued her studies at the National University of Arts in Karlsruhe. Currently, she is pursuing her artistic career in Germany. At the heart of her artistic expression is the creation of abstract images, skillfully capturing the transient and ephemeral qualities of the moment.

Choi seamlessly integrates the soft curves of her subjects with abstract backgrounds, crafting a unique visual narrative that places her characters within a distinctive and captivating realm. Through this, she delves into the intricate and nuanced aspects inherent in the linguistic and subtle nature of the human body. The artist pursues mysterious, intuitive, and sensorial expressions, skillfully capturing the inner narratives and psychological realms of her characters through the intricacies of their gaze and tension.

The artist's creative process navigates the delicate balance between abstraction and concreteness, cycling through phases of creation and destruction. She sculpts her narratives with unexpected forms and situations, elevating the tension and mystery of the characters through moments of anticipation and unwavering pursuit.

Choi endeavors to immerse viewers in an experience of intuition and empathy by infusing her characters' gestures and gazes with profound meaning. In doing so, she cherishes the exploration of boundaries between the unconscious and conscious realms, forging innovative narrative structures. Through this distinctive approach, Choi actively seeks profound engagement with the audience, persistently delving into the dynamic exchange of meaning and emotions within the realm of art.

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

Jina Jung creates paintings and new media art that alter the invisible properties of changing water, wind and other elements in nature. She completed master's degree in the Interactive Telecommunications Program (ITP) MPS at New York University's Tisch School of the Arts. The artist takes photos of nature or collects such images from the web and stores of VR and 3D space software, then renders them into unrealistic sceneries in VR or video works. She then reassembles the flattened objects, or the visible and penetrable scenes seen in the virtual space on a canvas as a painting. Through the process of transforming and capturing a space that actually exists into an unfamiliar image, she provides an opportunity to consider the logic of subverted nature.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

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.

Wonmi Seo expresses anxiety and trauma based on autobiographical experiences, societal experiences, and psychological landscapes through the language of painting. She graduated from Sungkyunkwan University and currently resides in Seoul, where she engages with audiences through various exhibitions of her work. The artist combines and deconstructs common materials and symbols, concealing and reinterpreting the ordinary. With this process, her works represent the unrestrained desires of humans today, a collection of characters with shattered and chaotic lifestyles, and the trauma linked with death in Korean history. She believes that viewers of her works will experience the separation of subject and object of the self and will be able to focus on the works and project themselves into them.

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. 

Seasons

Ellsworth Kelly revolutionary emphasis on pure abstractive forms and innovative treatment of color reshaped the practice of painting in the late 1940s and early 1950s. His approach greatly influenced the nascence of Pop Art, Minimalism, Color Field precipitating the decline of expressionist energetic gestures and the adoption of spare lines and geometries, flatly painted in vivid color.
A sharp observer of the natural world from a young age inspired by the play of light, space and color in the architecture around him, Ellsworth’s use of found compositions was a source of endless inspiration and lifelong artistic openness which he translated into visually powerful multi-panel paintings, sculptures, drawings, prints, and photographs. 
Ellsworth Kelly nurtured a special relationship with France. After serving as a soldier in the liberation of the country at the end of the Second World War, Kelly returned to live in France from 1948 to 1954, and returning to the country regularly throughout his life. 
He befriended Picasso, Calder, Brancusi, Arp and familiarised himself the works of Matisse, Monet and geometric abstraction which would influence his painting, particularly in his quest for balance and intensity of feeling.

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Gyubin Seong’s work is based on his everyday joy, interest, and curiosity about his neighbours. She is developing his potential through various artistic endeavours while studying for a degree in fine art at the Seoul National University of Science and Technology. She finds comfort and love in the insignificant moments of daily life, reconstructing them with his mind. Instead of a formal description, she frequently transforms shapes to capture the mood and feelings of the moment. She brings warm memories to the audience through sensitive observation and expression that evokes the senses of sight, hearing, and scent.

Artist JaeBum Joo is a leading figure in the realm of pixel art in South Korea, garnering international acclaim for his distinctive vision. He has collaborated with an array of prestigious global brands, including Google, Starbucks, Nexon, Gentle Monster, Adobe, Uniqlo, Hypebeast, and entertainment giants such as SM, YG, and JYP. Through these partnerships, he has firmly established himself as a singular force in the world of illustration, all while pursuing his personal artistic endeavours with unwavering curiosity and innovation.

His work is deeply rooted in personal experience and perception. Having discovered his artistic identity through the 8-bit graphics of the cartoons and animations he grew up with, he has seamlessly woven nostalgia with contemporary technology to cultivate a style uniquely his own. For him, pixels are not merely a nod to retro aesthetics; they serve as a bridge between digital interfaces—such as animation and gaming—and the language of traditional painting, unlocking new dimensions of expression. In his hands, pixels transcend their conventional role as the smallest unit of a screen, becoming colour, form, and a sensory experience in their own right.

The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

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.

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.

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