Choi Minhwa (b. 1954) is an activist painter who was born during the aftermath of the Korean War living through the eras of military dictatorship and democratization in Korea. Since 1982, he adopted his pseudonym ‘Minhwa’ (民花, people are flowers), developing a distinctive painterly language that encompasses the individual and the community, as well as art and history. During the 1970s, when he attended college, he produced politically engaged paintings under the influence of German Expressionism and the Mexican Mural Movement. Entering the 1990s, he moved beyond the fierce visual language of struggle and opened up a new artistic horizon with his painting series Pink.<br /> The Pink series (1989–1999), presented at HIVE ART FAIR, constitutes the core of his artistic practice and serves as a record of his profound reflection on Minjung art. Through works from the 1980s and 1990s, the exhibition explores universal human conditions observed beyond the political context of Korea during the time. The artist defines pink as a “victory of color,” proposing it not only as a simple mixture, but as an infinite spectrum between red and white—an epistemological statement that transcends a binary worldview.<br /> The canvases depict young figures by riversides and roads as portraits of youth. The young figures can be translated as the artist himself, his lost younger brother, or even anonymous waifs. Retrospective sensibility and historical scenes overlap, allowing individual lives to expand into broader social narratives. Repeated figures, monochromatic tones, and emptied backgrounds evoke the passing of time and oscillation in emotion. The trembling contours oscillates stationary images, creating a sense of fluidity in which figures seem to move in and out of the frame like film stills. If photography records ‘the death of what has been’, Choi’s paintings breathe life back into the dead.<br /> Although the series Pink originated as a form of resistance against the military dictatorship of the 1980s, it transforms the imagery of revolution into a language of sorrow and love, ultimately reaching the universal human condition of modern oppression. Today, Choi Minhwa’s painting remains effective. In an era marked by division and polarization, he proposes an alternative point of view through pink as a third color. <Pink – In the Wind>, presented at HIVE ART FAIR, introduces the depth and painterly achievements of Korean Minjung art and reveals the contemporary potential of figurative painting beyond historical narratives.<br /> <br /> #Minjung Art #Pink(The Third Color) #Resistance #Individual and Collective #Memory and Youth

Esther Schipper presents "Moonrise", a booth bringing together works that explore transformations of materiality, image, and perception. The presentation focuses on the relationships formed between objects, images, and spatial structures, proposing a sensorial experience of rhythm, balance, and change.<br /> The title "Moonrise" refers to a transitional moment when light gradually emerges from darkness and forms begin to shift. Throughout the booth, circular forms and suspended elements recur repeatedly, creating a distinct rhythm and balance within the space. Works by March Avery, Rosa Barba, Martin Boyce, Ryan Gander, Sojourner Truth Parsons, Ugo Rondinone, and Anicka Yi approach moments of transformation through different materials and media. <br /> Machine-generated imagery, repetitive text, temporal sequences, and paintings moving between abstraction and figuration create tensions between material and immaterial states, permanence and change. Within this structure, time appears fragmented and fluid rather than linear.<br /> By bringing together different modes of perception and ways of seeing, "Moonrise" invites us to reconsider familiar forms and images through shifting sensory experiences.<br /> <br /> #Transition and Emergence

The exhibition resists comprehensive viewing. From start to finish, it presupposes a mobile rather than fixed gaze. Paintings of varying dimensions neither hang on walls nor lean against them, but stand irregularly erected in an extended formation throughout the exhibition space's center. Visitors directly view the exhibition by walking around and between these layered works according to their individual eye levels, walking radius, and rhythm of movement. The works obstruct and overlay one another, invariably appearing superimposed from every point of perspective. Consequently, within this "walking gaze," image fragments that overlap, shift, misalign, and brush past each other combine in perpetually changing configurations. No single scene represents the totality, and no viewer can capture the work's or exhibition's entirety in a single glance. This exhibition, irreducible to any singular scene, is constantly rewritten according to each viewer's movement.<br /> The standing arrangement enables viewers to appreciate not only the paintings' frontal surfaces, as conventionally viewed, but also their lateral and dorsal aspects. Each title appears inscribed on the canvas's rear wooden panel, while constituent words scatter irregularly around the edges of the works. From these somewhat lengthy titles, the artist's work philosophy that he wishes to convey through this exhibition is once again revealed. As Jun explains: "This work originates in painting but transcends paintings’ boundaries." Images beginning on canvases become fragmented and reiterated within the installation space, transforming into events or experiences that exceed mere visual apprehension. By tilting one's head between elevated and lowered works, contorting one's body through varied intervals between the pieces, retreating and approaching anew, and observing works that materialize and vanish according to one's trajectory and pace, viewers ultimately "sense" rather than simply “see” the painting. This exhibition constitutes a landscape of fluid sensations, assembled and dispersed according to individual movement patterns, without predetermined sequence or fixed perspective: fluid scenes that emerge while traversing spaces between the paintings, between layers and apertures, and glimpses of images that disappear as they sweep past. This exhibition experience, where identical scenes never unfold in identical locations even upon return, cannot replicate itself for any viewer. It exists only for the duration and location of the viewer's presence.<br /> ⟪Scattering Moments⟫ comprises countless scenes and moments where individual gazes and experiences interweave and disperse, as the paintings refrain from addressing viewers directly. Perhaps these countless scattering moments, linked with words glimpsed throughout the exhibition, will persist rather than vanish, becoming treasured within our memories.<br /> <br /> #Process #Movement #Layers

EDIT Projects, founded in Hannam-dong in 2020, presents a wide-ranging program of contemporary art. Alongside exhibitions by leading and emerging artists, the gallery fosters exchange through collaborations with museums, public institutions, and corporations, as well as private and corporate collection advisory. Through these initiatives, it supports artists’ international trajectories and connects contemporary art with a broader public.<br /> EDIT Projects presents SPECTRUM: Chromatic Flow on the occasion of the inaugural Hive Art Fair, proposing a cross-section of contemporary art in which works by artists of diverse nationalities and media intersect. Centered on Greem Jeong's Mono Series, which transforms organic lines into sculptural forms to shape spatial flow and movement, the exhibition brings together paintings that articulate distinct visual languages. Marcus Leslie Singleton explores Black subjectivity alongside the social conditions shaped by artificial intelligence and algorithmic systems through layered chromatic intensity, while Aaron Johnson and Ginny Casey expand the pictorial field through painterly density and psychological variation, respectively. Through color and energy as unifying elements, the exhibition highlights the coexistence of diverse visual languages and the multilayered flow of contemporary art.<br /> <br /> #Color #Energy #Identity #AI #Contemporaneity

"Within relationships, life grows, and existence becomes the breath of one another."<br /> At the 2026 HIVE Art Fair, Obscura presents the works of three artists—Kim Lee Park, Daphne Jiyeon Jang, and Inah Choe—who explore what may be described as “the ways of living beings.” Although working through different media, their practices intersect through a shared inquiry into relationships, sensory perception, and the expansion of existence.<br /> The exhibition proposes a spatial experience in which visitors encounter how vitality operates through multiple sensory layers: the growth of plants, the vibrations of light and sound, and the abstract flow of emotions.<br /> Kim Lee Park explores human emotions and relational structures through plants, expanding the idea of a personal garden into that of a communal one. In this presentation, she introduces plant paintings alongside the installation Garden of Objects, presenting the narrative of a garden imbued with the sensibility of care and coexistence.<br /> Daphne Jiyeon Jang’s Liminal Glow is a media installation in which sound, light, and images interact with one another. Through the structures of waves and breath, the work sensorially reveals an invisible vitality.<br /> Inah Choe continues her exploration of abstract painting, capturing emotional vibrations through layered colors and textures. In this exhibition, she also presents ceramic works that extend her pictorial language beyond the two-dimensional surface.<br /> The works of the three artists unfold across different layers—garden, breath, and emotion— revealing an ecology of relationships and an expansion of existence. The booth space follows this progression: from the “garden” on the right, to “breath” at the center, and finally to “emotion” on the left, forming a spatial rhythm. Moving through these layers, visitors encounter the question: how do living beings keep one another alive?<br /> <br /> #Vitality #Ecology of Relationships #Garden #Breath #Emotion #Resonance

CON_ opened in April 2022 on the east side of Tokyo, focusing on visuality and concept across contemporary art and related cultures. Through research and dialogue with artists, the gallery reconsiders artistic practices as part of the evolving fabric of urban culture, building new contexts grounded in contemporaneity.<br /> At HIVE ART FAIR 2026, CON_ presents Simulacra and Sensation, featuring BIEN, Taiki Yokote, Minhee Kim, Mayuko Ose, Yukino Yamanaka, and Kazuma Yamamoto. The exhibition departs from the premise that reality is neither fixed nor fully accessible, but continuously shaped through imagination, sensation, and mediated experience. Like a dream that resists resolution, it persists just beyond certainty—felt, yet never fully grasped.<br /> Rather than stabilizing representation, the artists examine how images, materials, and bodies emerge and shift. Their works engage a condition in which meaning remains provisional, formed through encounters with simulacra sensed as real.<br /> BIEN investigates perception through abstract line drawing, revealing how light and mediation construct vision. Yokote works with overlooked materials, treating rubble and debris as living entities, situating them within an ever-unfolding present between presence and trace. Kim critiques idealized femininity shaped by visual culture, transforming female-coded forms into fragmented, mineralized bodies through layered distortions. Ose evokes psychological landscapes where figures hover between memory and perception. Yamanaka depicts the body as mutable, capturing moments where the self slips beyond definition. Yamamoto draws from internet culture, translating unstable image consumption into proliferating visual forms.<br /> Together, these practices reveal a world that resists fixation. What emerges is not a singular reality, but a shifting field where perception and imagination continuously reconfigure what appears before us.<br /> <br /> #simulacra #instability #materiality #elusiveness #sensation

Founded in Busan, LEE & BAE is a contemporary art gallery with spaces in Busan and New York, dedicated to presenting significant voices across painting, sculpture, photography, and new media. Through a rigorous program of exhibitions, art fair presentations, and publications, the gallery fosters meaningful dialogue among artists, collectors, curators, and institutions, while supporting the long-term development of its artists’ practices.<br /> The exhibition Living Like Water presents an experimental project that visualizes water pollution data through virtual media, addressing the ecological crisis confronting both humanity and the natural environment. Drawing on Laozi’s concept of “the highest good is like water,” the exhibition moves beyond a superficial understanding of water toward a deeper reflection on existence and interdependence.<br /> Visitors actively engage with a mapped waterway system, measuring pollution levels at specific points. This data is translated into dynamic, organic visual forms projected onto a large circular screen within the exhibition space. These evolving images behave like living organisms within a virtual ecosystem—continuously assembling, disassembling, and generating their own rules and orders of survival.<br /> By integrating data, technology, and participatory experience, the exhibition reveals the limitations of human reason and scientific control in addressing planetary crises. It ultimately invites viewers to confront the uncertain and emergent conditions of the Anthropocene, proposing new ways of understanding the relationship between humans, technology, and the environment.<br /> <br /> #Nonhuman #Anthropocene #Hyper-simulation #Techno-ecology #Virtual Ecosystem #Posthuman #Data-driven Virtual World

CHOI&CHOI Gallery was established in Cologne, Germany, in Cologne, and has since built an international network through collaborations with artists and institutions across cities including Seoul, London, Paris, Berlin, and Geneva. After opening a space in Seoul in 2016, the gallery is now based in Yeonhui-dong, where it operates as part of a local community of independent galleries and experimental exhibition spaces.<br /> The gallery focuses on promoting Korean contemporary artists through exhibitions and art fairs, introducing both local and diasporic Korean practices to international audiences. At the same time, it continues to present curated projects that bring artists who have been actively engaged in exhibitions and institutional programs across Europe into the Korean art scene. In parallel, CHOI&CHOI fosters long-term relationships with emerging Western artists, working towards a sustainable model that supports the growth of both artists and collectors.<br /> Within this context, the current presentation brings together works in painting and sculpture that explore time, memory, and human experience. Featuring artists working across various regions in Europe, the presentation highlights shared conceptual concerns across diverse media and approaches, offering a concrete reflection of the gallery’s commitment to fostering expanded dialogues in contemporary art.<br /> <br /> #Temporality #Materiality #Gesture

Duarte Sequeira presents a focused selection of works by Tom Howse, offering a layered exploration of contemporary modes of being. Rooted in everyday imagery, including objects, animals, and fragmented human forms, Howse’s paintings evolve through repetition and transformation, constructing a dynamic network of visual relationships. Rather than conveying fixed meanings, each image operates within an open system, continuously reshaped through its interaction with surrounding works and the viewer’s perception. Known for his distinctive interplay of playfulness and philosophical reflection, Howse continues to explore personal mythology, human connection, and the uncanny beauty of existence.<br /> Howse’s practice evokes a kaleidoscopic visual logic, where individual scenes expand and interconnect to generate multiple narratives. This approach disrupts singular perspective and linear temporality, proposing instead a fluid coexistence of viewpoints and temporalities. Recurrent motifs and patterns establish a rhythmic structure across the works, dissolving boundaries between human and non-human entities, objects, and bodies.<br /> The presentation is conceived as an integrated visual field, where each painting functions both independently and as part of a larger compositional whole. When installed together, the works activate one another, generating new associations and meanings that exceed their individual narratives. This mosaic-like structure reflects Howse’s evolving methodology, in which modest and previously overlooked subjects gain renewed presence and significance.<br /> <br /> #Joy #Uncertainty #Personal Mythology #Human Connection

In Buddhist thought, Sijeol Inyeon (時節因緣) refers to the idea that things do not come into being through mere intention or effort, but arise naturally when the right time and conditions align. Even when a connection exists, it does not continue if the moment is not right; yet when conditions ripen, different elements meet and unfold into a single scene. Both encounters and separations emerge within this flow.<br /> This exhibition explores this sensibility through the works of three artists. At its center is the installation by EXTENTION, where different media and sensory elements converge. Independent components meet within a shared space, forming new structures, and revealing the conditions of encounter inherent in Sijeol Inyeon.<br /> On the right, the paintings of Kimura Kanta unfold through flowing and transforming paint. Colors merge and shift into unpredictable forms, suggesting that nothing remains fixed but is constantly shaped through change. His work reflects the continuous movement and transformation embedded in Sijeol Inyeon.<br /> On the left, Mitsuo Kim presents works in which images melt and re-solidify, leaving behind altered traces. Repetition accumulates into layered impressions of memory, revealing how experiences overlap and transform over time. His work moves beyond previously formed relationships, encountering new contexts and forming another unfolding Sijeol Inyeon.<br /> The exhibition is structured as an intersection of three conditions—encounter, transformation, and memory—coexisting within a single space. In front of this, the viewer is invited to ask: are we moving toward a new encounter, within a state of change, or standing upon the traces of what has passed?<br /> What moment of Sijeol Inyeon are we in now?<br /> And might we allow ourselves to see our relationships and lives more lightly—and become a little freer?<br /> <br /> #Encounter #Flow #Memory

As the climate crisis rises to the surface of global discourse, “sustainability” has come to be understood primarily in environmental terms. Yet sustainability does not remain bound to ecology alone; it unfolds as an expanded condition—one that concerns the ongoing coexistence of differences, materials, and ways of being. Through 《A Quiet Cycle》, Baik Art brings together five artists who approach this condition through distinct sensibilities and medium. Their works do not assert sustainability as a fixed ideal, but rather trace its presence through processes of collecting, observing, reconfiguring, and translating.<br /> Park Jihyun gathers discarded Thomson(die-cut) plates from Euljiro, layering them with pigment-infused resinto form planar sculptures that move between and intersect two- and three-dimensional forms. Hyun Jung Ahn observes the shifting rhythms of natural elements, translating them into a visual language that weaves together drawing, cutting, and painting. With a focus on material-driven narratives, WKND Lab communicates their philosophy about the dynamic interplay between design, humanity, and the natural environment. Iwan Yusuf develops his work through the notion of "Brackish", rooted the sensibilities of Indonesia’s maritime and agrarian cultures, transforming everyday materials such as fishing nets into compositions of quiet tension. Angki Purbandono scans everyday objects and organic matter, converting them into images that rearticulate their material presence and temporal traces.<br /> This exhibition traces subtle movements, where matter is never fixed but shifts, reappears, and relates anew. Through 《A Quiet Cycle》, viewers are invited to attune to these cycles and to sense sustainability as something quietly sustained over time.<br /> <br /> #Sustainability #Cycle #Materiality

The world takes shape between what remains and what has yet to arrive. Traces accumulate, meanings recede, and memory settles into space as boundaries begin to open onto other dimensions. Repeated images, invisible structures, and unseen conditions overlap and collide, resisting any resolution into a single narrative.<br /> Since its founding in 2004, gallerychosun has worked alongside artists who pursue the possibilities of their chosen media in distinct ways, while continually seeking points of connection between art and society.<br /> This exhibition follows the tensions that emerge from these disjunctions and overlaps, approaching the present not as something fixed, but as a condition in which multiple temporalities and layers remain in motion.<br /> <br /> #Continuity #Expansion #Support

We tend to believe that we inhabit a world filled with things. Yet when we slow our gaze and linger among the familiar, we begin to notice not only empty intervals and vanished traces, but also states that resist being fully defined. Threshold and Absence brings attention to new ways of seeing that emerge at the point where boundaries and presence dissolve or blur.<br /> Song Jihyun’s practice begins with an attempt to step outside the concepts, rules, and systems that construct boundaries. Rejecting the uniformity of material and form, she positions herself beyond established categories—at the threshold—where distinctions are unsettled and intermingled. Instead of using a traditional potter’s wheel, she employs an industrial vacuum extruder to produce elongated masses of clay, which she then twists, bends, and reshapes by hand. Through this process, smooth, standardized forms coexist with irregular, imperfect traces. In her work, where categories are neutralized and fixed orders are momentarily suspended, clear boundaries cease to exist.<br /> In contrast, Han Sungwoo approaches absence from a different direction. His paintings do not depict specific events or figures; rather, they present spaces from which the subject seems to have withdrawn—like the reverse side of a landscape or the backstage of a theater. Though empty, these spaces possess a striking sense of presence, as they condense the time and traces left behind after something has lingered and passed. In his work, absence does not signify lack or emptiness, but instead operates paradoxically to evoke presence. Viewers are invited to sense past moments and events within this void.<br /> Although the two artists begin from different points, their works converge in their engagement with absence. While Song Jihyun reveals the absence of boundaries, opening onto what lies beyond order and categorization, Han Sungwoo evokes the lingering resonance of time and existence through the absence of the subject.<br /> <br /> #Delicate #Lyrical #Rhythmic

Gallery Planet is dedicated to discovering and supporting contemporary artists whose practices embody the sensibilities of our time and a distinctive visual language, while fostering an artistic space in which their individual creative worlds can take root and expand. At this art fair, Gallery Planet presents The Garden of the Body, Forms Imbued, featuring Hur Boree and Lee Yejoo. Through motifs of flowers and plants, Hur Boree unfolds traces of the body and emotion through painting and installation, while Lee Yejoo presents sculptures and two-dimensional works marked by the time of the body through repetitive acts of wrapping and peeling plaster. Though working across different media and methodologies, the two artists converge in their attention to the way sensations and traces of labor, mediated through the body, seep into material and emerge as new forms. Through this exhibition, where painting, fabric, and sculpture come together like a single garden, we invite viewers to experience the delicate encounter shaped by body and matter, surface and interior.<br /> <br /> #Body #Sensation #Materiality

Cadence brings together five artists—Jungah Kim, Baek Kyungho, Lee Kangwon, Li Hyunwoo, and Hyun Sun Jo—whose practices articulate distinct rhythms and structures through diverse media and formal approaches. The term “cadence” refers to the rhythm,<br /> breath, and the intervals that shape a flow in music and language. This exhibition focuses on the formal currents that emerge as painting and sculptural practices intersect within a shared space. Rather than converging toward a single direction, each work sustains its own density and pace, forming an overall spatial flow.<br /> Baek Kyungho and Hyun Sun Jo both engage abstraction while developing distinct pictorial structures. Jo constructs rhythm through color-field compositions, while Baek builds his surfaces through repetitive brushwork and the accumulation of material. These surfaces operate beyond mere material presence, functioning as sites where perception and sensation intersect. Together, their works foreground differing modes of pictorial construction and ways of seeing.<br /> Jungah Kim works with discarded materials such as fabric and paper, allowing disparate elements to overlap and interweave into loose structures. Her practice moves fluidly between painting and object, as elements establish relationships within the pictorial field without settling into a fixed form.<br /> Lee Kangwon constructs sculptural structures using materials such as paper and plywood. Rather than realizing predetermined forms, his works evolve through chance occurrences and material responses during the making process. As a result, they resist singular order, revealing tension and balance within open-ended structures.<br /> Li Hyunwoo has worked across the boundary between abstraction and figuration. In this exhibition, he presents works in which forms are loosely dissolved through a focus on partial images. The traces and density of material operate prior to image, oregrounding painting as a material field.<br /> Across these practices, the works traverse the boundaries between surface and volume, painting and object, generating varied intervals and flows within the space. Cadence proposes a spatial configuration in which distinct formal approaches collectively articulate a shared rhythm.<br /> <br /> #space #materiality #Perception

KIWA has positioned itself as a platform that connects diverse artists and media within the global currents of contemporary art, while supporting the expansion of artistic practices onto the international stage.<br /> Building on this identity, the exhibition Attitude shapes form proposes a shift in perspective, approaching form not as a fixed outcome but as an accumulation of process and a trace of perception. Through the works presented, different artistic attitudes unfold into distinct visual languages, inviting viewers to move beyond the question of what is depicted and instead consider how it has been perceived.<br /> In doing so, KIWA reveals the layered dimensions of attitude that exist beneath the visible, offering a more nuanced and immersive way of engaging with contemporary art.<br /> <br /> #Attitude #Form #Trace

Bon Gallery, opened in 1988, has been introducing the diverse currents and creative horizons of Korean art, spanning across the modern and contemporary eras. This exhibition, through the distinct mediums of painting and fiber sculpture, is a display of contemporary sensibility that constructs the complex emotions of reality, inner landscapes, and the psychological tranquility beyond them. Constellation of Hope is a duo exhibition in which two artists, Sung-rim Park and Kyeonghoon Oh, visualize scattered emotions and inner landscapes in today’s life through their respective formal languages. Sung-rim Park (b. 1982) implements the sensibilities generated through the contemplation of nature and the universe into two-dimensional, three-dimensional, and installation forms using the materiality of fiber and repetitive knotting. Knots become points, threads become lines, and their accumulation forms a spatial matrix. Her work is both a structure of emotion and a<br /> poetic space where viewers can linger and sense. Kyeonghoon Oh (b. 1986) presents paintings that construct images of hope, peace, and dreams, based on a record of survival that restarted following the collapse of life. His work, combining Eastern colors and bleeding effects with Western mythology and animation-style imagination, is not a decoration that covers emotional wounds but rather creates an inner landscape that enables life to persist even after the wounds. In this booth exhibition, "constellation" is not a mere metaphor. The images in Kyeonghoon Oh’s paintings emerge as symbols of hope that never extinguish even after loss, while the structure of Sung-rim Park’s knots, points, and lines creates a scene where scattered fragments of emotion form relationships and establish a new order. Through the works of these two artists—who endure life, recover their senses, and build inner sanctuaries in their own ways within different mediums and forms—Constellation of Hope proposes a quiet constellation for today’s viewers to stay a while.<br /> <br /> #Demonstration of Hope #Knots of Relationship #Inner Sanctuary

Founded in Seoul in 2025, THE THIRD develops its program in close dialogue with contemporary artists whose practices engage fundamental questions. Rather than adhering to predefined genres or formats, the gallery begins from an inquiry into how we see and how meaning is received. Works are selected not by medium, but by the clarity with which each artist articulates a distinct position and mode of engagement.<br /> HIVE ART FAIR marks THE THIRD’s first presentation in Korea, bringing together a group of artists who outline the direction the gallery is shaping. Rather than advancing a singular narrative, the presentation foregrounds the criteria through which the works are selected, allowing each to operate as a direct expression of that perspective.<br /> The presentation includes works by Juergen Staack, Phee Jungwon, Yeonsu Ju, Seahee Chang, and Hyunjoong Lim, spanning painting, sculpture, and media-based practices. Moiré patterns translated into textile structures, large-scale abstract paintings alongside landscape-oriented compositions, ritual-based figuration, resin sculptures derived from moving images, and paintings informed by speculative, science fiction imagery are presented in parallel.<br /> Installed in proximity, the works retain their individual integrity while producing a measured contrast across form, scale, and density.<br /> <br /> #Presence #Expansion #Density

The exhibition Punch-Drunk Love presents moments where two opposing poles—everyday life and abstraction—intersect. Borrowing its title from Punch-Drunk Love by director Paul Thomas Anderson, the exhibition resonates with the film’s narrative structure. In the film, the two protagonists—embodying a love as shocking as a sudden blow—begin at opposite extremes and, through numerous twists and turns, ultimately arrive at a dramatic encounter. Similarly, this exhibition reveals the point at which the familiar world of daily life and the unfamiliar realm of abstraction accelerate toward one another and converge.<br /> Participating artists Eunu Lee, Juwon Jeong, Jackson Hong, and Rahm Parc each take one of these poles as their point of departure. Objects such as items in a room, apartment, machine parts, and document designs do not occupy the center of attention, yet they serve as supporting elements of everyday life. The artists attend closely to these ordinary subjects, translating them into their own visual languages and abstracting them to evoke sensory dimensions beyond the familiar.<br /> In this exhibition, the everyday moves toward abstraction, while abstraction moves toward the everyday. Objects and elements of nature encountered in life are gradually transformed, and in this process, the two realms penetrate and intersect with one another. As if two distinct entities meet at a midpoint, Punch-Drunk Love captures the moment when a functional, backgrounded world connects with an invisible, organic one.<br /> <br /> #Everyday and Abstract

In the context of contemporary painting, the “interface” is no longer merely a surface that supports images, but a site where material, perception, and cultural experience are continuously negotiated. Taking “painting as interface” as its point of departure, this exhibition brings together artists from East and Southeast Asia, examining how painting generates its visual language across different material conditions and cultural contexts.<br /> <br /> #interface #silk #materiality #image production

ANOMALY will present works by four artists: Toeko Tatsuno, Takuro Tamayama, Takahiro Iwasaki, and Elena Knox. Rather than depicting specific subjects, each artist explores relationships between objects, and the very spaces that emerge “in between.”<br /> Toeko Tatsuno is one of Japan’s leading painters who opened up new possibilities for abstract painting. In the 1970s, she gained attention for her print works using the repeated motifs of structured grids and stripes. Since the 1980s, she developed a distinctive painterly world, incorporating rich colors and organic forms. Shelf-like shapes and volumetric forms that appear on the canvas shift and interact with one another, generating a space charged with tension.<br /> Takuro Tamayama constructs spatial installations that combine vivid lighting and sound with objects resembling furniture or everyday items, often derived from familiar imagery, and at times treating space itself as a motif. Through minimal means, he defamiliarizes space or emphasizes natural forces such as gravity, thereby unsettling the viewer’s bodily perception and sensory experience of the everyday environment.<br /> Takahiro Iwasaki creates delicate and ephemeral landscapes using ordinary materials such as toothbrushes, towels, bookmarks, and duct tape. By altering scale and distance in his visualizations, he disrupts our habitual and often overlooked ways of seeing, bringing about a transformation in our awareness.<br /> Elena Knox is an Australian artist based in Tokyo whose practice spans digital media, performance, music, sculpture, and installation. Her work examines how technological civilization evolves to mimic human desires for self-replication. Her recent works, which incorporate cutting-edge robots made in Japan, lay bare human desire and, with humor and irony, suggest the inseparable relationship between technology and human beings in contemporary society.<br /> Although their approaches differ, all four artists engage with the relationships and interactions that arise between objects, as well as the spaces that come into being transitively. Their works evoke a sense of instability and fluctuation, quietly revealing that our world is structured far more by these “intervals (ma)” than we might imagine.<br /> <br /> #interval #in-between #relationships #space #ma

Park Miwha has long commemorated those who have been sacrificed in contemporary disasters—such as war, displacement, pandemics, and the climate crisis—through her sculptures. Today, violence does not appear only in visible scenes; it also accumulates and spreads invisibly, gradually permeating the lives of both human and nonhuman beings. The artist captures even these slow and prolonged forms of destruction, holding onto traces that risk being forgotten because they are not easily recognized as violence. The sacrifices that have sunk beneath the surface re-emerge through her work.<br /> Rather than directly accusing or depicting violence, Park approaches others by honoring and caring for those who have been innocently lost. This attitude stems from a perspective that moves beyond an anthropocentric viewpoint and recognizes that all forms of life are interconnected. Nature is not a resource to be controlled by humans but a being that exists in mutual dependence. In her practice, the artist embraces the inherent qualities of natural materials—such as plants and soil—rather than fully controlling or processing them.<br /> In this exhibition, the artist presents a new work from the ‘Name’ series. Names of children who lost their lives are engraved on discarded plywood collected from construction sites and installed across a seven-meter wall. Opposite this work, a portrait evoking the figure of a mother is placed. At the center of the space stand Euonymus alatus branches left over from pruning in the artist’s studio, forming the works Arrowwood Figure and Arrowwood Crown. In Korea, Euonymus alatus is translated as “Arrowwood(화살나무),” a name derived from the shape of its stems, which resemble the shafts of arrows.<br /> The figures of the child and the mother are grounded in the continuity of life. The artist views birth and death not as isolated events but as processes connected within a single flow. Her practice of collecting discarded materials and reusing them likewise suggests that what has been cast aside may continue in another form. Passing through the artist’s hands, materials once considered exhausted are transformed into sculptures that carry the possibility of another time. Even in an era marked by repeated violence and disaster, the exhibition remains a place where life continues and mourning can take form.<br /> <br /> #mourn #maternal #revive

MISA SHIN GALLERY presents a group exhibition featuring paintings by Shingo Francis, Saki Maeda, and Yuka Shigihara, alongside photographs by Han Youngsoo. Bringing together artists of different generations and mediums, the exhibition explores contemporary abstraction and visual culture through practices grounded in material engagement, duration, and perceptual awareness.<br /> A key point of reference is Dansaekhwa, the Korean monochrome movement of the 1970s. Rather than a purely visual style, Dansaekhwa is rooted in the relationship between body, material, and time. Through repetition and restraint, painting shifts away from representation toward an accumulation of actions. The surface becomes a site where spiritual and perceptual depth emerge through process.<br /> Historically, Dansaekhwa developed in dialogue with Japan’s Mono-ha, which examined the presence of materials and their relation to space and perception. Within this context, Lee Ufan’s philosophy of relationality provided a framework for reconsidering the connections between subject and object, matter and spirit. Together, these movements articulate an East Asian approach to abstraction centered on interdependence and temporality.<br /> While the painters in this exhibition do not inherit the stylistic language of Dansaekhwa, their practices resonate with its ethos. Shingo Francis’s (b.1969) Interference series treats light and color as dynamic phenomena, transforming painting into a temporal field that unfolds through shifting perception. The work is not fixed, but continuously changes depending on light and viewpoint.<br /> Saki Maeda (b.1993) constructs her paintings through accumulated gestures within rigorously controlled compositions. Subtle tensions arise between drawing and erasure, formation and collapse. Through these layered actions, her works generate a quiet density that invites sustained attention.<br /> Yuka Shigihara (b.2000) emphasizes prolonged engagement with process. Through repetition and erasure, surfaces evolve gradually, allowing latent images to emerge. Influenced by Dansaekhwa, she places greater importance on the act of making than on the final image, foregrounding process over resolution.<br /> The exhibition also includes works by Korean photographer Han Youngsoo (1933–1999), whose practice has gained renewed attention. After the Korean War, he documented the rapidly changing urban life of Seoul. His photographs capture individuals rebuilding their lives amid postwar transformation—figures that embody both memory and forward movement. A member of the Sinseonhoe (New Line Group), Han developed a distinctive visual language marked by compositional precision and sensitivity to everyday moments, conveying resilience and vitality.<br /> Seen from a broader East Asian perspective, the works of these four artists are connected through their responses to postwar conditions, introspective inquiry, and the search for new forms of expression. These practices are not isolated but part of a continuous historical trajectory.<br /> By traversing painting and photography, this exhibition brings together the legacy of Dansaekhwa, the memory of postwar society, and contemporary abstraction. It proposes abstraction not as a closed historical category, but as an evolving field—one that continues to unfold across time, material, and perception.<br /> <br /> #East Asia #postwar history #living legacy