Matthias Gubler
b.1981, Republic of Korea
Seoul
@sukhyung_kang
Sukhyung Kang(b.1989~) accumulates traces upon the canvas through repetitive acts of drawing and erasing, revealing the temporality of painting through impulsive and spontaneous gestures. The layered and erased lines and colors do not settle into fixed narratives or forms, but instead embody a continuous movement between emergence and disappearance. Rather than meticulously planning a final outcome, the artist focuses on the instinctive act of “painting” itself, constructing compositions in which unrefined freedom and intense visual density coexist.
강석형(b.1989~)은 그리고 지우는 반복적 수행을 통해 화면 위에 흔적을 축적하며, 충동적이고 즉흥적인 제스처 속에서 회화의 시간성을 드러낸다. 겹쳐지고 삭제되는 선과 색은 특정한 서사나 형상을 고정하기보다, 생성과 소멸 사이를 끊임없이 왕복하는 과정을 표현한다. 작가는 결과물을 정교하게 계획하기보다 '그리기'라는 본능적 행위 자체에 집중하여 정제되지 않은 자유로움과 높은 시각적 밀도가 공존하는 화면을 구축한다.
CV
2015 — 2017 MFA Fine Art, Kingston University of Art, London, UK
2022 Galerie ERD, Seoul & Busan
2019 Arce Gallery, Seoul
2018 Gallery Dos, Seoul
2022 Galerie ERD, Busan
2021 Art Centre Art Moment, Seoul
2015 — 2017 MFA Fine Art, Kingston University of Art, London, UK
2022 Galerie ERD 갤러리 이알디, 서울, 부산
2019 Arce Gallery 아르세 갤러리, 서울
2018 Gallery Dos 갤러리 도스, 서울
2022 Galerie ERD 갤러리 이알디, 부산
2021 Art Centre Art Moment 예술의시간, 서울
Emma Scarafiotti
b. 1996, Italy
Seoul
@emmascarafiotti
Working across video, installation, and performance, the artist explores points of intersection between the human and the non-human, femininity and otherness, and nature and technology. Taking the body as a point of departure for sensation and perception, her work addresses processes of entanglement and transformation that move across species, employing a visual language that juxtaposes documentary approaches with theatrical and fictional narratives to resist fixed identities. Through a methodology that combines analog media and artificial intelligence, film and digital technologies, she presents marginalized figures and unknown forms of life, inviting reflection on worlds beyond an anthropocentric order.
영상, 설치, 퍼포먼스를 아우르는 작업을 통해 인간과 비인간, 여성성과 타자성, 자연과 기술이 교차하는 지점을 탐구한다. 신체를 감각과 인식의 출발점으로 삼아 종(種)을 넘나드는 얽힘과 변형의 과정을 다루며, 다큐멘터리적 접근과 연극적, 허구적 서사를 병치한 영상 언어를 통해 고정된 정체성에 저항한다. 아날로그 매체와 인공지능, 필름과 디지털 기술을 결합한 방법론 속에서, 주변화된 존재와 미지의 생명체들을 제시하며 인간 중심적 질서 너머의 세계를 사유하도록 제안한다.
CV
2023 The art of rejection, Sol gallery, Melbourne, Australia
2019 THE AIR, artist's studio, Bangkok, Thailand
2025 FAILED, Bundoora Homestead Art Centre, Melbourne, Australia
2024 Thai Message, Soup on the Oil – Jimei x Arles International Photo Festival, Xiamen, China
2023 Far From Home, Chinese Museum Arts Collective – Collective Polyphony Festival (Testing Grounds), Melbourne, Australia
2023 FAILED, Footscray Community Arts Centre (Wyndham Art Prize Finalist), Melbourne, Australia
2023 FAILED, Gertrude Contemporary – Bundoora Homestead Art Centre, Melbourne, Australia
2023 Ghost – The Museum Is Dead and Desire Is Dead, Tanglin Shopping Centre, Singapore
2022 What Can Artist Do with Capitalism? (Failed on Tram Track), The Way We Talk (About It) – Brunswick Temporary, Melbourne, Australia
2022 What Can Artist Do with Capitalism? (Failed on Tram Track), Merri-bek Summer – Counihan Gallery, Melbourne, Australia
2021–2022 Statue Garden, ASEAN-RoK, Korea
2021–2022 Mass Art Project X JTAC, Jim Thompson Art Center Shop, Bangkok, Thailand
2020 Mass Art Project, Gallery Ver, Bangkok, Thailand
2018 Thai Message, Gallery Ver (Bangkok Biennial), Bangkok, Thailand
2017 Thai Message, MAIIAM Contemporary Art Museum, Chiang Mai, Thailand
2016 Thai Message – Dusadee + Dust + Lovers + Dead Ones, Chulalongkorn Art Center, Bangkok, Thailand
2013 What Can Artist Do with Capitalism? and Map Me, The Prince George Ballroom, New York, USA
2012 What Can Artist Do with Capitalism?, The Invisible Dog Art Center, Brooklyn, USA
2010 Thai Message (Unauthorized Exhibition), Tate Modern (Toilets), London, UK
2010 Ordinariness of Artist’s House: A Poetics of Dwelling, Meojaidee Gallery, Chiang Mai, Thailand
2009 See So(u)l Scene, Sol Art Space
2008 Politic and Environment Crisis, U.N.