Wu Bak
Wu Bak is an artist who explores the painter’s agency not as a creator but as a mediator. Working within painting’s processes—where light, time, space, material, body, and memory interact—he revisits the conditions that sustain pictures. His practice involves writing critically about artists’ realities and pursuing exhibition-making as a collaborative practice. He has held the solo exhibition My Very Educated Mother Just Showed Us Nine (2021); duo exhibitions Platform 2 (2023–2024) and Before You Leap (2019); and has curated Twenty Questions (2025), Open Corridor (co-curated, 2024), Sikyung Sung: Exit Exit (2019), and AS SMALL AS IT WORKS (2018).
Wu Bak is an artist who explores the painter’s agency not as a creator but as a mediator. Working within painting’s processes—where light, time, space, material, body, and memory interact—he revisits the conditions that sustain pictures. His practice involves writing critically about artists’ realities and pursuing exhibition-making as a collaborative practice. He has held the solo exhibition My Very Educated Mother Just Showed Us Nine (2021); duo exhibitions Platform 2 (2023–2024) and Before You Leap (2019); and has curated Twenty Questions (2025), Open Corridor (co-curated, 2024), Sikyung Sung: Exit Exit (2019), and AS SMALL AS IT WORKS (2018).
TZUSOO
Born in Seoul in 1992, TZUSOO liked drawing. She wrote a thesis on how female and minority characters have evolved throughout the history of games, and was recognized with the series “Aimy’s Melancholy,” which explored the double life of a virtual avatar. Her chimeric universe emerged from the clash between her long-held dream of “becoming a mother” and her life as an artist. With her unique style across video, installation, and sculpture, she boldly reveals the essence of the digital native generation. Her works have been invited to the National Museum of Modern and Contemporary Art, Seoul, the Hessel Museum of Art in New York, and the Kunstmuseum Stuttgart. In Korea, she is also known as the director of the music video studio “Princess Computer.” She works between Berlin and Seoul and teaches at the State Academy of Fine Arts Stuttgart in Germany.
Born in Seoul in 1992, TZUSOO liked drawing. She wrote a thesis on how female and minority characters have evolved throughout the history of games, and was recognized with the series “Aimy’s Melancholy,” which explored the double life of a virtual avatar. Her chimeric universe emerged from the clash between her long-held dream of “becoming a mother” and her life as an artist. With her unique style across video, installation, and sculpture, she boldly reveals the essence of the digital native generation. Her works have been invited to the National Museum of Modern and Contemporary Art, Seoul, the Hessel Museum of Art in New York, and the Kunstmuseum Stuttgart. In Korea, she is also known as the director of the music video studio “Princess Computer.” She works between Berlin and Seoul and teaches at the State Academy of Fine Arts Stuttgart in Germany.
AN Chorong
AN Chorong investigates how photography exists and operates, re-viewing, selecting, and re-sequencing images into exhibitions, books, and objects. She focuses on the moment when immaterial images become material photographs in new contexts, questioning the meanings they generate. Her solo exhibitions include Flesh (2025), Fem (2022), and Natural Gene (2020), and her work was featured in Aperture No. 260: The Seoul Issue (2025).
AN Chorong investigates how photography exists and operates, re-viewing, selecting, and re-sequencing images into exhibitions, books, and objects. She focuses on the moment when immaterial images become material photographs in new contexts, questioning the meanings they generate. Her solo exhibitions include Flesh (2025), Fem (2022), and Natural Gene (2020), and her work was featured in Aperture No. 260: The Seoul Issue (2025).
Miji Lee
Miji Lee focuses on exhibition-making, publishing, and structure-building as practices of scene-making. Her work attends to the intersections of sensation, language, and space, as well as the ruptures of language and sensory residues that emerge through trans/cross movements across different strata. With a background in design and art theory, she continues to develop exhibitions and text-based collaborations mediated by books, speech, images, and temporal forms. She worked as curator at Changwon Sculpture Biennale (2024) and assistant curator at Seoul Mediacity Biennale (2023), and participated in DOOSAN Curator Workshop (2022).
Miji Lee focuses on exhibition-making, publishing, and structure-building as practices of scene-making. Her work attends to the intersections of sensation, language, and space, as well as the ruptures of language and sensory residues that emerge through trans/cross movements across different strata. With a background in design and art theory, she continues to develop exhibitions and text-based collaborations mediated by books, speech, images, and temporal forms. She worked as curator at Changwon Sculpture Biennale (2024) and assistant curator at Seoul Mediacity Biennale (2023), and participated in DOOSAN Curator Workshop (2022).