Woo Hannah(b.1988)'s work imagines an existence that transcends the notion of a finite and fixed body. Based on this, she depicts a scenario where all beings are equal to one another in a horizontal relationship, breaking away from the existing dichotomy which divides humans and non-humans. She presents a situation in which opposite and polarized beings, such as the living and the non-living, the protecting and the protected, the old and the young, the painful and the joyful, converge and complement each other in works that do not limit the boundaries of genres, ranging from painting to sculpture to installation which is based on fabric as the main material. Woo has held solo exhibitions at Appearances(Frieze No.9 Cork Street, London, UK, 2023), Connection: Woo Hannah Open Studio(G Gallery, Seoul, KR, 2023), and Ma Moitié(Song Eun Art Cube, Seoul, KR, 2020). Her recent group exhibitions include Summer Love (2022, Seoul, KR), Sculptural Impulse (2022, Seoul, KR), 2020 Next Code (2020, Daejeon, KR), Nothing Twice (2019, Seoul, KR), Superfuture Food (2019, Seoul, KR), Linkin Out (2019, Seoul, KR), LOTUS LAND (2017, Gwangju, KR), and many others, in addition to participating in the Art Plant Asia 2020 exhibition Hare Way Object.

Using a wide array of media based on interdisciplinary artistic approach, Sinae Yoo (b.1985) delves into problems underlying contemporary capitalist consumerism, such as ostentation and vanity, the commodification of sex, voyeurism, dehumanization, alienation, and other ethical issues.

Yoo is based in Seoul. She began her career in Europe around 2013 and works primarily in Korea today. She has held solo exhibitions at the Center for Contemporary Art FUTURA (2019, Prague, CZ) and the Kunsthaus Langenthal (2016, Langenthal, CH) and taken part in group exhibitions at various venues, including Culture Station Seoul 284 (2023, Seoul, KR), the Pingshan Art Museum (2023, Shenzhen, CN), and the Kunsthalle Bern (2018, Bern, CH). In 2016, she received the Aeschlimann-Corti Award, a major art prize in Switzerland and won the Focus Asia Stand Prize at the second Frieze Seoul event in 2023.

Kim Sosul is a curator, educator, and researcher based in Busan, Korea. Her practice focuses on the theme of community, exploring the potential for resonance and meaning of community to foster cross-cultural dialogue through the lens of contemporary art. She is particularly interested in the concept of performativity and has collaborated with choreographers, musicians, and theater collectives.

As a founding member of the Busan Museum of Contemporary Art (Busan MoCA), she has not only been in charge of general public relations but also serves as a curator.

Her curatorial practice focuses on the theme of community, evidenced in exhibitions such as This Is Not Just Local: Tactical Practices (2024), which was organized and carried out after she established a research group to gather perspectives on locality. Her notable curated exhibitions include John Akomfrah: The Airport (2023), Whose Story Is This (2022), Posteriority (2021), and Blue Peal of Bells (2020). Kim has engaged in curatorial research at the HOW Art Museum in Shanghai and through academic programs with the Center for Anthropocene Studies at KAIST. She is a fellow of the Salzburg Global Seminar and a participant in the Environmental, Social, and Governance (ESG) Practitioner Network of the Samsung Foundation of Culture.

Yeoreum Jeong  (b. 1994) reframes the story about a correlation between space and memory into visual language. Her work is a continuous process of fixated reinvestigation on a narrative, analyzing its mechanism and dismantling the body from parts. She has held her solo exhibitions such as Centuries in the Distant Mist (SeMA Bunker, Seoul, 2023) and HAPPY TIME IS GOOD (Hapjungjigu, Seoul, 2021). She also has participated in group exhibitions including Hite Collection (2023, Seoul), Manzi Art Space (2022, Hanoi), Hall 1(2022, Seoul), Space Heem (2022, Busan) and OCAT Shanghai (2021, Shanghai).