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<channel>
	<title>CDA</title>
	<link>https://cdagallery.kr</link>
	<description>CDA</description>
	<pubDate>Wed, 05 Aug 2026 07:32:56 +0000</pubDate>
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		<title>3 Discoveries – Inae Shin, JuYoung Lee, Peter Chey</title>
				
		<link>https://cdagallery.kr/3-Discoveries-Inae-Shin-JuYoung-Lee-Peter-Chey</link>

		<pubDate>Wed, 05 Aug 2026 07:32:56 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

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3 Discoveries
July 31—August 15, 2026
CDA (Seongsu)
	신이내 Inae Shin
이주영JuYoung Lee최피터 Peter Chey

	︎Press Release ︎Check list&#38;nbsp;︎Online Viewing



	
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&#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; 3 Discoveries began with CDA's first open call, held to mark the gallery's fifth anniversary. From some 250 applicants, three artists were selected — Inae Shin (b. 1998), JuYoung Lee (b. 1986), and Peter Chey (b. 1996) — and 25 of their paintings and drawings are on view at our Seongsu-dong space from July 31 to August 15.


&#38;nbsp; &#38;nbsp; The three artists share neither materials, nor subjects, nor the places they work from. For CDA, this exhibition is not the finish line of the open call but its starting point: we plan to continue with each artist through solo exhibitions and art fairs. Inae Shin, who works in Hamburg, will also hold her first solo exhibition in Korea at CDA. The selection combined CDA's internal review with an external jury — JiWon Kim (CEO, Art In Inc.), JungOuk Hong (artist; professor of painting, Hongik University), and JungWoong Lee (artist).


&#38;nbsp; &#38;nbsp; The handout for 3 Discoveries is not a commentary on the works but a record of choices. In a series of questions and answers, CDA asks itself why these three artists — and what gave us pause until the very end. We invite you to read it before or after your visit.


Read the Handout (PDF) →
	&#38;nbsp; &#38;nbsp; 《세 발견 3 Discoveries》은 씨디에이(CDA)가 개관 5주년을 맞아 처음 연 오픈콜 프로그램에서 시작된 전시입니다. 250여 명의 지원자 가운데 신이내(b.1998), 이주영(b.1986), 최피터(b.1996) 세 작가를 선정했고, 회화와 드로잉 25점을 7월 31일부터 8월 15일까지 성수동 전시장에서 소개합니다.


&#38;nbsp; &#38;nbsp; 세 작가는 재료도 주제도, 기반을 둔 지역도 겹치지 않습니다. 씨디에이는 이 전시를 오픈콜의 결승선이 아니라 출발선으로 두고, 세 작가와의 관계를 개인전과 아트페어로 이어가려 합니다. 함부르크를 기반으로 활동해 온 신이내의 국내 첫 개인전도 씨디에이에서 만나실 수 있습니다. 심사는 씨디에이 내부 심사와 함께 외부 심사위원으로 김지원 아트인 주식회사 대표, 홍정욱 작가(홍익대학교 회화과 교수), 이정웅 작가가 참여했습니다.


&#38;nbsp; &#38;nbsp; 《세 발견》의 핸드아웃은 작품 해설이 아니라 선택의 기록입니다. 세 작가를 선택한 씨디에이가 스스로에게 질문을 던지고 답했습니다. 왜 이 세 사람이었는지, 무엇이 끝까지 망설여졌는지 — 전시 전후에 읽어보시길 권합니다.핸드아웃 읽기 (PDF) →

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	<item>
		<title>틱틱틱 ptych ptych ptych – 02</title>
				
		<link>https://cdagallery.kr/ptych-ptych-ptych-02</link>

		<pubDate>Sat, 21 Mar 2026 07:52:29 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/ptych-ptych-ptych-02</guid>

		<description>
	

















ptych ptych ptych 02 
December 19, 2025—January 24, 2026
	김서현 SeoHyun Kim

박영환 YoungHwan Park

박주애 JuAe Park

박현정 HyunJung Park

이정웅 JeongWoong Lee

채지민 JiMin Chae

홍수림 SuRim Hong

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
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&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6fc7386702ad124f5fa08b6550e80431ab59c226b6f8e1a3541e37ee81330f33/IMG_2136-.jpg" data-mid="246309960" border="0"  src="https://freight.cargo.site/w/1000/i/6fc7386702ad124f5fa08b6550e80431ab59c226b6f8e1a3541e37ee81330f33/IMG_2136-.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Art begins with questions—what we see, how we live, and what defines our present moment. This exhibition shifts the focus from what an image means to how it is divided and positioned, concentrating on the direct visual experience that painting produces. &#38;nbsp; &#38;nbsp; 
‘ptych ptych ptych’ begins with a simple question: must painting exist as a single surface? Drawing from the formats of diptych, triptych, and polyptych, the exhibition explores the intervals, tensions, and relational structures that emerge when a surface is divided. Once an image is split across panels, painting transforms from a scene into a structure. &#38;nbsp; &#38;nbsp; 
Nineteen artists participate across three relay-style parts, each reconfiguring the boundaries and form of the picture plane in different ways. ‘ptych ptych ptych’ is not a presentation of series, but a space where form itself becomes the question.

	&#38;nbsp; &#38;nbsp; 미술은 질문에서 시작됩니다. 우리는 무엇을 보고 있는가, 어떤 삶을 살아가고 있는가. 이번 전시는 이미지의 의미보다, 이미지가 어떻게 나뉘고 놓이는지에 주목합니다. 회화가 만들어내는 가장 직접적인 시각적 경험에 집중합니다. &#38;nbsp; &#38;nbsp; 
"틱틱틱"은 회화가 반드시 하나의 화면이어야 하는가라는 질문에서 출발합니다. 딥티크, 트립티크, 폴립티크 형식을 바탕으로, 화면이 분할될 때 발생하는 간격과 긴장, 관계의 구조를 탐구합니다. 하나의 이미지를 여러 패널로 나누는 순간, 회화는 장면이 아닌 구조가 됩니다. &#38;nbsp; &#38;nbsp; 
19명의 작가가 세 개의 파트로 참여하는 릴레이 프로그램으로, 각기 다른 방식으로 화면의 경계와 형식을 재구성합니다. "틱틱틱"은 연작의 나열이 아니라, 형식 자체가 질문이 되는 자리입니다.

</description>
		
	</item>
		
		
	<item>
		<title>틱틱틱 ptych ptych ptych – 01</title>
				
		<link>https://cdagallery.kr/ptych-ptych-ptych-01</link>

		<pubDate>Fri, 20 Feb 2026 05:47:05 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/ptych-ptych-ptych-01</guid>

		<description>
	

















ptych ptych ptych
December 19, 2025—January 24, 2026

	김휘동 WheeDong Kim안수인 SooIn Ahn정연재 YeonJae Chung 지근욱 KeunWook Ji 최유성 YuSeong Choe홍정욱 JungOuk Hong 

	︎ Catalogue ︎ Press Release ︎ Online Viewing
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8b579585c88f5dea4f644b63f9a2ccf48b4ec14d3c5ec8ce65000f5c99877c23/ptych01_installationview_w_02.jpg" data-mid="246310341" border="0"  src="https://freight.cargo.site/w/1000/i/8b579585c88f5dea4f644b63f9a2ccf48b4ec14d3c5ec8ce65000f5c99877c23/ptych01_installationview_w_02.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6aa3e01c4b8b7af2156dff13df1346590da056787ad57a8ccb128d2bce4bceb3/ptych01_installationview_w_01.jpg" data-mid="246310340" border="0"  src="https://freight.cargo.site/w/1000/i/6aa3e01c4b8b7af2156dff13df1346590da056787ad57a8ccb128d2bce4bceb3/ptych01_installationview_w_01.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/483a70755f2f7062fa666b805324ca94ab91961ced9f4db41796ac78ce8c1ef9/ptych01_installationview_w_08.jpg" data-mid="246310347" border="0"  src="https://freight.cargo.site/w/1000/i/483a70755f2f7062fa666b805324ca94ab91961ced9f4db41796ac78ce8c1ef9/ptych01_installationview_w_08.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/5fca2b5a54ee5c0b8207b4d046e1a00eab04e9495a9e3b5252583c23b894691a/ptych01_installationview_w_10.jpg" data-mid="246310349" border="0"  src="https://freight.cargo.site/w/1000/i/5fca2b5a54ee5c0b8207b4d046e1a00eab04e9495a9e3b5252583c23b894691a/ptych01_installationview_w_10.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/fe4b73fb089a4825abb36b6a643bca6a94a06b0102f65bb9a6c79754d68bfc4a/ptych01_installationview_w_09.jpg" data-mid="246310348" border="0"  src="https://freight.cargo.site/w/1000/i/fe4b73fb089a4825abb36b6a643bca6a94a06b0102f65bb9a6c79754d68bfc4a/ptych01_installationview_w_09.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/3e945dc0026b38dd35a197244415a9d6aff0ca7f3413a27bddd9001dfbc1f60e/ptych01_installationview_w_07.jpg" data-mid="246310346" border="0"  src="https://freight.cargo.site/w/1000/i/3e945dc0026b38dd35a197244415a9d6aff0ca7f3413a27bddd9001dfbc1f60e/ptych01_installationview_w_07.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/75cf1e0aa6980d25b92e44d5dafafc4ad5dc2fdc613f532329caa698a6c5bff4/ptych01_installationview_w_05.jpg" data-mid="246310344" border="0"  src="https://freight.cargo.site/w/1000/i/75cf1e0aa6980d25b92e44d5dafafc4ad5dc2fdc613f532329caa698a6c5bff4/ptych01_installationview_w_05.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/853cb39dd8eabacae0da4731274374bd13ee9a17aff55a12d7058dd19caf0140/ptych01_installationview_w_04.jpg" data-mid="246310343" border="0"  src="https://freight.cargo.site/w/1000/i/853cb39dd8eabacae0da4731274374bd13ee9a17aff55a12d7058dd19caf0140/ptych01_installationview_w_04.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/55583eb8fc948bd7eee8f1ba572376b3704a4c0793e5239a53bd6b811dedae5e/ptych01_installationview_w_03.jpg" data-mid="246310342" border="0"  src="https://freight.cargo.site/w/1000/i/55583eb8fc948bd7eee8f1ba572376b3704a4c0793e5239a53bd6b811dedae5e/ptych01_installationview_w_03.jpg" /&#62;


	
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Art begins with questions—what we see, how we live, and what defines our present moment. This exhibition shifts the focus from what an image means to how it is divided and positioned, concentrating on the direct visual experience that painting produces. 
&#38;nbsp; &#38;nbsp; ‘ptych ptych ptych’ begins with a simple question: must painting exist as a single surface? Drawing from the formats of diptych, triptych, and polyptych, the exhibition explores the intervals, tensions, and relational structures that emerge when a surface is divided. Once an image is split across panels, painting transforms from a scene into a structure. 
&#38;nbsp; &#38;nbsp; Nineteen artists participate across three relay-style parts, each reconfiguring the boundaries and form of the picture plane in different ways. ‘ptych ptych ptych’ is not a presentation of series, but a space where form itself becomes the question.

	&#38;nbsp; &#38;nbsp; 미술은 질문에서 시작됩니다. 우리는 무엇을 보고 있는가, 어떤 삶을 살아가고 있는가. 이번 전시는 이미지의 의미보다, 이미지가 어떻게 나뉘고 놓이는지에 주목합니다. 회화가 만들어내는 가장 직접적인 시각적 경험에 집중합니다. 
&#38;nbsp; &#38;nbsp; "틱틱틱"은 회화가 반드시 하나의 화면이어야 하는가라는 질문에서 출발합니다. 딥티크, 트립티크, 폴립티크 형식을 바탕으로, 화면이 분할될 때 발생하는 간격과 긴장, 관계의 구조를 탐구합니다. 하나의 이미지를 여러 패널로 나누는 순간, 회화는 장면이 아닌 구조가 됩니다. &#38;nbsp; &#38;nbsp; 
19명의 작가가 세 개의 파트로 참여하는 릴레이 프로그램으로, 각기 다른 방식으로 화면의 경계와 형식을 재구성합니다. "틱틱틱"은 연작의 나열이 아니라, 형식 자체가 질문이 되는 자리입니다.

</description>
		
	</item>
		
		
	<item>
		<title>BANGKOK ASSEMBLY — Karms, Mackcha, Mamablues, Sognsin T., Yamada, 2Choey</title>
				
		<link>https://cdagallery.kr/BANGKOK-ASSEMBLY-Karms-Mackcha-Mamablues-Sognsin-T-Yamada-2Choey</link>

		<pubDate>Tue, 23 Dec 2025 01:14:10 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/BANGKOK-ASSEMBLY-Karms-Mackcha-Mamablues-Sognsin-T-Yamada-2Choey</guid>

		<description>
	

















BANGKOK ASSEMBLYKARMS, MACKCHA, MAMABLUES, SONGSIN T., YAMADA, 2CHOEY
December 19, 2025—January 24, 2026

	

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/13928f725b551d1361bd7ce428dcbfaa5b13a2f71fdaf50b1473e9e8c2c3f950/E40_InstallationView_01.jpg" data-mid="242086190" border="0"  src="https://freight.cargo.site/w/1000/i/13928f725b551d1361bd7ce428dcbfaa5b13a2f71fdaf50b1473e9e8c2c3f950/E40_InstallationView_01.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/7e16cf1bbc58cfc845613224ee6792adc981722c46153f99dc9c732d5888110d/E40_InstallationView_02.jpg" data-mid="242086191" border="0"  src="https://freight.cargo.site/w/1000/i/7e16cf1bbc58cfc845613224ee6792adc981722c46153f99dc9c732d5888110d/E40_InstallationView_02.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/a2e343dddffda09559fb45a7a724bf3138c50dde056c442f324054aaac5e870b/E40_InstallationView_03.jpg" data-mid="242086192" border="0"  src="https://freight.cargo.site/w/1000/i/a2e343dddffda09559fb45a7a724bf3138c50dde056c442f324054aaac5e870b/E40_InstallationView_03.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/48d4d3596d415ac7fe3b3a8ee8f200c67dee23574c4fb250b3422e84eaf69f94/E40_InstallationView_05.jpg" data-mid="242086194" border="0"  src="https://freight.cargo.site/w/1000/i/48d4d3596d415ac7fe3b3a8ee8f200c67dee23574c4fb250b3422e84eaf69f94/E40_InstallationView_05.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/aa896d94da6c248f2acbd83d44b4194cb7c433cbc1415243e077cd11d567975a/E40_InstallationView_06.jpg" data-mid="242086195" border="0"  src="https://freight.cargo.site/w/1000/i/aa896d94da6c248f2acbd83d44b4194cb7c433cbc1415243e077cd11d567975a/E40_InstallationView_06.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8d972103e95e9a73433ccbcb20bc78e02849bf2762016806b2a887ee99fdcb48/E40_InstallationView_07.jpg" data-mid="242086196" border="0"  src="https://freight.cargo.site/w/1000/i/8d972103e95e9a73433ccbcb20bc78e02849bf2762016806b2a887ee99fdcb48/E40_InstallationView_07.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/14cdd89ff1e064a9335e892826ababed4b80cc0e697e4153c662e96e8b047da8/E40_InstallationView_09.jpg" data-mid="242086198" border="0"  src="https://freight.cargo.site/w/1000/i/14cdd89ff1e064a9335e892826ababed4b80cc0e697e4153c662e96e8b047da8/E40_InstallationView_09.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CDA presents the group exhibition BANGKOK ASSEMBLY with six Bangkok-based artists—KARMS, MACKCHA, MAMABLUES, SONGSIN T., YAMADA, and 2CHOEY. This exhibition marks their first official introduction in Korea. It serves as an occasion to examine how Bangkok’s sensibility is read and extended within Seoul’s visual culture, through artists who have each built their own visual language within Bangkok’s local scene.

The worlds that appear in the exhibition sometimes borrow the outer skin of bright and playful characters, and at other times reveal the borders of body and emotion within dark, densely layered scenes. Painting, line drawing, character-based imagery, and graphic-novel-like narratives coexist in different ways, and viewers encounter moments in which “identity,” “emotion,” and “imagination” waver and overlap within a single scene. CDA hopes this exhibition goes beyond a simple introduction and becomes a meaningful starting point for ongoing collaboration connecting Bangkok and Seoul.

This exhibition is jointly curated by Trendy Gallery (Bangkok) and CDA. The two spaces aim to create points of contact where contemporary Asian artists can continue to exchange beyond the boundaries of cities and markets, and BANGKOK ASSEMBLY stands as the first attempt in that direction.
Link to Full Document

	&#38;nbsp; &#38;nbsp; 씨디에이는 방콕을 기반으로 활동하는 여섯 명의 작가 — KARMS, MACKCHA, MAMABLUES, SONGSIN T., YAMADA, 그리고 2CHOEY 와 함께 그룹전 BANGKOK ASSEMBLY&#38;nbsp;를 선보입니다. 이번 전시는 태국 로컬 신에서 각자의 시각 언어를 구축해 온 이들이 한국에서 공식적으로 소개되는 첫 자리로, 방콕의 감각이 서울의 시각 문화 속에서 어떤 방식으로 읽히고 확장되는지를 살펴보는 계기입니다.

전시에 등장하는 세계는 밝고 유쾌한 캐릭터의 외피를 빌리기도 하고, 어둡고 밀도 높은 화면 속에서 신체와 감정의 경계를 드러내기도 합니다. 회화, 선 드로잉, 캐릭터 기반 이미지, 그래픽 노블적 서사가 서로 다른 방식으로 공존하며, 관객은 ‘정체성’과 ‘감정’, ‘상상’이 한 장면 안에서 흔들리고 겹쳐지는 순간을 마주하게 됩니다. 씨디에이는 이번 전시가 단순한 소개를 넘어, 방콕과 서울을 잇는 지속적 협업으로의 의미 있는 계기가 되기를 희망합니다.

본 전시는 방콕의 트렌디 갤러리와 씨디에이가 공동으로 기획했습니다. 두 공간은 동시대 아시아 작가들이 도시와 시장의 경계를 넘어 보다 지속적으로 교류할 수 있는 접점을 만들고자 했으며, BANGKOK ASSEMBLY&#38;nbsp;는 그 첫 시도로 자리합니다.전체 문서 보기

</description>
		
	</item>
		
		
	<item>
		<title>VIEW2325 - ChaeHoon You</title>
				
		<link>https://cdagallery.kr/VIEW2325-ChaeHoon-You</link>

		<pubDate>Fri, 05 Dec 2025 14:35:16 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/VIEW2325-ChaeHoon-You</guid>

		<description>
	

















VIEW2325ChaeHoon You
November 21—December 6, 2025

	VIEW2325유채훈
2025년 11월 21일 — 12월 6일

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/199000ed641e4a50d15dc36b9acf1904246f98490e709bba0a6da53beb3bd16c/E39VIEW2325_InstallationView_02.jpg" data-mid="241450377" border="0"  src="https://freight.cargo.site/w/1000/i/199000ed641e4a50d15dc36b9acf1904246f98490e709bba0a6da53beb3bd16c/E39VIEW2325_InstallationView_02.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6d25da64170160d8e977cd6de2920764556b2331cea9db46746fddcd9cb8c6ca/E39VIEW2325_InstallationView_04.jpg" data-mid="241450379" border="0"  src="https://freight.cargo.site/w/1000/i/6d25da64170160d8e977cd6de2920764556b2331cea9db46746fddcd9cb8c6ca/E39VIEW2325_InstallationView_04.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c8a8782e71dc54f7070317bef5055019417a54d8c15cadef59189c7229cf8832/E39VIEW2325_InstallationView_10.jpg" data-mid="241450386" border="0"  src="https://freight.cargo.site/w/1000/i/c8a8782e71dc54f7070317bef5055019417a54d8c15cadef59189c7229cf8832/E39VIEW2325_InstallationView_10.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ChaeHoon You’s photographs go beyond simply recording scenes from everyday life. He brings the sensations, timing, and ways of observing the world into his images, turning everyday views into something that can be reinterpreted. In this exhibition VIEW2325, sharply captured landscapes are shown alongside more abstract images where slight blur, movement, or shifts in focus create softened and fragmented forms. Although these photographs differ in tone and clarity, they all reveal layers of perception the artist encounters in daily life.


&#38;nbsp; &#38;nbsp; Light that trembles, forms shifting through reflection, and colors overlapping like stains may seem accidental. Yet these elements arise naturally as the artist receives and responds to his surroundings, becoming meaningful clues that shape each image. You does not consider such changes as technical errors; rather, he approaches them as another part of the scene. He pays attention to how certain conditions alter the image and uses these variations to explore how structure and atmosphere are newly built within the frame.


&#38;nbsp; &#38;nbsp; This attitude places his work between faithful representation and abstraction. The photographs capture visible scenes from reality, but beneath their surface lie rhythms, structures, and subtle movements that the artist observed. Even when each work carries its own character, the accumulation of these sensory shifts forms a continuous flow. Through this flow, viewers follow how the artist perceives the world and translates it into images.


&#38;nbsp; &#38;nbsp; You does not attempt to impose a fixed meaning on the scenes he encounters. Instead, he receives the speed, density, and movement of his surroundings as they are, and records the visual hints that arise from them. By following these delicate changes embedded in his photographs, familiar landscapes begin to appear in new ways. This exhibition presents places where the artist’s gaze has lingered and invites viewers to look again—more slowly, more attentively—at the world around them.


	&#38;nbsp; &#38;nbsp; 유채훈의 사진은 일상에서 마주한 장면들을 단순히 기록하는 데서 멈추지 않습니다. 그는 눈앞의 풍경을 바라볼 때 발생하는 여러 감각과 관찰의 방식을 사진 안으로 가져오며, 장면을 다시 해석할 수 있는 이미지로 전환합니다. 이번 전시 VIEW2325&#38;nbsp;에는 선명하게 포착된 풍경 사진과 더불어, 흔들림이나 초점의 미세한 어긋남으로 인해 형태가 흐트러지며 추상적으로 보이는 화면까지 다양한 이미지가 함께 놓이게 됩니다. 이처럼 서로 결이 다른 사진들이지만, 모두 작가가 일상을 마주할 때 경험한 감각의 층위를 보여준다는 공통점을 지닙니다.

&#38;nbsp; &#38;nbsp; 사진 속에서 나타나는 빛의 흔들림, 반사로 인한 형태의 변화, 색이 번지듯 겹쳐지는 순간들은 우연처럼 보일 수도 있습니다. 하지만 이러한 요소들은 작가가 주변의 시각적 환경을 받아들이는 과정에서 자연스럽게 발생하며, 동시에 이미지의 성격을 결정하는 중요한 단서가 됩니다. 유채훈은 이 변화들을 단순한 촬영 조건이나 실수로 보지 않고, 장면을 구성하는 또 하나의 요소로 받아들입니다. 그는 카메라가 어떤 조건에서 이미지를 어떻게 변형시키는지에 주목하며, 이러한 변화들을 통해 사진의 구조와 분위기가 새롭게 형성되는 과정을 탐구합니다.

&#38;nbsp; &#38;nbsp; 이러한 태도는 그의 사진을 현실의 충실한 재현과 완전한 추상 사이의 중간 지점에 놓이게 합니다. 사진은 겉으로 보이는 표면을 담고 있지만, 그 이면에는 작가가 관찰한 장면의 구조와 리듬이 함께 스며 있습니다. 전시에 놓인 각 이미지가 서로 다른 특성을 지니고 있음에도 불구하고, 이 감각적 변화들이 쌓이면서 결국 하나의 흐름을 형성합니다. 관객은 이러한 흐름을 따라가며, 작가가 세상을 어떻게 받아들이고 이미지로 전환하는지를 자연스럽게 경험하게 됩니다.

&#38;nbsp; &#38;nbsp; 작가는 장면을 특정한 의미로 정의하거나 과도하게 해석하려 하지 않습니다. 대신 자신이 마주한 환경의 움직임, 속도, 밀도를 있는 그대로 받아들이고, 그 안에서 포착되는 시각적 단서를 담백하게 기록하는데 집중합니다. 사진에 남겨진 섬세한 결과 미묘한 변화를 따라가다 보면, 우리가 일상 속에서 쉽게 지나쳤던 풍경들이 다른 방식으로 다가오는 경험을 하게 될 것입니다. 이번 전시는 작가의 시선이 머무른 지점들로 구성된 하나의 구조이며, 관람객이 오늘의 세상을 새롭게 바라볼 수 있도록 이끄는 역할을 할 수 있기를 희망합니다.
</description>
		
	</item>
		
		
	<item>
		<title>Don’t — your youth - yyth</title>
				
		<link>https://cdagallery.kr/Don-t-your-youth-yyth</link>

		<pubDate>Fri, 31 Oct 2025 05:28:33 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/Don-t-your-youth-yyth</guid>

		<description>
	

















Don’t — your youthyyth
Octorber 30 — November 16, 2025

	Don’t — your youth이스
2025년 10월 30일&#38;nbsp;— 11월 16일

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
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&#60;img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/e67e3fac23e869bf0185e29c79e8bdd2f5c5e24ca1efeb1cc3cbe8d26fc92e2c/E38_InstallationView_05.jpg" data-mid="240099753" border="0"  src="https://freight.cargo.site/w/1000/i/e67e3fac23e869bf0185e29c79e8bdd2f5c5e24ca1efeb1cc3cbe8d26fc92e2c/E38_InstallationView_05.jpg" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;yyth is a shortened form of your youth. Here, youth refers not so much to one’s youthful years as to those indelible scenes that remain in the mind—fragments of the past that can never be revisited, yet continue to tremble within the present. Don’t has accompanied the artist since her very first work. Although it may appear as a word of negation, it instead carries a meaning closer to release or liberation. “Do not judge, and do not be afraid” — it is a message of comfort she offers to herself, who has endured through time, and a signal she wishes to share with everyone standing in this space.

&#38;nbsp; &#38;nbsp; Don’t — your youth marks the artist’s third stage, a chapter where she unveils the stories once too difficult to expose. While her previous exhibitions confronted the weight of the past, this one, built upon that same resolve, reveals how past and present connect and divide. She no longer lingers in memories; instead, she begins to face herself as she exists now. In this sense, the work distinguishes itself from earlier ones, revealing a faint yet persistent voice of a being who records the past while living in the present. Her paintings are like rituals—acts of recalling and releasing time. They are at once the preservation and the overcoming of memory, gestures that hold the past while continuing forward.

The artist’s paintings are defined by their clarity. Color and form are vivid, and the finish is meticulous, yet this clarity does not lead to simple interpretation. The meaning does not converge into one; each scene remains open. Despite their high level of completion, the works refuse to close upon themselves. The unstable edges of the frame—the cropped composition, the empty spaces, and the shifting gaze—suggest a world beyond the picture, leaving room for the viewer’s presence to enter. Thus, these works are not “finished results,” but rather ongoing scenes that continue to unfold in the present, together with those who encounter them.

The faces she paints are not mere reproductions of likeness, but records of sensation, carrying the time and emotion she has lived through. Each becomes both a trace of personal experience and a vessel through which the memories of others are awakened.

The paintings of yyth resonate like music, evoking memories even as they are recalled. Music has always been deeply intertwined with her life and work. Just as a lyric lingers and echoes long after the song has ended, may the scenes of this exhibition, too, continue to resound within those who stand before them.

And so, at the end of this text, I leave a verse from a song that moved her during the making of these works:&#38;nbsp; &#38;nbsp; Even if I am not as bright as the stars in the night sky, &#38;nbsp; &#38;nbsp; I live like a candle flickering on a windy day. &#38;nbsp; &#38;nbsp; Even if I am no longer as clear as the river flowing to the sea, &#38;nbsp; &#38;nbsp; Life flows on, like tears on trembling days.

— Yeoyu &#38;amp; Seolbin, “Like the Stars in the Night Sky”


	&#38;nbsp; &#38;nbsp; yyth는 your youth의 줄임말입니다. 여기서 youth는 한때의 젊음이라기보다, 마음속에 남아 지워지지 않는 장면들, 다시는 돌아갈 수 없지만 여전히 현재를 흔드는 과거의 파편들에 가깝습니다. Don’t는 작가의 첫 작업 이래 계속해서 등장한 이름으로, 표면적으로는 부정처럼 보이지만, 그 안에는 부정이 아닌 일종의 해방과 유사한 의미가 담겨 있습니다. “그 무엇도 판단하지 말고 두려워하지 말라”며 지난 시간을 견뎌온 자신에게 보내는 위안이자, 이 자리에 선 모든 이들과 함께 나누고 싶은 신호입니다.

&#38;nbsp; &#38;nbsp; Don’t — your youth는 드러내기 두려웠던 작가의 이야기를 전하는 세 번째 무대입니다. 앞선 두 차례가 과거의 무게와 마주하는 과정이었다면, 이번에는 그러한 다짐 위에서 과거와 현재가 어떻게 연결되고 단절되는지를 보여줍니다. 지난 기억에 머물지 않고 그 기억을 바라보는 현재의 자신 또한 서서히 드러내기 시작합니다. 이는 앞선 작업들과 구분되는 지점으로, 과거를 기록하는 동시에 현재를 살아가는 존재로서의 희미한 목소리를 보여줍니다. 그녀의 그림은 자신이 지나온 시간을 다시 불러내고, 그 시간을 떠나보내는 의식과도 같습니다. 그것은 추억의 보존이자 동시에 극복이며, 기억을 품으면서도 앞으로 나아가려는 몸짓입니다.

&#38;nbsp; &#38;nbsp; 작가의 화면은 선명함이 특징입니다. 색과 형태가 분명하고 마감은 단단하지만, 그 선명함이 곧 해석의 단순함을 뜻하지는 않습니다. 의미는 하나로 수렴하지 않고, 장면은 열려 있습니다. 높은 완성도에도 불구하고 작품은 스스로를 완결하지 않습니다. 불안정한 화면의 가장자리, 잘린 구도와 여백, 시선의 방향은 프레임 바깥의 세계를 암시하며 관객이 개입할 틈을 남깁니다. 그래서 이 작업들은 ‘완성된 결과’라기보다, 관객과 함께 현재형으로 계속 ‘이어지는 장면’에 가깝습니다. 그녀가 그려내는 얼굴은 단순한 닮음의 재현이 아니라, 지나온 시간과 감정을 담아낸 감각의 기록입니다. 그것은 개인적 경험의 흔적이면서도, 동시에 관객 각자의 기억을 불러내는 매개체가 됩니다.

&#38;nbsp; &#38;nbsp; yyth의 그림은 기억을 불러내는 동시에 음악처럼 울립니다. 이는 그녀의 삶과 작업에 음악이 늘 깊이 스며 있기 때문입니다. 한때의 노랫말이 마음속에 남아 오래 울리듯, 이번 전시의 장면들도 관객 안에서 다시 메아리치기를 바랍니다. 마지막으로, 작업 과정에서 그녀를 움직였던 노래의 한 구절을 남깁니다.

&#38;nbsp; &#38;nbsp; 밤하늘의 별들처럼 밝지 않아도 &#38;nbsp; &#38;nbsp; 바람 부는 날의 촛불처럼 난 살아있네 &#38;nbsp; &#38;nbsp; 이젠 바다로 가는 강물처럼 맑지 않아도 &#38;nbsp; &#38;nbsp; 흔들리는 날의 눈물처럼 삶은 흐르네

— 여유와 설빈, 〈밤하늘의 별들처럼〉



</description>
		
	</item>
		
		
	<item>
		<title>SEEN SCENE - Ingo Baumgarten</title>
				
		<link>https://cdagallery.kr/SEEN-SCENE-Ingo-Baumgarten</link>

		<pubDate>Tue, 26 Aug 2025 22:12:05 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/SEEN-SCENE-Ingo-Baumgarten</guid>

		<description>
	

















SEEN SCENE
Ingo Baumgarten
September 12 - Octorber 11, 2025

	SEEN SCENE잉고 바음가르텐
2025년 9월 12일 - 10월 11일

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7fcb584a200ef87381132dedc019957289da090cad51f96f678aff8385053a60/E37_SeenScene_InstallationView_01.jpg" data-mid="238031697" border="0"  src="https://freight.cargo.site/w/1000/i/7fcb584a200ef87381132dedc019957289da090cad51f96f678aff8385053a60/E37_SeenScene_InstallationView_01.jpg" /&#62;
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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Ingo Baumgarten: SEEN SCENE



The title of Ingo Baumgarten’s solo exhibition 《SEEN SCENE》 carries layered meanings. ‘Seen’ refers to “that which is beheld” or “that which has been witnessed,” while ‘Scene’ denotes “landscape” or “setting.” Together, the phrase encapsulates the artist’s inquiry into how observed urban moments are transformed into painterly landscapes. Beginning with architectural fragments of everyday life, Baumgarten translates them into a language of color and line. In his canvases, the seemingly mundane—walls, windows, façades—are reconfigured into scenes that evoke cultural memory and emotional resonance.



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.



The works presented in this exhibition are distinguished by their restrained yet luminous palette: cool greens and blues, ochres and grays, accented with sparing yet vivid reds and dark browns that animate thresholds of windows and balustrades. The pictorial field is dominated by horizontal and vertical geometries, yet punctuated by acute angles and asymmetries that disrupt mechanical regularity and create a subtle, syncopated rhythm. Particularly emblematic is 3 open window (2025), depicting three windows on a building façade, all opened at the same angle. The blue surfaces of the panes absorb the morning light with crystalline clarity, while the shifting shadows and overlaps generate a secondary space within the painting itself. This work powerfully symbolizes the transformation of the seen into the scene.



Baumgarten’s gaze lingers at thresholds—on the corners of buildings, the interstices of façades, or the seams where aged dwellings meet contemporary structures. These junctures juxtapose temporal strata, embedding within them traces of Korean everyday life. His canvases are not mere architectural records but evocative dispositifs of lived narratives. This recalls Homi Bhabha’s notion of the third space, where heterogeneous cultural idioms intersect to engender new meanings. Through the perspective of an outsider, Baumgarten discloses the Korean urban landscape anew, revealing sites that, though familiar, often escape our perception. In them, one senses the liminality of dawn, when night and day overlap, and the aesthetics of jeophwa (接化)—a Korean sensibility of synthesis and permeation—emerge.



《SEEN SCENE》 thus becomes a space of visual dialogue between artist and audience. The works breathe together through variation and repetition, enabling viewers to experience a quiet yet dynamic rhythm. This resonates with Walter Benjamin’s insight that “novelty emerges through the interruption of continuity.” Baumgarten conjures this sense of novelty as a dawn-like sensation, asking: What we have seen—into what kind of scene does it remain within us? This exhibition unfolds within that very question, stirring memory and perception as it opens toward the viewer.
&#38;nbsp; written by JaeIn Kim(Ph.D. Program in Art History at Myongji University, SAI ART Director)

	&#38;nbsp; &#38;nbsp; 잉고 바음가르텐 개인전 《SEEN SCENE》


전시 제목 ‘SEEN SCENE’은 다층적인 의미를 지닌다. ‘Seen’은 “목격된 것” 또는 “보이는 것”을 뜻하며, ‘Scene’은 “풍경” 혹은 “장면”을 의미한다. 두 단어가 결합되며, 관찰된 도시의 순간들이 어떻게 회화적 풍경으로 전환되는지에 대한 작가의 탐구를 함축한다. 바움가르텐은 일상의 건축적 단편에서 출발해 그것들을 색채와 선의 언어로 번역한다. 그의 캔버스 속에서 벽, 창문, 파사드와 같은 일견 평범한 것들은 재구성되어 문화적 기억과 정서적 울림을 불러일으키는 장면으로 변모한다.


1964년 하노버에서 태어난 바음가르텐은 카를스루에 국립미술아카데미와 파리 국립고등시각예술학교에서 수학했으며, 1999년 도쿄예술대학교에서 MFA 학위를 받았다. 2008년부터 홍익대학교 회화과 교수로 재직하며 서울에 기반을 두고 작업을 이어오고 있다. 그의 지속적인 예술적 관심은 건축과 도시 생활 경험이 혼합된 양상에 있다. 1993년 처음 서울을 방문했을 때, 언덕을 따라 빽빽하게 들어선 붉은 벽돌과 콘크리트 주택들의 풍경은 낯설면서도 매혹적으로 다가왔다. 이후 그는 서구 건축 질서와 한국적 주거 감각이 교차하며 형성되는 혼종적 풍경을 자신의 회화적 어법으로 풀어내고 있다.


이번 전시에 선보이는 작품은 절제되면서도 빛나는 색조로 특징지어진다. 차가운 녹색과 청색, 황토색과 회색이 주조를 이루며, 창과 난간의 경계에서는 선명한 붉은색과 짙은 갈색이 절제되게 쓰여 화면을 생동감 있게 만든다. 화면 전체는 수평과 수직의 기하학적 구조가 지배하지만, 곳곳에서 날카로운 각도와 비대칭성이 삽입되어 기계적 규칙성을 깨뜨리며 은은한, 마치 싱코페이션과 같은 리듬감을 자아낸다. 특히 대표적인 작품 “3 open window(2025)”는 건물 파사드의 세 개 창문을 같은 각도로 열려 있는 모습으로 묘사한다. 창문 유리의 푸른 면은 아침빛을 수정처럼 투명하게 받아들이고, 그 속에서 겹쳐지는 그림자와 중첩은 회화 내부에 또 다른 공간을 생성한다. 이 작품은 “보이는 것”이 “장면”으로 변모하는 과정을 강렬히 상징한다.


바음가르텐의 시선은 건축의 경계에 머문다. 건물의 모서리, 파사드의 틈새, 오래된 주택과 현대 건물이 만나는 접점에서 그는 시간의 층위를 병치하며 한국의 일상적 삶의 흔적을 새겨 넣는다. 그의 캔버스는 단순한 건축 기록이 아니라 살아 있는 서사를 불러일으키는 장치가 된다. 이는 서로 다른 문화적 언어가 교차하며 새로운 의미를 생성하는 장소로서 호미 바바(Homi Bhabha)가 말한 ‘제3의 공간’을 떠올리게 한다. 외부자의 시선을 통해 바움가르텐은 한국 도시 풍경을 새롭게 드러내며, 익숙하지만 종종 간과되는 장소들을 환기한다. 그 속에는 밤과 낮이 겹쳐지는 새벽의 경계성, 그리고 한국적 미감인 접화(接化)—융합과 스며듦의 감각—가 배어 있다.


《SEEN SCENE》은 결국 작가와 관객 사이의 시각적 대화의 장이 된다. 변주와 반복 속에서 작품들은 함께 호흡하며, 조용하면서도 역동적인 리듬을 경험하게 한다. 이는 “연속성의 중단을 통해 새로움이 탄생한다”는 발터 벤야민의 통찰과도 공명한다. 바움가르텐은 새벽과 같은 신생의 감각을 불러일으키며 묻는다. 우리가 본 것은—어떤 장면으로 우리 안에 남는가? 이번 전시는 그 질문 속에서 펼쳐지며, 기억과 지각을 흔들고 관객을 향해 열려간다.&#38;nbsp; &#38;nbsp;글. 김재인(명지대 미술사학 박사과정, SAI ART Director)
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	<item>
		<title>COEXIST - OVERGROUND</title>
				
		<link>https://cdagallery.kr/COEXIST-OVERGROUND</link>

		<pubDate>Sat, 23 Aug 2025 03:30:01 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/COEXIST-OVERGROUND</guid>

		<description>
	

















COEXISTDuRi Baek, SoYeong Kim, yyth
August 22 - September 7, 2025
OVERGROUND(Fukuoka, Japan)
	共存(공존)백두리, 김소영, 이스
2025년 8월 22일 - 9월 7일
오버그라운드(후쿠오카, 일본)

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; This exhibition introduces the work of three Seoul-based artists — DuRi Baek, Soyeong Kim, and yyth — to audiences in Fukuoka, offering a platform for cultural dialogue between the two cities. While the artists share a common link through their ongoing collaboration with CDA, their practices differ greatly in subject, material, and visual language. Each occupies a unique sensibility, and together, they present both the diversity and individuality of contemporary painting.


Within a shared space, their distinct visual languages do not clash but instead remain side by side, allowing moments of coexistence to quietly emerge. The distance, silence, and rhythm between the works make visible subtle echoes of similarity. “Similar, or different”—perhaps this is how we live: not by erasing difference, but by staying alongside one another. This exhibition explores that flexible attitude toward coexistence.

&#38;nbsp;
 Full Document
	&#38;nbsp; &#38;nbsp; 이번 전시는 서울을 기반으로 활동하는 세 명의 작가, 김소영, 백두리, 이스(yyth)의 작업을 후쿠오카에 소개하며, 서울과 후쿠오카 두 지역 간의 문화적 대화를 시도하는 자리입니다. 작가들은 모두 CDA와 협업해 온 공통점이 있지만, 작업의 주제와 재료, 화면 구성은 전혀 다릅니다. 이들은 서로 다른 감각을 지닌 채 나란히 존재하며, 동시대 미술의 다양성과 개별성을 동시에 보여줍니다.


각기 다른 회화 언어가 충돌하지 않고 한 공간에 머물며, 서로를 침범하지 않고 공존하는 순간을 만듭니다. 작품 사이의 거리와 여백, 리듬은 오히려 이들 사이에 흐르는 닮음의 흔적을 감지하게 하기도 합니다. ‘비슷하거나 다르거나’— 결국 우리는 그렇게 서로 다르면서도 함께 살아가는 것이지요. 이 전시는 그런 유연한 공존의 태도를 이야기하고자 합니다.


전시 전문 보기</description>
		
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	<item>
		<title>Portraits V - Shigeki Matsuyama</title>
				
		<link>https://cdagallery.kr/Portraits-V-Shigeki-Matsuyama</link>

		<pubDate>Wed, 06 Aug 2025 03:52:41 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/Portraits-V-Shigeki-Matsuyama</guid>

		<description>
	

















Portraits VShigeki Matsuyama
August 8 - September 6, 2025


	Portraits V시게키 마츠야마
2025년 8월 8일 - 9월 6일

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
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&#38;nbsp; 
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&#38;nbsp; &#38;nbsp; &#38;nbsp; Shigeki Matsuyama’s first solo exhibition in Korea, 《Portraits V》, will be held at CDA in Seongsu from August 8 to September 6, 2025. This exhibition presents new works from his signature series ‘Portrait of Dazzle’, ongoing since 2013, along with ‘Anonymous Heroes’, which explores the concept of justice in the digital age. The show also features the immersive installation ‘Dazzle Room’, where visitors can walk inside the artist’s patterns and physically experience visual disorientation and the shifting boundaries of identity. 
 Full Document
	&#38;nbsp; &#38;nbsp; 시게키 마츠야마의 한국 첫 개인전 《Portraits V》가 8월 8일부터 9월 6일까지 성수동 CDA에서 개최됩니다. 이번 전시는 2013년부터 이어온 대표 연작 ‘Portrait of Dazzle’의 신작과 함께, 디지털 시대의 정의를 주제로 한 ‘Anonymous Heroes’ 시리즈를 선보입니다. 또한 관객이 작가의 패턴 속을 실제로 걸으며 시각적 교란과 정체성의 흔들림을 체험할 수 있는 몰입형 공간 ‘Dazzle Room’도 전시장에 마련됩니다.
전시 전문 보기</description>
		
	</item>
		
		
	<item>
		<title>만끽 Bask In - DuRi Baek</title>
				
		<link>https://cdagallery.kr/Bask-In-DuRi-Baek</link>

		<pubDate>Sat, 14 Jun 2025 05:35:14 +0000</pubDate>

		<dc:creator>CDA</dc:creator>

		<guid isPermaLink="true">https://cdagallery.kr/Bask-In-DuRi-Baek</guid>

		<description>
	

















BASK INDuRi BaekJune 20 - July 19, 2025


	만끽백두리
2025년 6월 20일 - 7월 19일

	︎ Catalogue ︎ Press Release ︎ Online Viewing

	
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&#38;nbsp; 
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&#38;nbsp; &#38;nbsp; &#38;nbsp; 《BASK IN》 is the solo exhibition of DuRi Baek&#38;nbsp; in two years since 《CHEON-YI》. The show presents 22 new works that explore how one actively embraces life after the land has undergone a shift. While 《CHEON-YI》 depicted a period of accepting destruction and seeking recovery through the series ‘Jari’, 《BASK IN》 focuses on a will to live that does not remain stagnant within cycles of damage and healing. It expresses an attitude of reaching outward and moving forward with intention. 
 Full Document
	&#38;nbsp; &#38;nbsp; 백두리 작가의 개인전 《만끽(滿喫)》은 지난 전시 《천이(遷移)》 이후 2년 만에 선보이는 개인전으로, 작가의 땅에 천이가 일어난 후 삶을 능동적으로 살아가며 만끽하는 방식을 탐구한 신작 22점을 선보인다. 《천이》가 파괴를 받아들이고 회복을 모색하는 ‘자리(Jari)’의 시간을 그렸다면, 이번 《만끽》은 손상과 회복의 순환 안에서 침잠하지 않고 계속해서 뻗어나가는 생의 태도, 다시 말해 멈추지 않는 삶의 의지를 담아낸다.
전시 전문 보기</description>
		
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