LINSEED is pleased to present At the Corner, a group exhibition at Booth 0.5 for the 11th edition of Paris Internationale. Featuring recent works by Shumu (b.1994, Seoul), Søren Arildsen (b.1996, Denmark) and Lu Junyi (b.1996, China), the show will be on view from October 21 to 26. River confluences, architectural nooks, and compressed interiors populate the exhibition, situating the viewers in an ambiguous space where reality warps and perspective subtly shifts. As if peering around that very corner, the exhibition sheds light on the vague and tense junction where memory, lived experience, and imagination converge and go beyond. The works form a muddled, loosely connected puzzle, the very nexus points of which encode and reveal a plenitude of inner entanglement. Through a diverse practice encompassing painting, installation, and woodcut prints, the artists delve into the uncertainty at those psychological fragments and peripheries, compelling a reexamination of the fragile constructs of self and the fluid nature of reality.

In Søren Arildsen’s paintings, a wall or a hedge is less a boundary between the external and internal than an inquiry into that sense of belonging. A soft hue perches at the window, not to define a room, but to integrate with the atmosphere, dissolving the hard lines of reality. The light in Arildsen’s pastel palette, even when depicting plein air with the warmth of sunlight, is rarely physical. Instead, it illuminates a subtle distance caught in the fleeting moment between realization and annihilation. This tension is provokingly underlined by the symbolic objects—the poised bow and the stringless instruments, framing a narrative suspended in a moment of unplayed music or quiet reverie. Arildsen’s work captures the weight of the moment, loaded with undefined distances between the subject and object, between past, present, and future, poised in a profound state of belonging.

In contrast to the bright, pastel veil of Arildsen, Shumu works within a lexicon of dark, liquid transparency, carving her visions into the wood’s grain. With their sleek, unmarred pelts meticulously incised, animals in her paintings appear palpably present. The tangible details endow Shumu’s animal archetypes with a visceral, almost primal reality. Yet, for all their corporeal immediacy, the relationship between the subjects and their space remains elusive, suspended between a physical habitat and an idealized, symbolic backdrop. At once a landscape drawing upon balanced asymmetry of traditional ink paintings and a surreal dreamscape grounded by the phantom of objects, her world is one of the shadows of nature and poetry, where time, reimagined in mid-motion, pools into a timeless expanse, Shumu’s practice delves into the imperceptible gap between what is there and what is missing, exploring the quiet echo of the forgotten and the existence.

Diluted color seeps into Lu Junyi’s canvas like memory, built up through patient layers. It becomes a sensitive and fragile epidermis, resembling skin or worn fabric that seems to hold a history of touch. Dwelling in a vaguely intimate realm, her composition feels like fragments of architectural spaces while simultaneously suggesting parts of a body. A swath of cloth pierces through the picture plane in one piece, almost as if erupting from a navel. Transforming the canvas into a corporeal being, Lu contemplates the physical boundaries with orifices as sites of both protection and vulnerability. A low hum of anxiety towards the external world permeates the work, a subtle disruption that, for Lu, complicates and charges the most mundane words and everyday experiences. A startlingly literal voice appears, operating not merely as a linguistic device but as what is truly alive within a dialogue: the immense, intimate, and often disquieting weight of connections.

Shumu  was born in 1994 in Seoul, South Korea. She obtained her BFA in woodcut and copperplate print from the Central Academy of Fine Arts in Beijing in 2017. She currently lives and works in Seoul.

Shumu’s work contemplates the profound stillness that dwells on the boundary between the real and the unreal, a quietude where presence lingers without explanation and forms reveal themselves in moments of suspension. She engages with woodcut as a daily ritual, exploring the material nature of the wood rather than its function as a printing plate. Drawing from the innate flow of woodgrain and the physical traces of her brush on wooden panels, her realistic renderings of animals emerge like wandering spirits. These creatures, both corporeal and spectral, inhabit quiet yet slightly uncanny spaces. As extensions of her own inner world, the figures are presences that are felt deeply yet remain elusive, occupying the threshold between body and soul, the delicate gap between the self and the surroundings, the presence and the absence.

Her selected solo exhibitions include: “Twilight Forest”, 2025, gallery hue, Seoul; “Tomorrow That Will Not Come”, 2024, Gallery Luan & Co., Seoul; “We Are Not Different”, 2022, SA Gallery, Seoul; “Nap”, 2019, Gallery2U, Seoul. Her selected group exhibitions include: “A Trace Without A Tail”, 2025, LINSEED, Shanghai; “Fading White”, 2025, gallery hue, Seoul; “玄, 검정, BLACK”, 2024, Tsutayabooks Ginzasix, Tokyo; “ME BEFORE YOU”, 2023, Gallery Daisy, Jeju Island; “Be my Santa Claus”, 2022, Gallery Luan&Co., Seoul; “THAT’S WHAT YOU THINK”, 2022, Gallery Luan&Co., Seoul; “Laid Back Time”, 2021, Gallery 2U, Seoul; “Under 200”, 2020, Gallery Artsohyang, Busan; “I’ll be your comfort”, 2020, Gallery 2U, Seoul; “10 – 100 Happy Painting”, 2020, Gallery Mac, Busan;”Under 200”, 2019, Gallery Artsohyang, Busan.

Søren Arildsen  was born in Denmark in 1996. He graduated with BFA from The Royal Danish Academy of Fine Arts in 2022. He currently lives and works in Copenhagen.

Arildsen’s practice is rooted in painting and printmaking, extending to handmade porcelain frames, stucco on canvas, and textiles. His practice blends personal memories with fictional characters, the works evoke a dreamlike atmosphere that reflects on intimacy and human connection, capturing moments of stillness, warmth, and introspection. Engaging with the legacies of art history, he draws on both classical motifs and post-impressionist techniques to expand the possibilities of contemporary painting. His practice stands as both a tribute to memory and everyday life, and a reflection on the shifting meanings of visual experience.

His recent solo exhibitions include: “In the Seams”, 2025, The Artist Room, London; “Stay Still”, 2024, Bricks Gallery, Copenhagen; “Reminiscent City”, 2023, Bricks Gallery, Copenhagen; “The Night Swarms in Silk”, 2021, Bricks Gallery, Copenhagen. His selected group exhibitions include: MFA Exhibition, 2025, Kunsthal Charlottenborg, Copenhagen; “Pottery 101”, 2025, V1 Gallery, Copenhagen; “Heirloom”, 2023, CABIN, Berlin; “Egg-cited”, THE BFA SHOW, 2022, Royal Danish Academy of Fine Arts, Copenhagen; “Tellus”, 2022, Roskilde Kunstforening, Roskilde.

LU Junyi was born in Guangzhou, China, in 1996. She received her BFA from the Maryland Institute College of Art in 2018 and her MFA from the Slade School of Fine Art in 2023. She currently lives and works in London.

Lu’s multidisciplinary practice is a psychological play, carefully staged through a fluid balance of colour, material, and representation. Her otherworldly imagery reveals the unconscious desires and antagonisms shaped by both personal experience of migration and the social histories of the countries she has lived in. Influenced by Symbolism and Chinese Literati painting, she continues to explore subjects like self-identity and belonging through visual embodiments of everyday symbols and imaginary figures. Her expression emphasises the form and tactility of familiar objects, such as an empty flower pot and fallen apples, to evoke inner themes of longing, impermanence, and rootlessness. Set within elusive colour fields, her work combines the mundane and the fantastical, to speak to the visceral dimensions of life.

Her selected solo exhibitions include: “(cosset)”, 2025, The Sunday Painter, London; “Watch Out, Kiddo”, LINSEED, Shanghai. Her selected group exhibitions include: “Lattice structure of space-time”, Indigo + Madder, London; “Onsen Confidential”, LINSEED & XYZ Collectives, Tokyo; “The Nostalgic Collection”, Beijing Tree Art Museum, Beijing; “Volatile Futures”, 2023, Unit 1 Gallery, London; “Slade MA/MFA/PhD Degree Show”, 2023, Slade School of Fine Art, London; “Slide a Glance”, 2023, ASC Gallery, London; “SPIIIIINELESS”, 2022, UCL Art Museum, London; “Era 2022”, 2022, Crypt Gallery, London; “In Our Image, After Our Likeness”, 2021, Gajah Gallery, Yogyakarta. Lu was a recipient of the Elizabeth Greenshields Foundation Grant award in 2022.