Dew Kim brings queer presence, religious iconography, imagination, and the sensibility of the digital age into intersection, unsettling fixed identities and normative systems of value. Growing up as the child of a pastor while coming into his own as queer led him to see the body as a ritual site of faith, resistance, desire, and transformation. Through sculpture, video, and performance, Kim examines how power operates through devotion, discipline, and desire, using BDSM aesthetics to explore dominance and submission, pain and pleasure. Religious iconography and popular culture converge in his work, where beauty and the grotesque, sublimity and humor, desire and belief collide and are reconfigured through new relationships. Fragments of the body, sexual desire, and religious oppression become autobiographical images in which the sacred and the violent coexist. Through these intersections, Kim explores forms of contemporary existence that resist reduction to a singular identity or system of value.

Dew Kim (b.1985) works across sculpture, installation, video, and performance. He received an MA in Sculpture from the Royal College of Art, London, and a BFA in Metalsmithing and Jewelry from Konkuk University. His work has been presented at documenta 15 (Kassel), Malta Biennale, Busan Biennale, the Italian Pavilion at Gwangju Biennale, MMCA (Seoul), Seoul Museum of Art, Art Sonje Center, and Para Site (Hong Kong). He has presented solo exhibitions at CR Collective, Alternative Space LOOP, Various Small Fires, out_sight, and Archive Bomm. He has participated in residencies at Künstlerhaus Bethanien (Berlin), ISCP (New York), SeMA Nanji, and MMCA Goyang. His work is held in the MMCA Government Art Bank, Sunpride Foundation (Hong Kong), The Here and There Collective (New York), and Seoul Metropolitan Government.

Kun Kang translates complex emotions rooted in personal experience into tactile two- and three-dimensional works. Combining materials with distinct properties—from yarn, feathers, wool, and resin to animal glue, calcium carbonate, wax, and pastel—he creates skin-like surfaces where softness and fragility coexist with sharpness and solidity. While anxiety and tension arising from circumstances beyond his control shaped his earlier works, his recent practice reflects a growing distance from himself as he modulates this inner turbulence. Scratched, covered, and re-exposed, the surfaces bear traces of forces that have passed through them, suggesting how the fragile resists collapse and maintains its form. Through emptiness and fullness, rupture and joining, collapse and endurance, tangled masses of memory and emotion crystallize into singular forms.

Kun Kang (b.1988, Seoul) received his DNAP from École européenne supérieure d’art de Bretagne, Rennes, and DNSEP from École nationale supérieure d’arts de Paris-Cergy. His solo exhibitions include Zeto Art, Galerie Vazieux, Youngeun Museum of Contemporary Art, and Suwon Art Space Gwanggyo, with group exhibitions at Fondation Villa Datris and Centre d’Art Contemporain de Meymac and Galerie Da-End. Selected for ARTAGON II, he received the Prix du Public at the Prix Dauphine pour l’Art Contemporain. His works are held in the collections of Fondation Villa Datris, Centre Artasia Paris, and Youngeun Museum of Contemporary Art.

Shinoh Nam approaches architecture not as a fixed physical entity, but as a psychological and cultural space where time, memory, and individual and social experience accumulate. Working across sculpture, installation, and drawing, he brings old doors, windows, furniture, and architectural fragments into the present, combining them with newly fabricated elements. Removed from their original settings, these objects retain traces of time, while materials from different periods and cultures enter into new relationships, unsettling our perception of familiar objects and spaces. The presence of the body further blurs boundaries between architecture and individual existence, inside and outside, belonging and displacement. Angoisse Peur Mauvaise foi (2026) distills these concerns through a vintage European door and a body cast in aluminum. As passage and obstruction, belonging and displacement coexist, the title’s “anxiety, fear, and bad faith” evoke both a body compelled to navigate its position and the impulse to believe in a stable direction nonetheless. Through movement and choice, rupture and repetition, position and meaning remain in flux.

Shinoh Nam (b.1993) is based between Berlin and Seoul. He completed his Meisterschüler under Monica Bonvicini at Universität der Künste Berlin and studied Fine Art and Architecture at Kunstakademie Düsseldorf. His work has been shown at The Drawing Center (New York), Maison Clearing at Art Basel (Basel), Kunsthalle Dessau (Dessau), and Karma International (Zurich). He received the UdK Berlin Art Award and the Kunststiftung Perdita und Hans-Peter Kunze Award, and was shortlisted for the ARS VIVA Prize. His works are held in the Burger Collection (Hong Kong), Die Sammlung LBBW (Germany), and Krupa Art Foundation (Poland).