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ARARIO GALLERY SHANGHAI Presents a Group Exhibition, Beyond The Circular Ruins
Poster Credit: ARARIO GALLERY SHANGHAI ARARIO GALLERY SHANGHAI is honoured to announce the group exhibition Beyond The Circular Ruins, showcasing works by artists aaajiao (b. 1984, China), NOH Sangho (b. 1986, Korea), RAO Weiyi (b. 1993, China), TAN Mu (b. 1991, China), and WU Ziyang (b. 1990, China), on view from May 23 (Fri) to July 19 (Sat), 2025. The exhibition explores fissures in algorithmic systems and generative technologies, presenting aesthetic and conceptual experiments born from artists’ embrace of “non-mastery” amid conflicts between machinic logic and human intention, manifested through glitches, voids, aberrations, and discontinuities.
Installation view, courtesy of ARARIO GALLERY SHANGHAI Exhibition Theme
“For what had happened many centuries before was repeating itself. The ruins of the sanctuary of the god of Fire was destroyed by fire. […] They did not bite his flesh, they caressed him and flooded him without heat or combustion. With relief, with humiliation, with terror, he understood that he also was an illusion, that someone else was dreaming him.”This closing passage from Jorge Luis Borges’ The Circular Ruins (Las Ruinas Circulares) unveils a recursive Samsara of creation: a sorcerer from the wilderness conjures another human’s flesh and consciousness through dreams, after experiencing ruptures of dream, delirium, and awakening, until finally igniting illusion life with fire. Yet when the newly born youth departs for the next crumbling sanctuary, the sorcerer’s own burned sanctuary is consumed once more—the creator, too, is an illusion dreamed by another.
This technological parable persists in our “eternal present”: AI generates “intelligence” through layered data and backpropagation-based iterative training, its stacked architectures entrenched in path-dependent technical paradigms. The black-box nature of deep learning (with its inherent lack of explainability) renders retroactive tracing and correction mechanisms nearly inoperative, ultimately breeding simulacra of technological autonomy. Yet the power relations within technological systems—such as the data politics of algorithmic bias—also overflow human intentionality through opacity, particularly in the liminal zones of systemic turbulence: boundaries between binary oppositions like human/machine, logic/emotion, input/output, and intentionality/automation dissolve here. The glitch here is not an error but a declaration: critical reflection emerges at these fissures when the system transiently exposes its inherent biases, its opacity, or its discrepancies from human cognition.
Rather than striving for mastery over AI, these artists embrace non-mastery, allowing for slippages, unpredictability, and co-authored emergence, seeking possibilities beyond predetermined cycles. Their practices foreground not resolution, but ambiguity; not fluency, but friction. Beyond The Circular Ruins thus proposes the seam not as a site of closure or division, but as a space of radical potential—a zone where perception is refracted, art critically entangles with technology, and birthplaces of new possibilities.
Venue
ARARIO GALLERY SHANGHAI, 2F-205, 30 Wen’an Road, Jing’an District, Shanghai, China 200085Artist
aaajiao, NOH Sangho, RAO Weiyi, TAN Mu, WU ZiyangExhibition Dates
May 23 – July 19, 2025Gallery Hours
Tuesday – Saturday | 11 AM – 6 PMWebsite
https://www.arariogallery.comInstagram
https://www.instagram.com/arariogallery_official/Contact
sojung.kang@arariogallery.com(Text and images courtesy of ARARIO GALLERY SHANGHAI)
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A Space Gallery Presents The Second That Twitched, a Solo Exhibition by Qianying Zhu
Poster Credit: A Space Gallery A Space Gallery is pleased to present The Second That Twitched, the solo exhibition by New York-based artist Qianying Zhu. Working primarily with jewellery as her medium, Qianying brings a playful, sensitive, and humorous approach to moments in daily life that often go unnoticed. With what she calls a “toy-maker’s mindset,” she uses metal, enamel, resin, fabric, and thread to create works that break free from the traditional jewellery form, transforming into miniature theatrical worlds where objects, animals, and cultural memory intertwine.
The Second That Twitched, Exhibition view, Courtesy of A Space Gallery In Qianying’s world, art doesn’t strive to deliver grand statements—it responds to odd, fleeting, and deeply real moments: a quick snapshot of someone playing tennis, a falling grape, a crumpled black candy bag, and a sudden spill of popcorn. These tiny, amusing incidents resemble involuntary twitches—fleeting, funny, and yet somehow tender. They offer unexpected access to emotions tied to time, memory, and imagination.
The Second That Twitched, Exhibition view, Courtesy of A Space Gallery The reimaged Chinese zodiac serves as a central thread throughout the exhibition. For Qianying, the zodiac is not only a fixed symbol of tradition but also a visual and material embodiment of time. In her works, the twelve animals become actors in narrative fragments: sometimes resembling toys, sometimes food, sometimes mischievously tangled with symbols of restriction.
In Oops, all twelve zodiac animals In Oops, the twelve zodiac animals become popcorn in disguise, capturing the chaotic moment of a sudden spill. In Chicken Box, they take the form of fried chicken, humorously recontextualised into fast-food culture. In Discussion of Dragons Is Not Allowed, the dragon symbol is quietly paired with a prohibition sign, suggesting a silent yet potent tension that sparks a sense of absurd reflection.
The Second That Twitched, Exhibition view, Courtesy of A Space Gallery Qianying’s pieces aren’t always carefully pre-planned—they emerge organically through playing. For her, practice leads to thought. Through tactile repetition and material exploration, she builds stories without scripts. Inspiration often comes from what she calls “unimportant things”: forked and steaming food, vintage toys, prohibition symbols, tennis, candies tumbled out, and most sentimentally, the worn eyes of a toy sheep that has slept beside her since birth. These intimate, honest emotions are embedded into the very texture of her work.
The Second That Twitched, Exhibition view, Courtesy of A Space Gallery The Second That Twitched is not an exhibition about time, but the sensitivity to micro-moments. It invites us to notice the things that twitch, glitch, or gently interrupt the everyday—a popcorn kernel mid-air, a smile forming too soon, a soft chaos tucked inside a brooch. Qianying aims for her art to be light-hearted and playful, using humor as a gentle way to prompt a second thought or a subtle shift in perspective.
Opening Reception
May 25, 2025 | 5 – 7 PMVenue
A Space Gallery, 13 Grattan St, #402, Brooklyn, NY 11206Artist
Qianying ZhuExhibition Dates
May 25 – June 7, 2025Gallery Hours
Thursday – Sunday | 2:00 – 6:00 PMWebsite
https://www.aspacegallery.net/Instagram
https://www.instagram.com/aspace____/Contact
aspacebj@gmail.com(Text and images courtesy of A Space Gallery)
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Innovations in Art, Fashion & Design: Highlights from the 2025 GAMMA Exhibition in Hong Kong
Poster Credit: Global Alliance of Marketing & Management Associations Exhibition Date
July 24 – 27, 2025Venue
The Fashion Gallery (Jockey Club Innovation Tower) -> (Link)Co-hosts
– School of Fashion & Textiles, The Hong Kong Polytechnic University
– Global Alliance of Marketing & Management AssociationsPartners
Korean Scholars of Marketing Science
Center for Sustainability & Wellbeing, Yonsei UniversitySponsors
– Korea Economy and Management Development Institute
– CSW Lab Inc.Award Committee
– Committee Chair: Erin Cho, The Hong Kong Polytechnic University, Hong Kong
– Art Director: Juhyun Kim, Kyungsung University, Republic of Korea
– Benjamin Voyer, ESCP Europe, UK
– Raffaele Donvito, University of Florence, Italy
– Aluna-Yue Lyu, China Central Academy of Fine Arts, China
– Eun Joo Kim, Terra Design Studio, USA
– Yangbin Park, The University of Memphis, USA
– Webson Ji, Asian Art Contemporary, USA
– Su young Lee, Kunsan National University, Republic of Korea
– Jeanne Tan, The Hong Kong Polytechnic University, Hong Kong
**Award winners ‘Artists of the Year’ will be selected through evaluation by an international team of juries.Areas
– Fine Arts (Painting, Sculpture)
– Design (Fashion, Textile, Architecture, Industrial, Visual)
– Community Art (Image)Registration for Exhibition
Application Fee: Free
Group Exhibition: 100USD / 1 image
Solo Exhibition: 800USD
*If you would like to have a solo exhibition, please inquire by email.
*A certificate of participation in the exhibition will be issued.
For solo exhibition, the digital leaflet will be provided.
**The printed image will be displayed.Submission Guidelines
Submission Deadline: 31 May 2025
Email: gammaart@yahoo.com
*You can submit 5 works.
*Download and complete ‘Application Form’ (You can download the file below)
*Submit a file (pptx file only)
*Labeling your application (Name, Nationality)
*Language: EnglishBrief History of the ‘GAMMA Young Artist Competition & Exhibition’
2024 GAMMA Art, Fashion & Design Exhibition in Milan
Venue: University of Milan, Milan, Italy
2020 GAMMA Young Artist Competition Virtual Event
2019 GAMMA Young Artist Competition
Venue: ESCP Europe, Paris, France
2018 GAMMA Young Artist Competition
Venue: Hotel New Otani Tokyo, Tokyo, Japan
2017 GAMMA Young Artist Competition
Venue: University of Vienna, Vienna, Austria
2016 GAMMA Young Artist Competition
Venue: Conrad Hong Kong, Hong KongLearn More
https://2025gmc.imweb.me(Text and images courtesy of Global Alliance of Marketing & Management Associations)
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Artemin Gallery Presents Will There Be Morning Light in the Sleepless Nights, a Solo Exhibition by Atom Pavarit
Poster Credit: Artemin Gallery Bangkok’s rapid urbanisation has drastically reduced the city’s green spaces, leaving residents increasingly disconnected from nature. Public parks have given way to shopping malls, and concrete and glass now dominate the skyline. As a result, many people find themselves confined to artificial environments, distanced from the natural world. This transformation extends beyond physical surroundings; it reshapes how we experience light. With modern life increasingly moving indoors, our exposure to natural sunlight has diminished, aecting both physical and mental well-being. The warmth of the sun has been replaced by the cool glow of LED lights and digital screens, which quietly govern the rhythms of our days and nights.
The Light That Never Goes Out, 2025, Oil on canvas, 100 x 100 cm In this series, Atom Pavarit reflects on his own routine between Pak Chong and Bangkok, where direct encounters with nature or natural light have become increasingly rare. His world is lit by artificial sources: screens, overhead bulbs, and the filtered rays that slip in through windows. Across the series, windows become a quiet but persistent presence. Whether it’s the soft spill of light through a real window or the electric glare of a digital screen mimicking one, each painting contains a frame—a threshold between interior and exterior, real and artificial. These windows serve as both openings and boundaries. They let light in, but also remind us of our distance from the outside world. In the absence of natural access, even screens begin to resemble windows, oering simulated light, curated landscapes, and secondhand experience.
End Once More, 2025, Oil on canvas, 90 x 160 cm His palette, rich in yellows, greens, and blues, echoes the light we encounter every day—whether from the sun or from our devices. Yet this familiar glow plays a subtle trick. While the colors may suggest natural light, their sources of inspiration are often artificial, drawn from household fixtures and screen-based illumination. Atom rarely uses white paint in this series; instead, he leaves parts of the canvas untouched to suggest light in its purest form.
Ironically, many of the works were inspired by the artist’s home and studio in Pak Chong, a place surrounded by nature. Yet the scenes he paints are almost always viewed from within. Windows frame the world outside rather than immersing us in it. The remaining works reflect his time in Bangkok, where access to open air and sunlight is even more limited.
Light Without Sun, 2025, Oil on canvas, 48 x 60 cm Though these paintings may appear serene, they quietly ask a question: Is this our new reality—framed, filtered, and confined? Do we still have a choice? Today, we are invited to “experience” nature and light in curated environments, through immersive exhibitions, indoor installations, or the mediated glow of screens. In this context, the series asks us to reconsider how we perceive space, light, and connection in an era when even our access to the outside world is increasingly controlled and constructed.
Light, long seen as a symbol of guidance and hope, once led the way. But in a world shaped by artificial glow, the artist gently asks: As natural light fades and digital brightness takes over, can we still find our hope and purpose? Will it lead us home, or have we already lost our way?
Venue
Artemin Gallery, 1F. No. 32, Ln. 251, Jihe Rd., Shilin Dist., Taipei City 111012, TaiwanArtist
Atom PavaritExhibition Dates
May 3 – June 7, 2025Gallery Hours
Tuesday – Saturday | 11 AM – 6 PMWebsite
https://www.artemingallery.comInstagram
https://www.instagram.com/artemin.gallery/Contact
info@artemingallery.com(Text and images courtesy of Artemin Gallery)
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PKM Gallery Presents LAZY, a Solo Exhibition by Pop Artist SAMBYPEN
Poster Credit: PKM Gallery PKM Gallery presents LAZY, a solo exhibition by pop artist SAMBYPEN, from April 12th to May 17th. SAMBYPEN has reinterpreted contemporary popular culture with humor and satire. Celebrating a decade of his debut, the exhibition showcases approximately 18 new paintings that explore the psychology of laziness in modern life. Throughout the show, merchandise featuring iconography from the works and original music by emerging artists inspired by its theme will be released in stages.
SAMBYPEN has established a distinct visual language by parodying and creating new characters drawn from commercial brands and cultural artifacts familiar to the public. His work playfully subverts recognizable imagery and phenomena from contemporary consumer society—including corporate mascots, animated characters, internet memes, films, and masterpiece paintings—and questions the distinction between the real and the artificial. Guided by the ethos of art for everyone, his practice fosters an accessible dialogue with audiences, encouraging them to engage their imagination as a means of navigating the complexities of modern life.
CROWD, 2025, Acrylic on wood and canvas, 97 x 193.9 cm In LAZY, SAMBYPEN examines the psychology of laziness in contemporary society. As people grow increasingly accustomed to the speed of fast-forward media and short-form content, they often find themselves disoriented— facing a flood of tasks that feel not urgent but bothersome. The character Bomb! personifies this unease—hesitation, fear, and helplessness that arise when responsibilities are repeatedly postponed. Appearing in states of exhaustion, psychological breakdown, or imminent explosion, Bomb! inhabits painterly scenes drawn from modern works of Edward Hopper and Édouard Manet, where animated characters from The Simpsons, Pokémon, and Casper the Friendly Ghost are featured—confronting viewers with a surreal ensemble that blends melancholy and mischief.
The sculptural paintings—produced through a layered process of pen drawing, digital graphics, CNC machining, and brushwork—represent a core part of SAMBYPEN’s visual language. Also known for his street graffiti, the artist introduces his Wall series for the first time in a gallery setting. These works draw from his graffiti practice, built through layers of spraying, painting, sanding, and redrawing, resulting in textured surfaces that evoke the weathered façades of city walls. Within these compositions, faded texts and illustrations mingle with dynamite, tanks, and cheerful animal and plant characters. The word FAKE, stamped across the surface like bubblegum stickers, poses a blunt question: Is fine art truly pure? With a language that is both concise and direct, SAMBYPEN continues to navigate the shifting lines between the real and the artificial, and between fine art and commercial culture.
Child Wall, 2025, Mixed media on canvas, 227.3 x 181.8 cm Having spent his childhood in Europe and the United States, SAMBYPEN began experimenting with parody during his school years in Poland, where he recognized striking similarities between socialist imagery and the advertisements of New York’s Times Square. Since his first solo exhibition in 2015—where he satirized the Michelin mascot—he has held numerous exhibitions in Seoul, Tokyo, Hong Kong, Las Vegas, and Miami. He has also collaborated with major brands including Nike, Porsche, Adobe, and KB Kookmin Card, expanding his practice across diverse media including product design, murals, and public art.
Venue
40, Samcheong-ro 7-Gil, Jongno-gu, Seoul, 03049Artist
SAMBYPENExhibition Dates
April 12 – May 17, 2025Gallery Hours
Tuesday – Sunday | 10 AM – 6 PMWebsite
https://www.pkmgallery.comInstagram
https://www.instagram.com/pkmgallery/?hl=enContact
INFO@PKMGALLERY.COM(Text and images courtesy of PKM Gallery)
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The Stroll gallery Presents Sound at First Touch, a Solo Exhibition by Suzy Kim
Poster Credit: The Stroll Gallery The Stroll Gallery by Stella A&C (hereinafter called The Stroll Gallery), a Hong Kong-based venue that has been introducing the works of Korean artists, will host Suzy Kim’s solo exhibition <인사 | Insa: 맞닿은 첫울림 (Sound at First Touch) > from May 9 to May 24. This exhibition explores the intersection of gesture, sound, and cultural memory, inviting visitors to reflect on stillness in the flow of time.
The artist’s creative process involves tracing the body’s form while bowing in the adhesive, layering paint and peeling away to reveal imprints. The resulting works are not merely paintings, they are preserved performances, with each layer documenting a moment in time and each stroke embodying a dialogue between discipline and spontaneity.
Insa 2, 2023, Acrylic and mixed media on canvas, 120 x 24 cm Marking her first solo exhibition, Kim deeply engages with her Korean identity and the influences of Korean artists who have come before her, especially Dansaekhwa (단색화) artists. In Korean, ‘인사’ means “to greet someone” with the gesture of bowing. This act captivated the artist due to the meaning and intention behind it, representing tradition, respect and ritual within her culture. By connecting with her Korean heritage and honoring those artists who paved the way, she discovers the dialogue between past and present, as well as the beat of her Korean identity.
With this exhibition, The Stroll gallery hopes to provide viewers with an opportunity to connect with the rhythm of their inner selves, going beyond mere visual appreciation.
The exhibition will run from May 9 to May 24 at The Stroll Gallery. For further information, please refer to the gallery’s official website and Instagram, or visit the gallery during the exhibition period.
Blue Piece, 2023, Acrylic and mixed media on canvas, 60 x 90 cm Venue
The Stroll gallery, Unit 504, 5F, Vanta Industrial Centre, 21-23 Tai Lin Pai Road, Kwai ChungArtist
Suzy KimExhibition Dates
May 9 – 24, 2025Gallery Hours
Tuesday – Saturday | 11 AM – 7 PMWebsite
www.thestroll.galleryInstagram
https://www.instagram.com/thestroll_gallery/Contact
info@thestroll.galleryAbout Artist
Suzy Kim (b.1998)
(IG Link: @suzykimstudios / Website: https://www.suzykimsooji.com/)
Suzy Kim is a Korean artist born in Seoul, currently based in Hong Kong. She explores the “journey of creation” that arises from repetitive actions. Her unique technique, which involves creating forms with adhesive and filling them with paint, is inspired by Korean sentiment and the philosophy of Dansaekhwa (단색화: Korean Monochrome Painting), visualizing the boundary where the artist’s inner world meets the external world. Having majored in Studio Art and English at Boston College, she gained recognition for her artistic merit by receiving the 2021 Allison R. McComber Junior Award. She continues to actively present her unique perspective through numerous group exhibition in the United States. Currently, she is expanding her identity as a Korean artist while establishing herself as a promising creator based in Hong Kong.
About The Stroll Gallery by Stella A&C
Stroll, an online platform that has been introducing the value and beauty of Korean crafts in Hong Kong, has transformed into The Stroll Gallery in Kwai Chung in July 2022.
In line with the Hong Kong government’s industrial area revitalization policy, The Stroll Gallery creates and delivers new values and aesthetics by transforming an industrial place of history into a venue of art and culture by converging various fields of crafts, art, and technology. The Stroll Gallery has been created as a new concept space that combines Korean art and culture through our high-quality art sense and design capability.
The Stroll Gallery has introduced Korean crafts and artists to major art and cultural organizations in Hong Kong such as the Korean Cultural Center Hong Kong, M+ Museum, and IFC Mall, and will continue to bring more diverse Korean artists to Hong Kong and the world.
(Text and images courtesy of The Stroll Gallery)
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Gallery Playlist Presents Vivid Touch, a Solo Exhibition by Seoyoung Jo
Poster Credit: Gallery Playlist Gallery Playlist is pleased to present Vivid Touch, a solo exhibition by Jo Seoyoung, on view from April 5 to May 10, 2025. The show captures the artist’s painterly approach to observing and recording fleeting moments from everyday life through delicate colors and forms. Jo Seoyoung runs her own handmade paint brand, Mangwon Color, and brings a thoughtful and ongoing exploration of color to her work. Her paintings are filled with vibrant yet subtle tones that reflect her sensitivity and curiosity. For Jo, painting is not separate from life but a natural part of her daily rhythm. Her practice flows freely across subjects like portraits, still lifes, and landscapes without being tied to a single format. The exhibition includes 21 paintings, featuring both new works and selected earlier pieces.
Sweet Breeze, 2025, Oil on canvas, 145.5 x 112.1 cm Venue
Gallery Playlist, 3, Daecheong-ro 138beon-gil, Jung-gu, Busan, Republic of KoreaArtists
Seoyoung JoExhibition Dates
April 5 – May 10, 2025Gallery Hours
Wednesday – Sunday | 11 AM – 6 PMWebsite
http://www.galleryplaylist.comInstagram
https://www.instagram.com/galleryplaylistContact
info@galleryplaylist.comAbout Artist
Seoyoung Jo (b.1999) graduated from the Department of Painting at Hongik University in 2023. She has held solo exhibitions such as A pinch of Salt (VODAGallery, 2023), and THE FREEZING POINT (KT&G Gallery, 2023). She has also participated in various group exhibitions including Shimmering Sensory Pieces (Unbound, 2024), CATCH HOUR: Gradation moment (Oksang Factory, 2024), Vanilla Sky : Eternal Moments (K Auction, 2024), Inseparable : Reality and Fantasy (Gallery Playlist, 2024), Cheek to Cheek (S24, 2023), and DAYS, DAYS, DAYS! (Hongik Museum of Contemporary Art, 2022).
(Text and images courtesy of Gallery Playlist)
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Realities Reimagined: ARARIO GALLERY Presents at Art Busan 2025
Poster Credit: ARARIO Gallery ARARIO GALLERY will participate in Art Busan 2025, held from May 8 (Thu) to 11 (Sun) at BEXCO in Busan. For this year’s fair, the gallery presents a diverse range of artistic practices that explore the boundary between reality and imagination, experiment with materials and media, and delve into personal and collective memory, highlighting how these artists have contributed to expanding the discourse of contemporary art.
CHA Hyeonwook, Wandering Things, 2025, Powdered color pigment, 73 x 117.4 cm The presentation will showcase the multilayered currents of contemporary art through works that traverse fiction and reality, nature and artifice, and individual memory and social narrative. KANG Cheolgyu (b. 1990, Korea) constructs a fictional world rooted in autobiographical narratives and psychological projection, unfolding a serialized exploration of personal growth. His paintings pursue painterly evolution through persistent brushwork and a deep inquiry into representation. Kohei NAWA (b. 1975, Japan) examines the relationship between the natural and artificial, the individual and the collective. His PixCell series, which merges pixels and cells, questions the nature of imagery in the digital age, dissolving the line between material and immaterial, real and virtual. GWON Osang (b. 1974, Korea) continues his sculptural experiments that blur the boundaries between photography and sculpture, flatness and three dimensionality. His hybrid works redefine the format of contemporary sculpture through a profound investigation of materiality. Subodh GUPTA (b. 1964, India) reflects on rapid urbanization, globalization, and cultural hybridity by incorporating everyday Indian objects, breaking down the boundary between the sacred and the mundane. His work examines sociocultural and economic contexts while contemplating human existence in a globalized world.
CHOI Byungso (b. 1943, Korea) transforms the materiality of newspapers through a repetitive, meditative act of erasure. This performative approach has shaped an important trajectory within Korean experimental art, offering deep reflection on the essence of matter alongside formal exploration. AHN Jisan (b. 1979, Korea) explores the boundary between reality and imagination through thick layers of paint that emphasize material presence. His works evoke emotional intensity and visual tension, immersing the viewer in an intuitive sensory experience.
KANG Cheolgyu, Dead Beat, 2025, Oil on canvas, 227.5 x 82 cm NOH Sangho (b. 1986, Korea) collects and transforms digital imagery, conducting a unique experiment that combines analog sensibilities with digital environments across painting, sculpture, and video. His work proposes new aesthetic possibilities through contemporary technology. Yuki SAEGUSA (b. 1987, Japan) blends elements of Japanese landscape painting and Northern European painting traditions, rendering complex memories and emotions through a delicate fusion of oil and tempera. Her landscapes invite introspection through sensory exploration of nature and the inner self. WON Seoung Won (b. 1972, Korea) constructs fantastical narrative rich scenes by collaging hundreds of photographs. Her works transform everyday experiences and memories into imaginative tableaux, offering keen insights into human existence with wit and visual storytelling. CHA Hyeonwook (b. 1987, Korea) merges the techniques of traditional Korean colored painting with the spontaneity of Western painting to reimagine personal memories as landscapes. His works explore the boundaries between time and space, self and other, tradition and modernity. LIM Subeom (b. 1997, Korea) envisions a mythological ecosystem where nature and civilization intertwine, prompting a reevaluation of humanity as an integral part of an organic world.
GWON Osang, Reclining Figure(K), 2022, Archial pigment print, mixed media, 220 x 115 x 120 cm At Art Busan 2025, Arario Gallery will present the works of KANG Cheolgyu, Kohei NAWA, GWON Osang, Subodh GUPTA, CHOI Byungso, AHN Jisan, NOH Sangho, Yuki SAEGUSA, WON Seoung Won, CHA Hyeonwook, and LIM Subeom, each artist exploring the human condition and the world through their unique visual language. Together, their works will showcase the dynamic potential and expansive narratives of Asian contemporary art on the global stage.
Venue
BEXCO, BusanExhibition Dates
May 8 – 11, 2025Booth
B-16Artist
KANG Cheolgyu, Kohei NAWA, GWON Osang, Subodh GUPTA, CHOI Byungso, AHN Jisan, NOH Sangho, Yuki SAEGUSA, WON Seoung Won, CHA Hyeonwook, LIM SubeomWebsite
https://www.arariogallery.comInstagram
https://www.instagram.com/arariogallery_official/Contact
Youngshin LEE, Sales Manager
M. +82 10 4943 0797 / E. youngshin.lee@arariogallery.com
Sojung KANG, Executive Director
M. +82 10 9256 1491 / E. sojung.kang@arariogallery.com(Text and images courtesy of ARARIO GALLERY)
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LATITUDE 28 Presents To look, and to look again at Art Dubai 2025
Poster Credit: LATITUDE 28 This exhibition grapples with flux. It moves in gestures of tension and release—between material and illusion, inheritance and reinvention, recognition and estrangement. The works assembled here refuse containment, slipping between thresholds of the seen and the unseen, the personal and the political, the traditional and the disruptive. They demand a different kind of seeing—not passive observation but an active exchange, where perception is constantly tested, shifted, and redefined.
To Look, and To Look Again brings together a group of contemporary artists whose practices question the visible and surface-bound, inviting viewers to look beneath and beyond. Beneath each artwork lies another—an accumulation of marks, stories, and absences. Like sediment, meaning builds in layers: through memory, erosion, fracture, and return. This is not just a visual experience, but an archaeological one. What we see is shaped by what came before—what was buried, forgotten, or refused. The past hums beneath our feet, pressing upward, reshaping the present.
Sanket Viramgami, Untitled, 2025, Acrylic on canvas, 60 x 48 inches Some artists approach this space through a deconstruction of form. Farhat Ali splices visual languages together—miniature, pop, and mass culture—to expose the seams of constructed narratives. Noor Ali Chagani structures longing into brick and mortar, where walls become symbols of both shelter and separation. Sudipta Das constructs fragile paper sculptures that embody the tension between permanence and precarity, displacement and home. Sanket Viramgami merges Persian, Indian, and contemporary idioms into surreal, layered landscapes where time and tradition collapse. Viraj Khanna manipulates textile and embroidery to blur artifice and identity—each stitch an interrogation of power and privilege.
Others explore the instability of narrative itself. Waswo X. Waswo stages identity as a performance, exposing the rehearsed nature of selfhood. Ketaki Sarpotdar lets fable unravel, allowing memory and myth to bleed into one another. Gopa Trivedi inscribes time onto surface, dissolving the divide between personal history and collective memory. Shalina Vichitra uses the language of cartography to map displacement and belonging, where territories shift and borders breathe. Waseem Ahmed reinterprets traditional forms through a socio-political lens, subverting historical motifs to challenge power and visibility. Some artists turn to material itself as a site of resistance. Ravinder Reddy Gavva distorts figuration toward excess, stretching beauty until it fractures into critique. Maryam Baniasadi reimagines the environment not as setting, but as force—where decay and regeneration are bound in constant, entangled motion. Khadim Ali, informed by the trauma of forced migrations, threads together miniature painting traditions and contemporary conflict to explore the interplay of power, memory, and exile.
Maryam Baniasadi, Call for Spring, 2024, Gouache on wasli, 6.5 x 8 inches (12 x 14 inches) Across these works, boundaries break and reform. Surfaces refuse stasis. What is erased lingers as an imprint. Meaning is never fixed—it unfolds in motion, through the act of looking, and looking again.
To see, then, is to negotiate: between knowing and unknowing, certainty and ambiguity, the visible and the implied. In this space, looking becomes an excavation. These works do not offer resolution—they open fault lines. The image is only the beginning. Beneath it: gestures rephrased, histories resurfaced, maps redrawn.
The challenge is not just to see—but to return.
To look, and to look again.
–Curatorial Text by Khushboo Jain
Preview
April 16, 2025 | 2 – 9 PM
April 17, 2025 | 2 – 9 PMBooth No.
B13 ( Arena – Hall1)Venue
Madinath Jumeirah, Jumeirah, Beach Road AI Sufouh1, Dubai, UAEPublic Days
April 18, 2025 | 2 – 9 PM
April 19, 2025 | 2 – 9 PM
April 20, 2025 | 12PM – 6 PMArtists
Farhat Ali, Gopa Trivedi, Ketaki Sarpotdar, Khadim Ali, Maryam Baniasadi, Noor Ali Chagani, Ravinder Reddy Gavva, Sanket Viramgami, Shalina Vichitra, Sudipta Das, Viraj Khanna, Waseem Ahmed, Waswo X. WaswoWebsite
www.latitude28.comInstagram
https://www.instagram.com/latitude_28/Contact
latitude28@gmail.comAbout LATITUDE 28
Established in 2010, LATITUDE 28 has redefined contemporary gallery practice with its lateral, avant-garde approach. The gallery stands as a vanguard in nurturing and showcasing emerging South Asian artists by championing experimental material-based practices while fostering meaningful connections among stakeholders -artists, collectors, patrons, arts professionals, and enthusiasts. By prioritising mentoring and capacity building, it shapes creative practices, through programs that drive cultural discourse across the region and beyond.
The gallery’s commitment to inclusivity and accessibility makes it a critical nexus for cultural exchange, connecting artists with leading institutions worldwide. Through curated exhibitions that weave together art, history, and socio-political narratives, LATITUDE 28 facilitates an understanding of the forces shaping contemporary society. This approach ensures that each exhibition is a dynamic, immersive experience that engages and challenges audiences.
As an incubator of innovative artistic expressions, the gallery facilitates dynamic exchanges through site-specific artworks, artist talks, and immersive curatorial experiences, setting new standards for what galleries can achieve. Its influence in shaping artistic discourse and inspiring collections is felt across continents, making LATITUDE 28 an essential player in global cultural conversations.
Under the strategic leadership of Founder and Director Bhavna Kakar—also the Founder and Editor-in-Chief of TAKE on Art, South Asia’s premier contemporary art publication—LATITUDE 28 has cultivated a robust network of collectors and patrons. This network extends deeply into the Global artistic ecosystems, bridging continental divides and enhancing cross-cultural dialogues.
(Text and images courtesy of LATITUDE 28)
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Tang Contemporary Art Presents Failure as Fuel: On Berbrain’s Embrace of the Uncertain by Bernandi Desanda
Poster Credit: Tang Contemporary Art Tang Contemporary Art proudly presents Berbrain’s first solo exhibition in Bangkok, Failure as Fuel: On Berbrain’s Embrace of the Uncertain. Working primarily with oil, pigment sticks, solid markers, and spray on canvas, Berbrain constructs fragmented, open-ended narratives that privilege process over resolution. His works function not as definitive statements, but as moments suspended within an ongoing, evolving story. By capturing scenes that resemble the aftermath or midpoint of a battlefield, Berbrain leaves viewers questioning: what happened? What’s next? Has something failed, or succeeded? The artist refuses to offer clear outcomes, instead inviting the audience to participate in redefining what success or failure might mean.
In a culture that celebrates clarity and completion, failure remains one of the most radical ideas for an artist to explore. We’re conditioned to view failure as a fall, a flaw, a deviation from the ideal. But what if failure is not the opposite of success, but its necessary companion? What if that detour is where the real work begins? Berbrain does not treat failure as defeat but frames it as possibility. His practice begins with questions: What does it mean to face fear head-on? What happens when we lean into uncertainty, rather than escape it? His paintings carry the quiet, charged energy of risk—not the dramatic kind that demands attention, but the everyday courage to continue without knowing the outcome.
Sanctuary of Dreams, 2025, Mixed media on canvas, 200 x 200 cm This exhibition collapses the binary between failure and success. Berbrain’s visual language, rich with dreamlike symbols, dynamic gestures, and bodies mid-metamorphosis, suggests that to be alive is to be in flux. Nothing is settled. Every failure carries the seed of a new direction, a new question, a new possibility. Far from a collapse, failure becomes a space of rehearsal, invention, and play. In Berbrain’s universe, falling short is a strategy, not a setback. It is in the friction of effort—the slips, the doubts, the internal monsters—that something real takes shape. Fear runs parallel throughout these works, not cast aside or conquered, but absorbed into the process. Fear becomes material: a starting point rather than a stop sign. Whether exploring internal struggles or fantastical worlds where danger and joy intertwine, Berbrain treats fear as a source of momentum rather than paralysis.
This is not an exhibition about overcoming failure. It’s about staying with it long enough to understand what it reveals. It’s about embracing the uncertain not in spite of its difficulty, but because of it. Berbrain’s work speaks to a shared condition in contemporary life: the demand to appear confident, composed, and perpetually successful. His art cuts through that illusion, creating space for the unspoken—fear of falling, the weight of trying again, and the strength it takes to risk vulnerability in public. The paintings offer not just reflection, but invitation. They suggest that failure might not be something to avoid but something to move toward. That within conscious, wholehearted failure lies a form of freedom that conventional success cannot provide. Berbrain’s art offers space: to feel, to question, to fall and get up again. In this, the work does not merely represent failure—it reclaims it.
Opening Reception
April 26, Saturday | 4:00 PMVenue
Room. 201 – 206, River City Bangkok, 23 Soi Charoenkrung 24, Talad noi, Sampantawong,Bangkok,10100, ThailandArtist
Bernandi DesandaExhibition Dates
April 26 – June 1, 2025Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.tangcontemporary.comInstagram
https://www.instagram.com/tangcontemporaryart/Contact
bkk@tangcontemporary.comAbout the Artist
Bernandi Desanda (Berbrain)
b.1996, Tangerang, IndonesiaBernandi Desanda or Berbrain was graduated from Indonesian Institute of The Arts, Yogyakarta, Faculty of Design, Department of Visual Communication Design in 2021.
Since 2015, Bernandi has chosen to focus on visual arts, particularly painting. After graduating, Bernandi decided to pursue a career as a full time artist and currently lived in Yogyakarta.
He is also recognized as Berbrain. He is an artist whose creative journey is rooted in imagination, The name “Berbrain” encapsulates the notion of “Bernandi’s thoughts,” elegantly combining ‘Ber’ and ‘Brain’. An undeniable passion for animals, monsters, and all things uncanny courses through Berbrain’s creative veins.
This fervor consistently finds its expression in the art he produces today, a majority of which draws inspiration from these captivating realms. Notably, the enchanting universe of cartoon characters also contributes to the tapestry of his creations. It’s within this artistic landscape that Bernandi skillfully weaves together the essence of monsters, animals, and animated personas, breathing life into a symphony of new and captivating species.
About Tang Contemporary Art
Since its founding in Bangkok in 1997, Tang Contemporary Art has opened 8 spaces in Beijing, Hong Kong, Bangkok, Seoul and Singapore to promote the development of experimental art in different regions. In the past 27 years, Tang Contemporary Art has organized groundbreaking exhibitions in its gallery spaces, and also cooperated with important art institutions in China and abroad to accomplish outstanding art projects. The gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia.
As one of China’s most influential contemporary art platforms, Tang Contemporary Art maintains a high standard of exhibition programming. Tang Contemporary Art represents or collaborates with leading figures in international contemporary art, including Ai Weiwei, Huang Yongping, Shen Yuan, Zhu Jinshi, Chen Danqing, Liu Qinghe, Liu Xiaodong, Chen Shaoxiong, Wang Yuping, Shen Ling, Shen Liang, Wu Yi, Xia Xiaowan, He Duoling, Mao Xuhui, Wang Huangsheng, Yang Jiechang, Tan Ping, Wang Du，Yan Lei, Yue Minjun, Wang Jianwei, Yangjiang Group, Zheng Guogu, Lin Yilin, Sun Yuan&Peng Yu, Qin Ga, Wang Qingsong, Yin Zhaoyang, Feng Yan, Guo Wei, Chen Wenbo, Ling Jian, Qin Qi, Yang Yong, Peng Wei, He An, Zhao Zhao, Xu Qu, Chen Yujun, Chen Yufan, Xue Feng, Cai Lei, Li Qing, Wang Sishun, Xu Xiaoguo, Lí Wei, Liu Yujia, Wu Wei, Yang Bodu, You Yong, Li Erpeng, Jade Ching-yuk Ng, Michelangelo Pistoletto, Adel Abdessemed, Niki de Saint Phalle, AES+F , Michael Zelehosk, Jonas Burgert, Christian Lemmerz, Michael Kvium, Sakarin Krue-On, Rirkrit Tiravanija, Natee Utarit, Kitti Narod, Gongkan, Entang Wiharso, Heri Dono, Nam June Paik, Park Seungmo, Jae Yong Kim, Diren Lee, Dinh Q. Lê, Rodel Tapaya, Jigger Cruz, Ayka Go, Raffy Napay, H.H.Lim, Etsu Egami, etc.
(Text and images courtesy of Tang Contemporary Art)
