Gallery

๋ฐฑ์•„ํŠธโŽฎBAIK ART


๋ฐฑ์•„ํŠธ๋Š” ๋กœ์Šค์•ค์ ค๋ ˆ์Šค, ์„œ์šธ, ์ž์นด๋ฅดํƒ€๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•˜๋Š” ์ปจํ…œํฌ๋Ÿฌ๋ฆฌ ๊ฐค๋Ÿฌ๋ฆฌ์ด๋‹ค. 2014๋…„ ๋กœ์Šค์•ค์ ค๋ ˆ์Šค์—์„œ ์„ค๋ฆฝ๋œ ๋ฐฑ์•„ํŠธ๋Š” ๊ฐœ์ธ์˜ ํ˜ผ์ข…, ์„ธ๊ณ„ํ™”, ๋ฌธํ™”์  ๋””์•„์Šคํฌ๋ผ ๋“ฑ์˜ ์ž‘ํ’ˆ๋“ค์„ ์ž‘์—…ํ•˜๋Š” ์ž‘๊ฐ€๋“ค์„ ์ฃผ๋กœ ์†Œ๊ฐœํ•œ๋‹ค. ๋ฐฑ์•„ํŠธ๋Š” 2016๋…„๋ถ€ํ„ฐ ์„œ์šธ๊นŒ์ง€ ๊ธฐ๋ฐ˜์„ ํ™•์žฅํ•˜์—ฌ ๋‘ ๋„์‹œ ๊ฐ„์˜ ํ™œ๋ฐœํ•œ ์˜ˆ์ˆ  ๊ต๋ฅ˜๋ฅผ ๋„๋ชจํ•˜์˜€๋‹ค. 2022๋…„, ๋ฐฑ์•„ํŠธ ์„œ์šธ์€ ์žฅ์†Œ๋ฅผ ์ด์ „ํ•˜์—ฌ ํ•œ์˜์ˆ˜ ๊ฐœ์ธ์ „์œผ๋กœ ์žฌ๊ฐœ๊ด€ํ•˜์˜€์œผ๋ฉฐ, ์„œ์šธ์— ์ด์–ด ์ž์นด๋ฅดํƒ€ ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ ๊ฐœ๊ด€ํ•˜์˜€๋‹ค. ์ด๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ์ „์‹œ, ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜, ๋ ˆ์ง€๋˜์Šค, ์•„ํ‹ฐ์ŠคํŠธ ํ† ํฌ ๋“ฑ์˜ ํŠน์ƒ‰ ์žˆ๋Š” ํ”„๋กœ๊ทธ๋žจ๊ณผ ํ•จ๊ป˜ LA์™€ ์„œ์šธ์˜ ๋ฏธ์ˆ ์„ ์—ฐ๊ฒฐํ•˜๋Š” ์„ ๋„์ ์ธ ์—ญํ• ์„ ์ˆ˜ํ–‰ํ•  ๊ฒƒ์ด๋‹ค.


BAIK ART is a contemporary art gallery based in Los Angeles, Seoul, and Jakarta. Established in Los Angeles in 2014, BAIK ART has introduced artists whose works deal with individual hybridity, globalization, and cultural diaspora. In 2016, BAIK ART expanded its presence to Seoul, promoting an active artistic exchange between the two cities. In 2022, BAIK ART launched its third location in Jakarta while Baik Art Seoul simultaneously relocated and reopened with an inaugural solo exhibition of Han Youngsoo.

ํ”ฝ์…€ ์•„ํ‹€๋ผ์ŠคโŽฎPixel Atlas

Humble Cottage (ํ—˜๋ธ” ์ฝ”ํ‹ฐ์ง€), 2023โ€“2025  Single-channel, 4K video, sound, black and white / ์‹ฑ๊ธ€ ์ฑ„๋„, 4K ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ, ํ‘๋ฐฑ  Edition 2/5 + 2 AP / ์—๋””์…˜ 2/5 + AP 2์   Duration: 5:37 / ๋Ÿฌ๋‹ํƒ€์ž„: 5๋ถ„ 37์ดˆ
Humble Cottage (ํ—˜๋ธ” ์ฝ”ํ‹ฐ์ง€), 2023โ€“2025  Single-channel, 4K video, sound, black and white / ์‹ฑ๊ธ€ ์ฑ„๋„, 4K ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ, ํ‘๋ฐฑ  Edition 2/5 + 2 AP / ์—๋””์…˜ 2/5 + AP 2์   Duration: 5:37 / ๋Ÿฌ๋‹ํƒ€์ž„: 5๋ถ„ 37์ดˆ

Pixel Atlas(ํ”ฝ์…€ ์•„ํ‹€๋ผ์Šค), 2026

Single channel video, sound / ์‹ฑ๊ธ€์ฑ„๋„ ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ

Unique edition (1/1) + 1 Artistโ€™s Proof / ์—๋””์…˜ 1/1 +1AP

Duration: 6:00(loop) / ๋Ÿฌ๋‹ํƒ€์ž„: 6๋ถ„ (๋ฃจํ”„)

๋ณธ ์ž‘์—…์€ ์ž‘๊ฐ€์˜ ๋„์‹œ ์‹œ๋ฆฌ์ฆˆ๋ฅผ ํ™•์žฅํ•œ ์˜์ƒ ์ž‘์—…์œผ๋กœ, ์œ„์„ฑ ์ง€๋„ ๋ฐ์ดํ„ฐ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ๊ตฌ์„ฑ๋œ๋‹ค.

์ด ์ž‘์—…์—์„œ ๋„์‹œ๋Š” ํ•˜๋‚˜์˜ ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ, ์ž‘๊ฐ€๊ฐ€ ์‚ด์•„์˜ค๋ฉฐ ๊ฒฝํ—˜ํ•ด์˜จ ์‹œ๊ฐ„์˜ ํ๋ฆ„ ์†์—์„œ ํ˜•์„ฑ๋œ ์—ฐ์†์ ์ธ ์ธต์œ„๋กœ ๋‹ค๋ค„์ง„๋‹ค. ๋‚˜๊ณ  ์ž๋ž€ ๊ณ„ํš์‹ ๋„์‹œ ๋ถ„๋‹น์„ ์‹œ์ž‘์œผ๋กœ, ํŒŒ๋ฆฌ์™€ ๋ฒ ๋ฅด์‚ฌ์œ ๋ฅผ ๊ฑฐ์ณ ํ˜„์žฌ ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ๋Š” ์„œ์šธ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€, ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์€ ๋‹จ์ ˆ๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ๊ธฐ์–ต๊ณผ ๊ฒฝํ—˜์„ ํ†ตํ•ด ์ด์–ด์ง€๋Š” ํ•˜๋‚˜์˜ ๊ตฌ์กฐ๋ฅผ ํ˜•์„ฑํ•œ๋‹ค. ์ž‘๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ์‹œ๊ฐ„์  ์ด๋™์„ ๋ฐ”ํƒ•์œผ๋กœ, 2014๋…„๊ฒฝ ์ œ์ž‘๋œ ์ดˆ๊ธฐ ์ž‘์—…์„ ๋‹ค์‹œ ํ˜ธ์ถœํ•˜๊ณ  ๋™์ผํ•œ ์žฅ์†Œ๋“ค์„ ์‹œ๊ฐ„์  ๊ฑฐ๋ฆฌ ์†์—์„œ ์žฌ๊ตฌ์„ฑํ•œ๋‹ค.

์œ„์„ฑ์˜ ์‹œ์„ ์œผ๋กœ ํฌ์ฐฉ๋œ ๋„์‹œ ์ด๋ฏธ์ง€๋Š” ํ”ฝ์…€ ๋‹จ์œ„๋กœ ๋ถ„ํ•ด๋˜๊ณ  ์žฌ๋ฐฐ์—ด๋˜๋ฉฐ, ๋„์‹œ๋ฅผ ๊ณ ์ •๋œ ๋ฌผ๋ฆฌ์  ํ™˜๊ฒฝ์ด ์•„๋‹Œ ๊ฐ€๋ณ€์ ์ธ ๋ฐ์ดํ„ฐ์˜ ์žฅ์œผ๋กœ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ์ด ๊ณผ์ •์—์„œ ๊ฐœ์ธ์  ๊ฒฝํ—˜๊ณผ ๋น„์ธ๊ฐ„์  ์‹œ์„ ์ด ๊ต์ฐจํ•˜๋ฉฐ, ๋„์‹œ๋Š” ํŠน์ •ํ•œ ์œ„์น˜์— ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ์„œ๋กœ ๋‹ค๋ฅธ ์‹œ๊ฐ„๊ณผ ๊ณต๊ฐ„์ด ์ค‘์ฒฉ๋˜๋Š” ์ง€๊ฐ์  ๊ตฌ์กฐ๋กœ ์ „ํ™˜๋œ๋‹ค.

์˜์ƒ์€ ๋ฐ˜๋ณต๊ณผ ์ˆœํ™˜์˜ ๊ตฌ์กฐ ์†์—์„œ ์ „๊ฐœ๋˜๋ฉฐ, ์‹œ์ž‘๊ณผ ๋์ด ๊ตฌ๋ถ„๋˜์ง€ ์•Š๋Š” ํ๋ฆ„์œผ๋กœ ๋„์‹œ๋ฅผ ์ œ์‹œํ•œ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ๋ณธ ์ž‘์—…์€ ๊ธฐ์–ต, ๋ฐ์ดํ„ฐ, ์ด๋ฏธ์ง€๊ฐ€ ์ค‘์ฒฉ๋˜๋Š” ๋ฐฉ์‹ ์†์—์„œ, ์‹œ๊ฐ„์— ๋”ฐ๋ผ ๊ฒฝํ—˜๋œ ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์ด ์–ด๋–ป๊ฒŒ ์—ฐ๊ฒฐ๋˜๊ณ  ์ง€์†์ ์œผ๋กœ ์žฌ๊ตฌ์„ฑ๋˜๋Š”์ง€๋ฅผ ํƒ์ƒ‰ํ•œ๋‹ค.


This work is a video piece that expands the artistโ€™s ongoing โ€œcity series,โ€ constructed based on satellite map data.

Here, the city is not treated as a fixed location, but as a continuous layering formed through the passage of time and lived experience. Beginning with Bundangโ€”the planned city where the artist was born and raisedโ€”extending through Paris and Versailles, and arriving at her current home in Seoul, these different cities are not isolated places but form a connected structure through memory and experience. Based on this temporal movement, the artist revisits earlier works from around 2014, reconstructing the same locations across temporal distance.

Captured through the gaze of satellites, urban images are fragmented into pixels and reassembled, revealing the city not as a fixed physical environment but as a mutable field of data. In this process, personal experience intersects with a non-human perspective, transforming the city into a perceptual structure where multiple times and spaces overlap rather than a singular, fixed location.

The video unfolds through a structure of repetition and circulation, presenting the city as a continuous flow without a clear beginning or end. Through this, the work explores how different citiesโ€”experienced over timeโ€”are interconnected and continuously reconfigured within the overlapping layers of memory, data, and image.



์ถ”๋ฏธ๋ฆผ (b.1982) 
Chu Mirim

์ถ”๋ฏธ๋ฆผ์€ ๋””์ง€ํ„ธ ํ™”๋ฉด์˜ ๊ฐ€์žฅ ์ž‘์€ ๋‹จ์œ„์ธ ์ •๋ฐฉํ˜•์˜ ํ”ฝ์…€๊ณผ ์œ„์„ฑ์ง€๋„๋ฅผ ํ†ตํ•ด ๋‚ด๋ ค๋‹ค ๋ณธ ๋„์‹œ์—์„œ ์ถ”์ถœํ•œ ๋„ํ˜•์„ ์ž‘์—… ๋ชจ๋“ˆ๋กœ ํ™œ์šฉํ•˜๊ณ  ์žˆ๋‹ค. ๋™์‹œ๋Œ€์˜ ์ผ์ƒ์  ์‚ฌ์šฉ์ž ํ™˜๊ฒฝ(interface)์„ ์›น๊ณผ ๋„์‹œ๋กœ ์„ค์ •ํ•˜๊ณ , ๊ทธ ํ‘œ๋ฉด์—์„œ ๋А๊ปด์ง€๋Š” ๋””์ง€ํ„ธ ๋…ธ์Šคํ…”์ง€์–ด์™€ ๋„์‹œ์  ๊ฐ์ˆ˜์„ฑ์„ ํ‰๋ฉด, ์„ค์น˜, ์˜์ƒ ๋“ฑ ๋‹ค์–‘ํ•œ ์žฅ๋ฅด๋ฅผ ํ†ตํ•ด ํ‘œํ˜„ํ•˜๊ณ ์ž ํ•œ๋‹ค. ํ˜„์žฌ์—๋Š” ์›น๊ณผ ๋„์‹œ๋ฅผ ์ž‘๋™์‹œํ‚ค๋Š” ๋ฐ์ดํ„ฐ๋กœ ๊ทธ ์‹œ์„ ์„ ํ™•์žฅํ•ด ๋ฐ์ดํ„ฐ ์ค‘์‹ฌ์‚ฌํšŒ์˜ ๋ชจ์Šต์„ ์‚ดํ”ผ๊ณ  ์ด๋ฅผ ์€์œ -ํ™˜๊ธฐ ํ•˜๋Š” ์ž‘์—…์„ ์‹œ๋„ํ•˜๊ณ  ์žˆ๋‹ค. ํ˜„์žฌ ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ์ฃผ์ตœ ํ™์ฝฉโ€“์ƒํ•˜์ด ์ˆœํšŒ์ „ ใ€Šํ‚ค์น˜ ์•ค ํŒใ€‹(2025)์— ์ฐธ์—ฌ ์ค‘์ด๋ฉฐ, ํ”„๋ฆฌ์ฆˆ ์„œ์šธ ์•„์‹œ์•„ ํฌ์ปค์Šค(2025)์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ฃผ์š” ์ „์‹œ๋กœ๋Š” ใ€Š์ Š์€๋ชจ์ƒ‰ 2023: ๋ฏธ์ˆ ๊ด€์„ ์œ„ํ•œ ์ฃผ์„ใ€‹(๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€, ๊ณผ์ฒœ, 2023), ๊ฐœ์ธ์ „ ใ€Š์นด์˜ค์Šค ์ฝฉใ€‹(๋ฐฑ์•„ํŠธ, ์„œ์šธ, 2023)์ด ์žˆ์œผ๋ฉฐ, ๊ฒฝ๋‚จ๋„๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์šธ์‚ฐ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋“ฑ ๋‹ค์ˆ˜์˜ ๊ธฐ๊ด€ ์ „์‹œ์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ž‘ํ’ˆ์€ ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ์ •๋ถ€๋ฏธ์ˆ ์€ํ–‰, ํ•œํ™”๋“œ๋ฆผํ•˜์šฐ์Šค ๋“ฑ์— ์†Œ์žฅ๋˜์–ด ์žˆ์œผ๋ฉฐ, ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ๊ณ ์–‘๋ ˆ์ง€๋˜์‹œ 17๊ธฐ, ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋‚œ์ง€์ฐฝ์ž‘์ŠคํŠœ๋””์˜ค 18๊ธฐ๋กœ ํ™œ๋™ํ–ˆ๋‹ค.


Chu Mirim employs square pixelsโ€”the smallest unit of the digital screenโ€”and geometric forms extracted from satellite views of cities as modules in her work. She frames contemporary user environments (interfaces) as both the web and the city, and seeks to express the sense of digital nostalgia and urban sensibility perceived on these surfaces through various media, including painting, installation, and video.

More recently, her practice has expanded toward the data that operates both the web and the city, examining the structures of a data-driven society while attempting to evoke and metaphorically reflect its conditions. She is currently participating in Kitsch and Pop (2025), a touring exhibition between Hong Kong and Shanghai organized by the Seoul Museum of Art, and took part in Frieze Seoul Asia Focus (2025). Major exhibitions include Young Korean Artists 2023: Notes for the Museum (National Museum of Modern and Contemporary Art, Gwacheon, 2023) and her solo exhibition Chaos Kong (BAEK Art, Seoul, 2023), along with numerous institutional exhibitions at Gyeongnam Art Museum, Ulsan Art Museum, and the Seoul Museum of Art. Her works are held in the collections of the Art Bank of the National Museum of Modern and Contemporary Art and Hanwha Dreamhouse, among others. She has also participated in the 17th Goyang Residency of MMCA and the 18th Nanji Residency of the Seoul Museum of Art.



Gallery

๋ฐฑ์•„ํŠธโŽฎBAIK ART


๋ฐฑ์•„ํŠธ๋Š” ๋กœ์Šค์•ค์ ค๋ ˆ์Šค, ์„œ์šธ, ์ž์นด๋ฅดํƒ€๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•˜๋Š” ์ปจํ…œํฌ๋Ÿฌ๋ฆฌ ๊ฐค๋Ÿฌ๋ฆฌ์ด๋‹ค. 2014๋…„ ๋กœ์Šค์•ค์ ค๋ ˆ์Šค์—์„œ ์„ค๋ฆฝ๋œ ๋ฐฑ์•„ํŠธ๋Š” ๊ฐœ์ธ์˜ ํ˜ผ์ข…, ์„ธ๊ณ„ํ™”, ๋ฌธํ™”์  ๋””์•„์Šคํฌ๋ผ ๋“ฑ์˜ ์ž‘ํ’ˆ๋“ค์„ ์ž‘์—…ํ•˜๋Š” ์ž‘๊ฐ€๋“ค์„ ์ฃผ๋กœ ์†Œ๊ฐœํ•œ๋‹ค. ๋ฐฑ์•„ํŠธ๋Š” 2016๋…„๋ถ€ํ„ฐ ์„œ์šธ๊นŒ์ง€ ๊ธฐ๋ฐ˜์„ ํ™•์žฅํ•˜์—ฌ ๋‘ ๋„์‹œ ๊ฐ„์˜ ํ™œ๋ฐœํ•œ ์˜ˆ์ˆ  ๊ต๋ฅ˜๋ฅผ ๋„๋ชจํ•˜์˜€๋‹ค. 2022๋…„, ๋ฐฑ์•„ํŠธ ์„œ์šธ์€ ์žฅ์†Œ๋ฅผ ์ด์ „ํ•˜์—ฌ ํ•œ์˜์ˆ˜ ๊ฐœ์ธ์ „์œผ๋กœ ์žฌ๊ฐœ๊ด€ํ•˜์˜€์œผ๋ฉฐ, ์„œ์šธ์— ์ด์–ด ์ž์นด๋ฅดํƒ€ ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ ๊ฐœ๊ด€ํ•˜์˜€๋‹ค. ์ด๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ์ „์‹œ, ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜, ๋ ˆ์ง€๋˜์Šค, ์•„ํ‹ฐ์ŠคํŠธ ํ† ํฌ ๋“ฑ์˜ ํŠน์ƒ‰ ์žˆ๋Š” ํ”„๋กœ๊ทธ๋žจ๊ณผ ํ•จ๊ป˜ LA์™€ ์„œ์šธ์˜ ๋ฏธ์ˆ ์„ ์—ฐ๊ฒฐํ•˜๋Š” ์„ ๋„์ ์ธ ์—ญํ• ์„ ์ˆ˜ํ–‰ํ•  ๊ฒƒ์ด๋‹ค.


BAIK ART is a contemporary art gallery based in Los Angeles, Seoul, and Jakarta. Established in Los Angeles in 2014, BAIK ART has introduced artists whose works deal with individual hybridity, globalization, and cultural diaspora. In 2016, BAIK ART expanded its presence to Seoul, promoting an active artistic exchange between the two cities. In 2022, BAIK ART launched its third location in Jakarta while Baik Art Seoul simultaneously relocated and reopened with an inaugural solo exhibition of Han Youngsoo.

๋ฐฑ์•„ํŠธ๋Š” ๋กœ์Šค์•ค์ ค๋ ˆ์Šค, ์„œ์šธ, ์ž์นด๋ฅดํƒ€๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ํ•˜๋Š” ์ปจํ…œํฌ๋Ÿฌ๋ฆฌ ๊ฐค๋Ÿฌ๋ฆฌ์ด๋‹ค. 2014๋…„ ๋กœ์Šค์•ค์ ค๋ ˆ์Šค์—์„œ ์„ค๋ฆฝ๋œ ๋ฐฑ์•„ํŠธ๋Š” ๊ฐœ์ธ์˜ ํ˜ผ์ข…, ์„ธ๊ณ„ํ™”, ๋ฌธํ™”์  ๋””์•„์Šคํฌ๋ผ ๋“ฑ์˜ ์ž‘ํ’ˆ๋“ค์„ ์ž‘์—…ํ•˜๋Š” ์ž‘๊ฐ€๋“ค์„ ์ฃผ๋กœ ์†Œ๊ฐœํ•œ๋‹ค. ๋ฐฑ์•„ํŠธ๋Š” 2016๋…„๋ถ€ํ„ฐ ์„œ์šธ๊นŒ์ง€ ๊ธฐ๋ฐ˜์„ ํ™•์žฅํ•˜์—ฌ ๋‘ ๋„์‹œ ๊ฐ„์˜ ํ™œ๋ฐœํ•œ ์˜ˆ์ˆ  ๊ต๋ฅ˜๋ฅผ ๋„๋ชจํ•˜์˜€๋‹ค. 2022๋…„, ๋ฐฑ์•„ํŠธ ์„œ์šธ์€ ์žฅ์†Œ๋ฅผ ์ด์ „ํ•˜์—ฌ ํ•œ์˜์ˆ˜ ๊ฐœ์ธ์ „์œผ๋กœ ์žฌ๊ฐœ๊ด€ํ•˜์˜€์œผ๋ฉฐ, ์„œ์šธ์— ์ด์–ด ์ž์นด๋ฅดํƒ€ ๊ฐค๋Ÿฌ๋ฆฌ๋ฅผ ๊ฐœ๊ด€ํ•˜์˜€๋‹ค. ์ด๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ์ „์‹œ, ์ฝœ๋ผ๋ณด๋ ˆ์ด์…˜, ๋ ˆ์ง€๋˜์Šค, ์•„ํ‹ฐ์ŠคํŠธ ํ† ํฌ ๋“ฑ์˜ ํŠน์ƒ‰ ์žˆ๋Š” ํ”„๋กœ๊ทธ๋žจ๊ณผ ํ•จ๊ป˜ LA์™€ ์„œ์šธ์˜ ๋ฏธ์ˆ ์„ ์—ฐ๊ฒฐํ•˜๋Š” ์„ ๋„์ ์ธ ์—ญํ• ์„ ์ˆ˜ํ–‰ํ•  ๊ฒƒ์ด๋‹ค.


BAIK ART is a contemporary art gallery based in Los Angeles, Seoul, and Jakarta. Established in Los Angeles in 2014, BAIK ART has introduced artists whose works deal with individual hybridity, globalization, and cultural diaspora. In 2016, BAIK ART expanded its presence to Seoul, promoting an active artistic exchange between the two cities. In 2022, BAIK ART launched its third location in Jakarta while Baik Art Seoul simultaneously relocated and reopened with an inaugural solo exhibition of Han Youngsoo.

๋ฐฑ์•„ํŠธโŽฎBAIK ART


Gallery

ํ”ฝ์…€ ์•„ํ‹€๋ผ์ŠคโŽฎPixel Atlas

Humble Cottage (ํ—˜๋ธ” ์ฝ”ํ‹ฐ์ง€), 2023โ€“2025  Single-channel, 4K video, sound, black and white / ์‹ฑ๊ธ€ ์ฑ„๋„, 4K ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ, ํ‘๋ฐฑ  Edition 2/5 + 2 AP / ์—๋””์…˜ 2/5 + AP 2์   Duration: 5:37 / ๋Ÿฌ๋‹ํƒ€์ž„: 5๋ถ„ 37์ดˆ
Humble Cottage (ํ—˜๋ธ” ์ฝ”ํ‹ฐ์ง€), 2023โ€“2025  Single-channel, 4K video, sound, black and white / ์‹ฑ๊ธ€ ์ฑ„๋„, 4K ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ, ํ‘๋ฐฑ  Edition 2/5 + 2 AP / ์—๋””์…˜ 2/5 + AP 2์   Duration: 5:37 / ๋Ÿฌ๋‹ํƒ€์ž„: 5๋ถ„ 37์ดˆ

Pixel Atlas(ํ”ฝ์…€ ์•„ํ‹€๋ผ์Šค), 2026

Single channel video, sound / ์‹ฑ๊ธ€์ฑ„๋„ ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ

Unique edition (1/1) + 1 Artistโ€™s Proof / ์—๋””์…˜ 1/1 +1AP

Duration: 6:00(loop) / ๋Ÿฌ๋‹ํƒ€์ž„: 6๋ถ„ (๋ฃจํ”„)

๋ณธ ์ž‘์—…์€ ์ž‘๊ฐ€์˜ ๋„์‹œ ์‹œ๋ฆฌ์ฆˆ๋ฅผ ํ™•์žฅํ•œ ์˜์ƒ ์ž‘์—…์œผ๋กœ, ์œ„์„ฑ ์ง€๋„ ๋ฐ์ดํ„ฐ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ๊ตฌ์„ฑ๋œ๋‹ค.

์ด ์ž‘์—…์—์„œ ๋„์‹œ๋Š” ํ•˜๋‚˜์˜ ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ, ์ž‘๊ฐ€๊ฐ€ ์‚ด์•„์˜ค๋ฉฐ ๊ฒฝํ—˜ํ•ด์˜จ ์‹œ๊ฐ„์˜ ํ๋ฆ„ ์†์—์„œ ํ˜•์„ฑ๋œ ์—ฐ์†์ ์ธ ์ธต์œ„๋กœ ๋‹ค๋ค„์ง„๋‹ค. ๋‚˜๊ณ  ์ž๋ž€ ๊ณ„ํš์‹ ๋„์‹œ ๋ถ„๋‹น์„ ์‹œ์ž‘์œผ๋กœ, ํŒŒ๋ฆฌ์™€ ๋ฒ ๋ฅด์‚ฌ์œ ๋ฅผ ๊ฑฐ์ณ ํ˜„์žฌ ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ๋Š” ์„œ์šธ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€, ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์€ ๋‹จ์ ˆ๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ๊ธฐ์–ต๊ณผ ๊ฒฝํ—˜์„ ํ†ตํ•ด ์ด์–ด์ง€๋Š” ํ•˜๋‚˜์˜ ๊ตฌ์กฐ๋ฅผ ํ˜•์„ฑํ•œ๋‹ค. ์ž‘๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ์‹œ๊ฐ„์  ์ด๋™์„ ๋ฐ”ํƒ•์œผ๋กœ, 2014๋…„๊ฒฝ ์ œ์ž‘๋œ ์ดˆ๊ธฐ ์ž‘์—…์„ ๋‹ค์‹œ ํ˜ธ์ถœํ•˜๊ณ  ๋™์ผํ•œ ์žฅ์†Œ๋“ค์„ ์‹œ๊ฐ„์  ๊ฑฐ๋ฆฌ ์†์—์„œ ์žฌ๊ตฌ์„ฑํ•œ๋‹ค.

์œ„์„ฑ์˜ ์‹œ์„ ์œผ๋กœ ํฌ์ฐฉ๋œ ๋„์‹œ ์ด๋ฏธ์ง€๋Š” ํ”ฝ์…€ ๋‹จ์œ„๋กœ ๋ถ„ํ•ด๋˜๊ณ  ์žฌ๋ฐฐ์—ด๋˜๋ฉฐ, ๋„์‹œ๋ฅผ ๊ณ ์ •๋œ ๋ฌผ๋ฆฌ์  ํ™˜๊ฒฝ์ด ์•„๋‹Œ ๊ฐ€๋ณ€์ ์ธ ๋ฐ์ดํ„ฐ์˜ ์žฅ์œผ๋กœ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ์ด ๊ณผ์ •์—์„œ ๊ฐœ์ธ์  ๊ฒฝํ—˜๊ณผ ๋น„์ธ๊ฐ„์  ์‹œ์„ ์ด ๊ต์ฐจํ•˜๋ฉฐ, ๋„์‹œ๋Š” ํŠน์ •ํ•œ ์œ„์น˜์— ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ์„œ๋กœ ๋‹ค๋ฅธ ์‹œ๊ฐ„๊ณผ ๊ณต๊ฐ„์ด ์ค‘์ฒฉ๋˜๋Š” ์ง€๊ฐ์  ๊ตฌ์กฐ๋กœ ์ „ํ™˜๋œ๋‹ค.

์˜์ƒ์€ ๋ฐ˜๋ณต๊ณผ ์ˆœํ™˜์˜ ๊ตฌ์กฐ ์†์—์„œ ์ „๊ฐœ๋˜๋ฉฐ, ์‹œ์ž‘๊ณผ ๋์ด ๊ตฌ๋ถ„๋˜์ง€ ์•Š๋Š” ํ๋ฆ„์œผ๋กœ ๋„์‹œ๋ฅผ ์ œ์‹œํ•œ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ๋ณธ ์ž‘์—…์€ ๊ธฐ์–ต, ๋ฐ์ดํ„ฐ, ์ด๋ฏธ์ง€๊ฐ€ ์ค‘์ฒฉ๋˜๋Š” ๋ฐฉ์‹ ์†์—์„œ, ์‹œ๊ฐ„์— ๋”ฐ๋ผ ๊ฒฝํ—˜๋œ ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์ด ์–ด๋–ป๊ฒŒ ์—ฐ๊ฒฐ๋˜๊ณ  ์ง€์†์ ์œผ๋กœ ์žฌ๊ตฌ์„ฑ๋˜๋Š”์ง€๋ฅผ ํƒ์ƒ‰ํ•œ๋‹ค.


This work is a video piece that expands the artistโ€™s ongoing โ€œcity series,โ€ constructed based on satellite map data.

Here, the city is not treated as a fixed location, but as a continuous layering formed through the passage of time and lived experience. Beginning with Bundangโ€”the planned city where the artist was born and raisedโ€”extending through Paris and Versailles, and arriving at her current home in Seoul, these different cities are not isolated places but form a connected structure through memory and experience. Based on this temporal movement, the artist revisits earlier works from around 2014, reconstructing the same locations across temporal distance.

Captured through the gaze of satellites, urban images are fragmented into pixels and reassembled, revealing the city not as a fixed physical environment but as a mutable field of data. In this process, personal experience intersects with a non-human perspective, transforming the city into a perceptual structure where multiple times and spaces overlap rather than a singular, fixed location.

The video unfolds through a structure of repetition and circulation, presenting the city as a continuous flow without a clear beginning or end. Through this, the work explores how different citiesโ€”experienced over timeโ€”are interconnected and continuously reconfigured within the overlapping layers of memory, data, and image.



์ถ”๋ฏธ๋ฆผ (b.1982) 
Chu Mirim

์ถ”๋ฏธ๋ฆผ์€ ๋””์ง€ํ„ธ ํ™”๋ฉด์˜ ๊ฐ€์žฅ ์ž‘์€ ๋‹จ์œ„์ธ ์ •๋ฐฉํ˜•์˜ ํ”ฝ์…€๊ณผ ์œ„์„ฑ์ง€๋„๋ฅผ ํ†ตํ•ด ๋‚ด๋ ค๋‹ค ๋ณธ ๋„์‹œ์—์„œ ์ถ”์ถœํ•œ ๋„ํ˜•์„ ์ž‘์—… ๋ชจ๋“ˆ๋กœ ํ™œ์šฉํ•˜๊ณ  ์žˆ๋‹ค. ๋™์‹œ๋Œ€์˜ ์ผ์ƒ์  ์‚ฌ์šฉ์ž ํ™˜๊ฒฝ(interface)์„ ์›น๊ณผ ๋„์‹œ๋กœ ์„ค์ •ํ•˜๊ณ , ๊ทธ ํ‘œ๋ฉด์—์„œ ๋А๊ปด์ง€๋Š” ๋””์ง€ํ„ธ ๋…ธ์Šคํ…”์ง€์–ด์™€ ๋„์‹œ์  ๊ฐ์ˆ˜์„ฑ์„ ํ‰๋ฉด, ์„ค์น˜, ์˜์ƒ ๋“ฑ ๋‹ค์–‘ํ•œ ์žฅ๋ฅด๋ฅผ ํ†ตํ•ด ํ‘œํ˜„ํ•˜๊ณ ์ž ํ•œ๋‹ค. ํ˜„์žฌ์—๋Š” ์›น๊ณผ ๋„์‹œ๋ฅผ ์ž‘๋™์‹œํ‚ค๋Š” ๋ฐ์ดํ„ฐ๋กœ ๊ทธ ์‹œ์„ ์„ ํ™•์žฅํ•ด ๋ฐ์ดํ„ฐ ์ค‘์‹ฌ์‚ฌํšŒ์˜ ๋ชจ์Šต์„ ์‚ดํ”ผ๊ณ  ์ด๋ฅผ ์€์œ -ํ™˜๊ธฐ ํ•˜๋Š” ์ž‘์—…์„ ์‹œ๋„ํ•˜๊ณ  ์žˆ๋‹ค. ํ˜„์žฌ ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ์ฃผ์ตœ ํ™์ฝฉโ€“์ƒํ•˜์ด ์ˆœํšŒ์ „ ใ€Šํ‚ค์น˜ ์•ค ํŒใ€‹(2025)์— ์ฐธ์—ฌ ์ค‘์ด๋ฉฐ, ํ”„๋ฆฌ์ฆˆ ์„œ์šธ ์•„์‹œ์•„ ํฌ์ปค์Šค(2025)์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ฃผ์š” ์ „์‹œ๋กœ๋Š” ใ€Š์ Š์€๋ชจ์ƒ‰ 2023: ๋ฏธ์ˆ ๊ด€์„ ์œ„ํ•œ ์ฃผ์„ใ€‹(๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€, ๊ณผ์ฒœ, 2023), ๊ฐœ์ธ์ „ ใ€Š์นด์˜ค์Šค ์ฝฉใ€‹(๋ฐฑ์•„ํŠธ, ์„œ์šธ, 2023)์ด ์žˆ์œผ๋ฉฐ, ๊ฒฝ๋‚จ๋„๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์šธ์‚ฐ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋“ฑ ๋‹ค์ˆ˜์˜ ๊ธฐ๊ด€ ์ „์‹œ์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ž‘ํ’ˆ์€ ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ์ •๋ถ€๋ฏธ์ˆ ์€ํ–‰, ํ•œํ™”๋“œ๋ฆผํ•˜์šฐ์Šค ๋“ฑ์— ์†Œ์žฅ๋˜์–ด ์žˆ์œผ๋ฉฐ, ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ๊ณ ์–‘๋ ˆ์ง€๋˜์‹œ 17๊ธฐ, ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋‚œ์ง€์ฐฝ์ž‘์ŠคํŠœ๋””์˜ค 18๊ธฐ๋กœ ํ™œ๋™ํ–ˆ๋‹ค.


Chu Mirim employs square pixelsโ€”the smallest unit of the digital screenโ€”and geometric forms extracted from satellite views of cities as modules in her work. She frames contemporary user environments (interfaces) as both the web and the city, and seeks to express the sense of digital nostalgia and urban sensibility perceived on these surfaces through various media, including painting, installation, and video.

More recently, her practice has expanded toward the data that operates both the web and the city, examining the structures of a data-driven society while attempting to evoke and metaphorically reflect its conditions. She is currently participating in Kitsch and Pop (2025), a touring exhibition between Hong Kong and Shanghai organized by the Seoul Museum of Art, and took part in Frieze Seoul Asia Focus (2025). Major exhibitions include Young Korean Artists 2023: Notes for the Museum (National Museum of Modern and Contemporary Art, Gwacheon, 2023) and her solo exhibition Chaos Kong (BAEK Art, Seoul, 2023), along with numerous institutional exhibitions at Gyeongnam Art Museum, Ulsan Art Museum, and the Seoul Museum of Art. Her works are held in the collections of the Art Bank of the National Museum of Modern and Contemporary Art and Hanwha Dreamhouse, among others. She has also participated in the 17th Goyang Residency of MMCA and the 18th Nanji Residency of the Seoul Museum of Art.



ํ”ฝ์…€ ์•„ํ‹€๋ผ์ŠคโŽฎPixel Atlas

Humble Cottage (ํ—˜๋ธ” ์ฝ”ํ‹ฐ์ง€), 2023โ€“2025  Single-channel, 4K video, sound, black and white / ์‹ฑ๊ธ€ ์ฑ„๋„, 4K ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ, ํ‘๋ฐฑ  Edition 2/5 + 2 AP / ์—๋””์…˜ 2/5 + AP 2์   Duration: 5:37 / ๋Ÿฌ๋‹ํƒ€์ž„: 5๋ถ„ 37์ดˆ

Pixel Atlas(ํ”ฝ์…€ ์•„ํ‹€๋ผ์Šค), 2026

Single channel video, sound / ์‹ฑ๊ธ€์ฑ„๋„ ๋น„๋””์˜ค, ์‚ฌ์šด๋“œ

Unique edition (1/1) + 1 Artistโ€™s Proof / ์—๋””์…˜ 1/1 +1AP

Duration: 6:00(loop) / ๋Ÿฌ๋‹ํƒ€์ž„: 6๋ถ„ (๋ฃจํ”„)

๋ณธ ์ž‘์—…์€ ์ž‘๊ฐ€์˜ ๋„์‹œ ์‹œ๋ฆฌ์ฆˆ๋ฅผ ํ™•์žฅํ•œ ์˜์ƒ ์ž‘์—…์œผ๋กœ, ์œ„์„ฑ ์ง€๋„ ๋ฐ์ดํ„ฐ๋ฅผ ๊ธฐ๋ฐ˜์œผ๋กœ ๊ตฌ์„ฑ๋œ๋‹ค.

์ด ์ž‘์—…์—์„œ ๋„์‹œ๋Š” ํ•˜๋‚˜์˜ ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ, ์ž‘๊ฐ€๊ฐ€ ์‚ด์•„์˜ค๋ฉฐ ๊ฒฝํ—˜ํ•ด์˜จ ์‹œ๊ฐ„์˜ ํ๋ฆ„ ์†์—์„œ ํ˜•์„ฑ๋œ ์—ฐ์†์ ์ธ ์ธต์œ„๋กœ ๋‹ค๋ค„์ง„๋‹ค. ๋‚˜๊ณ  ์ž๋ž€ ๊ณ„ํš์‹ ๋„์‹œ ๋ถ„๋‹น์„ ์‹œ์ž‘์œผ๋กœ, ํŒŒ๋ฆฌ์™€ ๋ฒ ๋ฅด์‚ฌ์œ ๋ฅผ ๊ฑฐ์ณ ํ˜„์žฌ ๊ฑฐ์ฃผํ•˜๊ณ  ์žˆ๋Š” ์„œ์šธ์— ์ด๋ฅด๊ธฐ๊นŒ์ง€, ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์€ ๋‹จ์ ˆ๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ๊ธฐ์–ต๊ณผ ๊ฒฝํ—˜์„ ํ†ตํ•ด ์ด์–ด์ง€๋Š” ํ•˜๋‚˜์˜ ๊ตฌ์กฐ๋ฅผ ํ˜•์„ฑํ•œ๋‹ค. ์ž‘๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ์‹œ๊ฐ„์  ์ด๋™์„ ๋ฐ”ํƒ•์œผ๋กœ, 2014๋…„๊ฒฝ ์ œ์ž‘๋œ ์ดˆ๊ธฐ ์ž‘์—…์„ ๋‹ค์‹œ ํ˜ธ์ถœํ•˜๊ณ  ๋™์ผํ•œ ์žฅ์†Œ๋“ค์„ ์‹œ๊ฐ„์  ๊ฑฐ๋ฆฌ ์†์—์„œ ์žฌ๊ตฌ์„ฑํ•œ๋‹ค.

์œ„์„ฑ์˜ ์‹œ์„ ์œผ๋กœ ํฌ์ฐฉ๋œ ๋„์‹œ ์ด๋ฏธ์ง€๋Š” ํ”ฝ์…€ ๋‹จ์œ„๋กœ ๋ถ„ํ•ด๋˜๊ณ  ์žฌ๋ฐฐ์—ด๋˜๋ฉฐ, ๋„์‹œ๋ฅผ ๊ณ ์ •๋œ ๋ฌผ๋ฆฌ์  ํ™˜๊ฒฝ์ด ์•„๋‹Œ ๊ฐ€๋ณ€์ ์ธ ๋ฐ์ดํ„ฐ์˜ ์žฅ์œผ๋กœ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. ์ด ๊ณผ์ •์—์„œ ๊ฐœ์ธ์  ๊ฒฝํ—˜๊ณผ ๋น„์ธ๊ฐ„์  ์‹œ์„ ์ด ๊ต์ฐจํ•˜๋ฉฐ, ๋„์‹œ๋Š” ํŠน์ •ํ•œ ์œ„์น˜์— ๊ณ ์ •๋œ ์žฅ์†Œ๊ฐ€ ์•„๋‹ˆ๋ผ ์„œ๋กœ ๋‹ค๋ฅธ ์‹œ๊ฐ„๊ณผ ๊ณต๊ฐ„์ด ์ค‘์ฒฉ๋˜๋Š” ์ง€๊ฐ์  ๊ตฌ์กฐ๋กœ ์ „ํ™˜๋œ๋‹ค.

์˜์ƒ์€ ๋ฐ˜๋ณต๊ณผ ์ˆœํ™˜์˜ ๊ตฌ์กฐ ์†์—์„œ ์ „๊ฐœ๋˜๋ฉฐ, ์‹œ์ž‘๊ณผ ๋์ด ๊ตฌ๋ถ„๋˜์ง€ ์•Š๋Š” ํ๋ฆ„์œผ๋กœ ๋„์‹œ๋ฅผ ์ œ์‹œํ•œ๋‹ค. ์ด๋ฅผ ํ†ตํ•ด ๋ณธ ์ž‘์—…์€ ๊ธฐ์–ต, ๋ฐ์ดํ„ฐ, ์ด๋ฏธ์ง€๊ฐ€ ์ค‘์ฒฉ๋˜๋Š” ๋ฐฉ์‹ ์†์—์„œ, ์‹œ๊ฐ„์— ๋”ฐ๋ผ ๊ฒฝํ—˜๋œ ์„œ๋กœ ๋‹ค๋ฅธ ๋„์‹œ๋“ค์ด ์–ด๋–ป๊ฒŒ ์—ฐ๊ฒฐ๋˜๊ณ  ์ง€์†์ ์œผ๋กœ ์žฌ๊ตฌ์„ฑ๋˜๋Š”์ง€๋ฅผ ํƒ์ƒ‰ํ•œ๋‹ค.


This work is a video piece that expands the artistโ€™s ongoing โ€œcity series,โ€ constructed based on satellite map data.

Here, the city is not treated as a fixed location, but as a continuous layering formed through the passage of time and lived experience. Beginning with Bundangโ€”the planned city where the artist was born and raisedโ€”extending through Paris and Versailles, and arriving at her current home in Seoul, these different cities are not isolated places but form a connected structure through memory and experience. Based on this temporal movement, the artist revisits earlier works from around 2014, reconstructing the same locations across temporal distance.

Captured through the gaze of satellites, urban images are fragmented into pixels and reassembled, revealing the city not as a fixed physical environment but as a mutable field of data. In this process, personal experience intersects with a non-human perspective, transforming the city into a perceptual structure where multiple times and spaces overlap rather than a singular, fixed location.

The video unfolds through a structure of repetition and circulation, presenting the city as a continuous flow without a clear beginning or end. Through this, the work explores how different citiesโ€”experienced over timeโ€”are interconnected and continuously reconfigured within the overlapping layers of memory, data, and image.



์ถ”๋ฏธ๋ฆผ (b.1982) 
Chu Mirim

์ถ”๋ฏธ๋ฆผ์€ ๋””์ง€ํ„ธ ํ™”๋ฉด์˜ ๊ฐ€์žฅ ์ž‘์€ ๋‹จ์œ„์ธ ์ •๋ฐฉํ˜•์˜ ํ”ฝ์…€๊ณผ ์œ„์„ฑ์ง€๋„๋ฅผ ํ†ตํ•ด ๋‚ด๋ ค๋‹ค ๋ณธ ๋„์‹œ์—์„œ ์ถ”์ถœํ•œ ๋„ํ˜•์„ ์ž‘์—… ๋ชจ๋“ˆ๋กœ ํ™œ์šฉํ•˜๊ณ  ์žˆ๋‹ค. ๋™์‹œ๋Œ€์˜ ์ผ์ƒ์  ์‚ฌ์šฉ์ž ํ™˜๊ฒฝ(interface)์„ ์›น๊ณผ ๋„์‹œ๋กœ ์„ค์ •ํ•˜๊ณ , ๊ทธ ํ‘œ๋ฉด์—์„œ ๋А๊ปด์ง€๋Š” ๋””์ง€ํ„ธ ๋…ธ์Šคํ…”์ง€์–ด์™€ ๋„์‹œ์  ๊ฐ์ˆ˜์„ฑ์„ ํ‰๋ฉด, ์„ค์น˜, ์˜์ƒ ๋“ฑ ๋‹ค์–‘ํ•œ ์žฅ๋ฅด๋ฅผ ํ†ตํ•ด ํ‘œํ˜„ํ•˜๊ณ ์ž ํ•œ๋‹ค. ํ˜„์žฌ์—๋Š” ์›น๊ณผ ๋„์‹œ๋ฅผ ์ž‘๋™์‹œํ‚ค๋Š” ๋ฐ์ดํ„ฐ๋กœ ๊ทธ ์‹œ์„ ์„ ํ™•์žฅํ•ด ๋ฐ์ดํ„ฐ ์ค‘์‹ฌ์‚ฌํšŒ์˜ ๋ชจ์Šต์„ ์‚ดํ”ผ๊ณ  ์ด๋ฅผ ์€์œ -ํ™˜๊ธฐ ํ•˜๋Š” ์ž‘์—…์„ ์‹œ๋„ํ•˜๊ณ  ์žˆ๋‹ค. ํ˜„์žฌ ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ์ฃผ์ตœ ํ™์ฝฉโ€“์ƒํ•˜์ด ์ˆœํšŒ์ „ ใ€Šํ‚ค์น˜ ์•ค ํŒใ€‹(2025)์— ์ฐธ์—ฌ ์ค‘์ด๋ฉฐ, ํ”„๋ฆฌ์ฆˆ ์„œ์šธ ์•„์‹œ์•„ ํฌ์ปค์Šค(2025)์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ฃผ์š” ์ „์‹œ๋กœ๋Š” ใ€Š์ Š์€๋ชจ์ƒ‰ 2023: ๋ฏธ์ˆ ๊ด€์„ ์œ„ํ•œ ์ฃผ์„ใ€‹(๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€, ๊ณผ์ฒœ, 2023), ๊ฐœ์ธ์ „ ใ€Š์นด์˜ค์Šค ์ฝฉใ€‹(๋ฐฑ์•„ํŠธ, ์„œ์šธ, 2023)์ด ์žˆ์œผ๋ฉฐ, ๊ฒฝ๋‚จ๋„๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์šธ์‚ฐ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ยท์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋“ฑ ๋‹ค์ˆ˜์˜ ๊ธฐ๊ด€ ์ „์‹œ์— ์ฐธ์—ฌํ–ˆ๋‹ค. ์ž‘ํ’ˆ์€ ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ์ •๋ถ€๋ฏธ์ˆ ์€ํ–‰, ํ•œํ™”๋“œ๋ฆผํ•˜์šฐ์Šค ๋“ฑ์— ์†Œ์žฅ๋˜์–ด ์žˆ์œผ๋ฉฐ, ๊ตญ๋ฆฝํ˜„๋Œ€๋ฏธ์ˆ ๊ด€ ๊ณ ์–‘๋ ˆ์ง€๋˜์‹œ 17๊ธฐ, ์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ๋‚œ์ง€์ฐฝ์ž‘์ŠคํŠœ๋””์˜ค 18๊ธฐ๋กœ ํ™œ๋™ํ–ˆ๋‹ค.


Chu Mirim employs square pixelsโ€”the smallest unit of the digital screenโ€”and geometric forms extracted from satellite views of cities as modules in her work. She frames contemporary user environments (interfaces) as both the web and the city, and seeks to express the sense of digital nostalgia and urban sensibility perceived on these surfaces through various media, including painting, installation, and video.

More recently, her practice has expanded toward the data that operates both the web and the city, examining the structures of a data-driven society while attempting to evoke and metaphorically reflect its conditions. She is currently participating in Kitsch and Pop (2025), a touring exhibition between Hong Kong and Shanghai organized by the Seoul Museum of Art, and took part in Frieze Seoul Asia Focus (2025). Major exhibitions include Young Korean Artists 2023: Notes for the Museum (National Museum of Modern and Contemporary Art, Gwacheon, 2023) and her solo exhibition Chaos Kong (BAEK Art, Seoul, 2023), along with numerous institutional exhibitions at Gyeongnam Art Museum, Ulsan Art Museum, and the Seoul Museum of Art. Her works are held in the collections of the Art Bank of the National Museum of Modern and Contemporary Art and Hanwha Dreamhouse, among others. She has also participated in the 17th Goyang Residency of MMCA and the 18th Nanji Residency of the Seoul Museum of Art.



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2025 LOOP LAP Busan

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์„œ์šธ ์ข…๋กœ๊ตฌ ํ†ต์ผ๋กœ 134, ๋ˆ์˜๋ฌธ D-ํƒ€์›Œ 22์ธต

22 F, D Tower Donuimun, 134, Tongil-ro, Jongno-gu, Seoul, Republic of Korea

ยฉ 2025 Loop Plus. All rights reserved.

์„œ์šธ ์ข…๋กœ๊ตฌ ํ†ต์ผ๋กœ 134, ๋ˆ์˜๋ฌธ D-ํƒ€์›Œ 22์ธต

22 F, D Tower Donuimun, 134, Tongil-ro, Jongno-gu, Seoul, Republic of Korea

LOOP PLUS Instagram

2025 LOOP LAP Busan

LOOP PLUS Instagram

2025 LOOP LAP Busan

ยฉ 2025 Loop Plus. All rights reserved.

์„œ์šธ ์ข…๋กœ๊ตฌ ํ†ต์ผ๋กœ 134, ๋ˆ์˜๋ฌธ D-ํƒ€์›Œ 22์ธต

22 F, D Tower Donuimun, 134, Tongil-ro, Jongno-gu, Seoul,

Republic of Korea