Bunny chow

 often referred to simply as a bunny is an Indian South African fast food dish consisting of a hollowed-out loaf of white bread filled with curry and a serving of salad on the side. 

https://en.wikipedia.org/wiki/Bunny_chow

Road movie: Art between Korea and Japan since 1945 / 로드무비: 1945년 이후 한-일 미술 (2026)

Road movie: Art between Korea and Japan since 1945

• 2026-05-14 ~ 09-27

  MMCA Gwacheon 1F, Gallery1,2, Main Hall and Sculpture Park

  Organized by/Supported by MMCA & Yokohama Museum of Art, Japan

  Artists; Quac Insik, Nam Hwayeon, Koki Tanaka, Nakamura Masato, Murakami Takashi, Park Seo-Bo, Suh Seungwon, Lee Bul, Lee Ufan, Jung Yeondoo, Cho Yanggyu and around 40 artists

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• The exhibition Art between Korea and Japan since 1945 has been co-organized by the National Museum of Modern and Contemporary Art, Korea and the Yokohama Museum of Art in Japan to commemorate the sixtieth anniversary of the normalization of diplomatic relations between the two countries and shed light on the trajectory of their artistic exchanges over the past eighty years. The term “road movie” in the Korean title of the exhibition refers to a cinematic genre in which a protagonist grows by means of encounters with unexpected people and events over the course of a journey. In a similar manner, Korean and Japanese artists have ventured into uncharted territory through cross-cultural engagement, broadening the channels of artistic exchange between their nations.

  
  

  The exhibition explores how artists from Korea and Japan have developed relationships across the turbulent historical currents from Korea’s liberation and Japan’s defeat in 1945, through the Cold War and the division of North and South Korea, to the normalization of diplomatic relations between South Korea and Japan and into the present day. It focuses on artistic exchanges as manifested not only in official exhibitions but also in personal networks, informal encounters, and solidarity movements. By doing so, it demonstrates that these exchanges were not universally rooted in smooth or symmetrical relations, but were in fact often accompanied by rupture, misunderstanding, asymmetry, and tension.

  
  

  Korean and Japanese artists sited within their distinct social, political, and historical contexts have taken part in multilayered exchanges across borders, recalling the diverse experiences encountered by the protagonists in road movies. This exhibition seeks to illuminate the efforts not only of the artists participating in the exhibition, but also of all artists who have worked to bridge contemporary art in Korea and Japan. Above all, it is hoped that the exhibition will reconsider the artistic exchanges between the two countries from a new perspective and serve as a milestone toward a shared future.

  
  

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  Talk

  2026. 8. 21

  
  

  

  
  

  

  
  

  

  Luminous despair (2015)

원앙 mandarin duck

June 2026

Seoul

 

ALLURE

https://www.instagram.com/p/Ba1ki01nNJ-/

眠れぬ大掃除ナイト。Gregory S. Maassの写真集『ALLURE』が出てきた。ここに登場するのは、トーストだけ。机の上で重なり、追い詰められ、孤独に浸り、迎合し、愛し合うトーストたち。何故だか人間が演じるよりもずっと生々しい存在の関係性を見せつけられる。たしか2002年、

Palais de Tokyoで買ったと記憶している。

비트린: 김나영 & 그레고리 마스_ Sharon is Karen, revisited, 2026

2026.4.20.(월) ― 7.20.(월)

일민미술관 옥외 비트린 Ilmin Museum of Art (Vitrine)

Organized by Ilmin Museum of Art 일민미술관, Seoul

Artists Nayoungim & Gregory Maass 김나영 & 그레고리 마스

Curator Shin Jihyun 신지현

Coordinator Shin Hyein 신혜인

Graphic Design Sulki and Min  슬기와 민

Spatial Design Kiljong Arcade 길종상가

《비트린: 김나영 & 그레고리 마스》(일민미술관, 2026.4.20.—7.20.) 전시 전경.

© 사진 제공: 일민미술관. 사진: 스튜디오 오실로스코프

Vitrine: Nayoungim & Gregory Maass  (Ilmin Museum of Art, April 20—July 20, 2026) 

Exhibition View. Courtesy of Ilmin Museum of Art. Photo by Studio Oscilloscope.

<Sharon is Karen, revisited〉(2026)

투명 유리로 된 물건을 모아 재구성한 이 신작에는 국적도 성격도 이력도 제각기 다른 11인의 작가가 참여하고 있다. 그러나 이들은 모두 김나영 & 그레고리 마스(이하 김 & 마스) 자신이다. 두 사람은 다른 자아의 이름과 양식을 빌려 작업하는 이 방식을 ‘프레노니미(phrenonymy)’라 부른다. 가명(pseudonymy)의 일종이지만 단순히 이름만 빌리는 것이 아니라 정신 상태와 성격적 특성까지 반영한다. 보존과 전시, 내부와 외부를 잇는 통로라는 기능이 공존하는 비트린의 속성은 복수의 이름과 인격이 뒤섞인 이들 작업의 비결정성과 호응한다.

이번 신작은 김 & 마스의 또 다른 정체성, ‘킴킴 갤러리’의 기획전 형식으로 2025 치바 시티아츠 트리엔날레에 출품했던 〈Sharon is Karen〉(2025)을 변형한 것이다. 작품 제목은 영어권 문화에서 흔히 쓰이는 “Sharing is caring(나눔이 곧 배려)”이라는 격언을 비튼 언어유희이다. ‘Sharon’과 ‘Karen’은 영어 밈에서 서로 대비되는 인물형을 가리키는 기호인데, 샤론이 친절하고 인내심 있는 사람인 반면 캐런은 특권 의식에 기대어 무리한 요구를 하거나 인종차별을 일삼는 사람이다. 작품은 대조적인 두 이름을 혼동하는 상황을 끌어온다. 이처럼 여러 출처에서 길어 올린 유무형의 재료로 유머를 구사한다는 특징이 이들의 작업에서 공통적으로 발견된다.

캐런이라 불린 사람이 실은 샤론이었던 것처럼, ‘11인의 참여 작가’는 프레노니미로서 김 & 마스의 예술적, 정치적, 개인적 경험을 가로지른다. 수십 개의 가명을 사용했던 포르투갈 시인 페르난두 페소아(Fernando Pessoa)가 처음 사용한 가명 ‘알렉산더 서치(Alex Search)’, 그레고리 마스의 출신 지역 하겐에서 유래한 ‘디트마어 하겐(Dietmar Hagen)’, 반동적 정치인으로 변절한 러시아 펑크 시인의 성을 딴 ‘그리고리 리모노프(Grigori Limonov)’가 그 예다. 유희적인 공상 속 등장인물들은 그레고리 마스가 진단받은 ‘비외상성 해리성 정체성 장애’라는 희귀한 상태와도 연결된다.

투명 유리 오브제만으로 이루어진 신작은 작품이 놓인 비트린 자체, 그리고 비트린을 품고 있는 건축물의 100주년을 기념하기 위한 선택이다. 이케아 제품부터 빅토리아 시대 유물, 무연(lead-free) 골동품, 표면이 매끄러운 디캔터, 인삼을 담는 단지, 잼 병, 그리고 포름알데히드를 채웠던 동물 표본 보존 용기 등 각기 다른 출처와 용도를 지닌 투명한 것이 포개지며 바로크적인 과잉의 형태를 이룬다. 레이어 위에 레이어, 굴절 위에 굴절이 중첩되면서 투명함은 복잡한 깊이를 만든다. 유리는 영원에 가까운 수명을 가지지만 깨지기 쉽다는 상반된 속성을 갖는다. 1만 년을 버티는 물질이 손에서 미끄러지는 즉시 산산조각 날 수 있다는 아이러니는 역사를 만들어온 건축, 특히 지난 100년간 혁명, 전쟁과 재건, 경제 성장으로 인한 도시의 변화를 견뎌온 이 건축물에 대한 은유이기도 하다.

김 & 마스는 해체와 변형, 차용과 재조합을 오가는 전술, 사물과 개념을 뒤섞는 방법론을 “프랑켄슈타이닝”이라 명명해 왔다. 〈Sharon is Karen, revisited〉는 분열하는 자아에 대한 은유이자 100년의 시간을 견딘 건축에 대한 성찰이다. 작품 수장함, 개방형 전시 공간, 특정 장소, 지형지물인 비트린에 놓인 투명한 존재들은, 진실한 이름이나 하나의 색으로 수렴하지 않고 잠시 이곳에 머무르며 서로를 겹친다.

일민미술관 비트린 Ilmin Museum of Art Vitrine

비트린은 일민미술관 건축 100주년을 맞아 지금은 사용하지 않는 옛 출입구에 가설된 공간입니다. 

미술관에서 ‘진열장’을 뜻하는 단어인 비트린이 수장함이자 임시 통로로 기능합니다.

Vitrine is a provisional exhibition space installed in front of the now closed side entrance of the Ilmin Museum of Art, marking the 100th anniversary of the building’s architecture.

Sharon is Karen, revisited (2026)

This new work, which presents a reorganization of assembled objects made of transparent glass, features 11 artists from different nationalities, mentalities, and backgrounds. 

Yet all of them are also Nayoungim & Gregory Maass (hereafter N & GM). The two artists use the term “phrenonymy” to describe this creative approach of drawing on the names and styles of different alter egos. It is a form of pseudonymy that does not simply borrow names it reflects different psychological states and personality characteristics. The nature of Vitrine as something that combines the functions of preservation, exhibition, and connection between the inside and outside corresponds to the indeterminate aspects of the artists’ work, with its mixtures of multiple names and characters.

The new work is an adaptation of Sharon is Karen (2025), which previously appeared at the Chiba City Arts Triennale 2025 under the format of a special exhibition by the “Kim Kim Gallery”another identity of N & GM. The title is a form of pun based on the phrase “Sharing is caring,” a common expression in the English speaking world. The names “Sharon” and “Karen” appear in English language memes as symbols for contrasting personalities: “Sharons” are kind and patient, whereas “Karens” routinely make unreasonable demands or act in racially discriminatory ways based on a sense of privilege. The work incorporates a situation that muddles the two 

contrasting names. This use of humor drawn from both tangible and intangible materials of various sources is a common feature found throughout the artists’ work. Just as the so called “Karen” turns out to have been a “Sharon” in reality, the “11 participating artists” represent a “phrenonymy” informed by N & GM’s artistic, political, and personal experiences. 

Examples include “Alex Search,” a pseudonym first used by the Portuguese poet Fernando Pessoa (who used dozens of phrenonyms); “Dietmar Hagen,” who hails from Maass’s hometown of Hagen in Germany; and “Grigori Limonov,” named after a Russian punk poet who became a reactionary politician. The characters in these playful fantasies also relate to Maass’s own rare condition of having a non-traumatic Dissociative Identity Disorder.

The new work, consisting entirely of clear glass, represents a choice that commemorates the very Vitrine in which it is positioned and the 100th anniversary of the building that houses it. 

A baroque surplus arises from the superimposition of transparent objects representing different sources and uses: IKEA items, Victorian relics, lead free antiques, sleekly surfaced decanters, ginseng jars, jam bottles, and animal specimen preservation jars that once held formaldehyde. Through the presence of layers upon layers and refractions upon refractions, the transparency creates a complex sort of depth. Glass is a material with opposing properties: it can last more or less forever but is also quite fragile. This irony the fact that a substance that has survived ten thousand years can shatter the instant it slips from our hand provides a metaphor for architecture that has created a history and a structure that has withstood the changes in the city over the past century of revolution, war, reconstruction, and economic growth.

N & GM use the term “Frankensteining” to describe this strategy of alternating among deconstruction, transformation, borrowing, and recombining a methodology that mixes objects with concepts. Sharon is Karen, revisited is a metaphor for the divided self, and a reflection on architecture that has lasted for a hundred years. 

Vitrine represents a display case, an open exhibition space, a particular site, and a geographic feature, and the transparent presences inside it do not converge on any real name or single 

color. Instead, they remain briefly in a state of juxtaposition.

김나영 & 그레고리 마스 (b. 1966, 1967)

2004년부터 한국과 유럽을 중심으로 활동해 온 작가 듀오이다. 김나영은 서울 출신으로 서울대학교 조소과와 파리 국립미술학교를 졸업했고, 그레고리 마스는 독일 하겐 출신으로 파리 소르본대학교 철학과와 파리 국립미술학교, 조형예술 고등연구원, 네덜란드 얀 반 에이크 아카데미에서 수학했다. 

김나영 & 그레고리 마스는 서로 연관이 없는 재료나 개념을 조합해 이질적인 관계망을 만든다. 과거와의 연결을 새롭게 검토해 현재를 정의하는 것이 이들의 대표적인 방법론이다. 공간이 없이도 상황을 조건 삼아 실행 가능한 예술을 모색하면서 ‘킴킴갤러리’를 창립(2008─)해 동료들과 기획, 출판, 커뮤니티 워크숍 등을 지속중이다. 《파라노이아 파라다이스》(2024, 아뜰리에 에르메스, 서울), 《리프로스펙티브》(2019, 성곡미술관, 서울), 《무아 자기도취》(2014, 스플릿트 파운틴, 오클랜드, 뉴질랜드) 등의 개인전을 열었고, 경기도미술관(2025, 안산), 치바 시티아츠 트리엔날레(2025, 치바, 일본), 국립현대미술관(2022, 과천) 등에서 단체전에 참여했다.

Nayoungim & Gregory Maass (b. 1966, 1967)

They have been working together as an artist duo since 2004, based between South Korea and Europe. Nayoungim, born in Seoul, graduated from the Department of Sculpture at Seoul National University and L’École Nationale Supérieure des BeauxArts (ENSBA) in Paris. 

Gregory Maass, born in Hagen, Germany, studied philosophy at the Sorbonne University and furthered his artistic training at ENSBA, L’Institut des Hautes Études en Arts Plastiques in Paris, and the Jan Van Eyck Academie in Maastricht. The duo creates heterogeneous networks by combining disparate materials and concepts, bridging tangible materials with intangible ideas. 

Their methodology involves reconfiguring past connections to situate the present through a new lens. Seeking an artistic practice that responds to situational conditions rather than spatial constraints, they founded Kim Kim Gallery (2008–)a flexible, situational system through which they pursue diverse activities, including peer 

collaborations, curatorial projects, publishing, and community workshops.  Their selected solo exhibitions include Paranoia Paradise (2024, Atelier Hermès, Seoul), Reprospective (2019, Sungkok Art Museum, Seoul), and No ego Ego Trip (2014, Split Fountain, Auckland, New Zealand). 

They have taken part in group exhibitions at Gyeonggi Museum of Modern Art (2025, Ansan), Chiba City Arts Triennale (2025, Chiba, Japan), and the National Museum of Modern and 

Contemporary Art, Korea (2022, Gwacheon), among others.

Translation & Edited by Mouat Colin, Curatorial Dept. of Ilmin Museum of Art 

번역 및 영문 감수 콜린 모엣, 일민미술관 학예실

images; 일민미술관 제공 Courtesy of Ilmin Museum of Art
https://ilmin.org/program/2026_04_sp_vitrine_nayoungim-gregory-maass/

Proposal

Glass is a liquid, which is a bit misleading but true yet not really. 

Glass is a paradox and we like those, better expect paradoxes and live with them when human, even enjoy them, like the bodymind paradox, with is no longer one, it is actually one thing, but there seems to be a higher mechanism to the mindbody. 

Anyway back to glass, it is an amorphous solid, rigid brittle, depending how it is made, there a glasses you cannot splinter at all, not with the regular throwing against a brick wall, we tried like 10 times in a roll, no effect on the glass, like new, and we can throw a spear 47 meters without breaking a (real) sweat, anyway I could last time I measured, the world record is 98 meters, and some centimeters, 

Germans are competitive in spear throwing. Yes, a spear can transpierce a reporter plexiglass cubicle in a stadium but only by 20 cm or so. But that is plexiglass, also known as plastic. What is so special about glass, it did not crystallize like diamond or salt or crack or ice, or angle dust, (is that still a thing?) glass behaves like a solid until a certain temperature, which is roughly 1600 degrees, depending. 

And what do you use to make glass, sand. Silicone dioxide I think. 

The medieval glass panels are thicker at the bottom, because the glassblowers started normally with a balloon of glass which is thicker at the bottom, and was cut, during installation they turned the thicker side down for stability, glass was also a bit rolled. Anyway is it a kind of liquid, don’t listen to the internet which is a pile of trash, hit the books, baby. But the flow at room temperature is so low, that you, yes you, can’t measure it.
So these glasses are partially IKEA, Victorian, lead glass free mason antiques, and expensive decanters with a super slick surface and potting devices for ginseng and stuff like that, marmalade, animal specimen preservation vessels for formaldehyde, anything is fine, as long as it glass, borosilicate glass it also in the mix.
What is so interesting, you can see through it but not entirely, if not you could not see it, evidently, there is diffraction. The glass on the ISS is not glass, that is a transparent Aluminum Alloy, guess why. Yes, they took the idea from Start Trek, no joke girls. There is the style and the composition, which I will not explain, because I would totally lose you, let’s just say, the space in between the glasses is the important part not the glass itself, and I see these here more like sweeping and extruding even beveling, the glass factor is secondary. Also it is breakable, precious and good for 10000 years, if you do not drop it on your marble floor. Is it used, is it recycled, the ass you are sitting on is recycled to millions of time buddy, we are all made of stardust originating from super novae explosion, the only thing not recycled in this world is hydrogen, and even there I am not sure at all. The past is important, because it is what makes us, we are the result of the line of all our ancestors down back to our grannies who decided to climb down from the tree in the savanna in Afrika and maybe in China too, not in Siberia or anywhere in Europe, too cold, and have a look around, if it is really that dangerous to get a juicy smash burger and maybe some water from just over there. Maybe just walk there, even if the back hurts like a bitch, safety last. What does it all mean, I could explain in detail, but first tell me what you mean. Yes, but what does it represent, I could explain in detail, but first tell me what you represent, the glass told me to ask you.

April 2026

Seojong