The experimental media artist group Studio Artech unfolds exhibition and performance activities based on various fields of interest such as environment, philosophy, science, and architecture, expanding the boundaries of visual arts.
‹GONG: GALAXY II› combines the inherent flow of nature with the vitality of the city. The concrete particles called ‘GONG’ represent the natural movements induced by the sea, rivers, currents, wind, and more, embodying diverse textures, colors, and scales by paying homage to various materials.
This artwork visualizes the ‘universe of countless dreams,’ encapsulating the dreams and aspirations of visitors to retrospective exhibition of Nam June Paik.
Beyond the physical properties of the exhibition space, the artwork uses graphic techniques to create an imaginative space where tangible and intangible values, gravity and weightlessness, past and future coexist.
It aims to construct a synesthetic space where visitors can emotionally relax and find inspiration.

Kim Hye Gyung explores the modern elements inherent in Korean tradition and recreates them by incorporating digital technology. The artist reflects a harmonious coexistence, seeking balance between conflicting elements such as tradition and innovation, existence and non-existence, movement and stillness, light and darkness, reality and virtual reality, life and death, past and present, and Western and Eastern influences.
‹Heavenly Paradise› dreams of creating an ‘open electronic environment’ encouraging viewers' participation, a concept that Nam June Paik aimed to achieve through ‹TV Buddha› spanning generations. The massive immersive screens on all four sides depict symbols from ancient East Asian paintings, showcasing Buddhist temples surrounded by nature and the aspirations of monks inside and outside. Just as the incense in Buddhism spreads along the Indra's net, through the third eye—‘camera,’ the symbolic images in the artwork are transmitted to the audience through waves. The intentional blurring of boundaries between the objects recognized by the brain along the optic nerve and the 'self' as the actual observer aims to create a space where distinctions are dissolved.

Cho Se-Min incorporates images from pop characters and symbolic elements of Northeast Asian traditional culture, placing them in a playful virtual space. Through this, the artist constructs a life that transcends the realms of civilization and barbarism, everyday life and escapism, downfall and salvation, good and evil, and victory and defeat.
The artist's work, influenced by the monthly rituals and ceremonies she witnessed while growing up, focuses on representing the ranging spectrum of gray areas by stacking elements of Northeast Asian totemism and shamanistic objects in a modular format. The term ‘굿’ (pronounced as “gut”), sometimes translated as ‘Mediumistic Practice,’ refers to a folk tradition in which the living and the dead communicate and reconcile through a ritualistic ceremony. Nam June Paik, however, interpreted it not just as a connection between gods and humans but as a cosmic reconciliation and communication, turning it into an artistic archetype.
In the artwork ‹Nomad, Cosmic, Being, Gut› the artist invites Nam June Paik’s soul into a weightless space, akin to Paik organizing a gut ceremony for Joseph Beuys. This gesture is intended to reflect on and pay tribute to Nam June Paik, expressing the artist’s intent to commemorate and show respect for Paik's legacy.

Han Seung Ku works with the theme of the removal, reinforcement, and expansion of societal masks, unfolding his artwork in various forms such as sculpture, three-dimensional works, installations, videos, kinetic art, NFTs, and more. The artist employs diverse media and narratives for philosophical exploration to understand personalized or socialized identities.
‘Gong’ symbolizes the potential for change, even though it appears vacant. After removing the face of the inherently given self, the artist transforms himself into a state of ‘Gong’. This creates an environment where the focus can be placed on the desires of the self. By assigning a new face to the emptiness, the artist undergoes a process of becoming a new ‘self.’ The artwork ‹Where the Moonlight Lingers› aims to empty darkness and residue through the moon, seeking to heal one's own wounds. Furthermore, it expands the healing of the ‘gong’ to the healing of historical scars acquired over time.