Noh Seungkwan (South Korea) is a media artist who creates new characters and images floating within the vast canvas of the city. Infusing life into static elements like text and images, he merges familiar and unfamiliar sounds, crafting an otherworldly urban stage.

“Rough and simple forms freely drawn by children, the harmonious blend of vibrant colors. Every time I see his drawings, I hear the rhythmic sound of lively movement, (…) sometimes elegant, sometimes surprisingly unfamiliar sounds coming together in a musical composition. His world of innocence and honesty, where nothing is hidden but an endless sense of humor, has become a pilgrimage route for me to find solace amidst my clumsy desires and untidy thoughts as an artist.”

Expressing deep admiration for Nam June Paik's drawings, the artist pays digital homage to them in his work ‹Namjune's Groove›. Featuring sunflowers with musical notes hanging on the leaves, body parts resembling the eyes, nose, mouth, toy-like video robots, early performances of cellist Charlotte Moorman…Paik’s drawings capture the playful atmosphere akin to a child's doodle, yet they function as mirrors reflecting Paik's enduring memories and artistic philosophy. The artist reconstructs these into electronic lines and surfaces, transforming Paik's drawings into musical scores and creating new images, notes, and rhythms, filling the spacetime like recording a performance, vividly portraying the legacy of Nam June Paik.

Dabal Kim (South Korea) is a performance and visual artist who breathes vibrant life into the intersection of gender ideology and discourse on subjectivity, forging a unique identity for herself. She seamlessly integrates various art forms, including drawing, performance art, video, and costume design, expanding the boundaries of traditional art by unfolding her expressions within the realms of everyday life.

“ The reason I wear red stockings in the desert is that red stockings are the hyphen connecting the reality of the body and the imagination of the body.”

Grounded in a personal and fantastical symbolic system, the artist embarks on a journey to bridge the realms of ‘reality’ and the ‘imaginary.’ In ‹Dreaming Club›, she blends elements from traditional Korean female mythology and Western mythology, specifically the androgynous myth of Hermaphroditus, transcending time and space. Further, by incorporating elements of traditional attire, she endeavors to dismantle binary norms surrounding gender and identity. The Fluxus spirit of Nam June's Paik, transforming destruction into an act of creativity, resonates profoundly with the core of the ‹Dreaming Club›. Korean traditional hats are reconstructed using metal materials to form masks obscuring faces, and a biologically male figure adorned in royal court attire, known as “Dangui,” dances with legs clad in red stockings. Attires in the Dreaming Club, such as masks combining the headgear (“Gwanmo”) worn by adult men in the Joseon era with the headband (“Jokduri”) above the traditional hat, and garments transformed from traditional ceremonial robes, disrupt and remix established orders. The performance conducted on the rocky cliffs and caves of the Byeonsan Peninsula transforms these wild settings into suggestive spaces. The silhouettes of performers at the cave's entrance suggest that everything is fictitious, akin to a dream, hinting at the commencement of yet another myth. In this way, the artist vehemently dismantles all dichotomous boundaries in the world, inviting the audience to a stage of relentless duality.

Ari Dykier(Poland) is a visual artist who employs collage techniques to create monochromatic animations and audio-visual performances. Drawing from the depths of the unconscious, he interweaves dreams, memories, and symbolism in his artistic practice, hoping to resonate with the audience. Through various mediums such as projection mapping, audio-visual performances, and AR, he continues to build his unique artistic universe. In ‹Robots›, fragmented pieces unfold infinitely within a monochromatic spectrum, and create transcendent openings towards both the past and an envisioned future. Dykier dissects, synthesizes, and distorts fragments from various eras and genres such as 14th-century European illustrations, surrealism, and steampunk, weaving a collage of spacetime where here and there, past and present intertwine. He describes his animation production and editing process as akin to Freud's concept of the formation of dreams, hoping that viewers, through the experience, revive memories engraved in the unconscious and establish connections between the external and
internal realms.
At the core of the artwork, robots engage in human actions and communication, experiencing life and death. Referencing the common imagination of robots in the 1980s and reminiscent of Nam June Paik's robot sculptures, these humanoid machines embody the bygone era while traversing through time. Recurring within aged media devices, the robot simultaneously reveals lingering fantasies about human-robot relationships and encapsulates a profound desire for connection amid
the inherent solitude of human subjects.

Prapat Jiwjarangsan(Thailand), a prominent Thai filmmaker and visual artist, has dedicated his artistic endeavors to exploring the societal history, collective memory, and political nuances of Thai culture. Employing a diverse array of mediums, his earlier works were anchored in ceramics and glass craftsmanship, whereas his recent works exploit photography and videography as primary channels of expression.
The genesis of his visual arts project, ‹Prarasite Family›, emanates from aged negative film discovered at a shuttered film lab. In the digital era, the films, once integral to daily life, have faded into obsolescence and, at times, being mourned. If Nam June Paik artfully disrupted art and society by invoking obsolete media, the artist delves into the realm of dormant media, expanding it into issues of class and identity.
Photographs, according to Rosalind Krauss, bear physical traces through light reflection, establishing a symbolic relationship between the photographic subject and the medium's indexicality. The analog films unearthed by the artist encapsulate profound memories, with attire and appearances serving as markers of societal class. While individual photographs, beneath the guise of universal humanism, nullify the possibility of resistance within society, Prapat introduces friction by unveiling the repetitive temporality inherent in these images and situating them within the dimensions of wealth and power. Edited, fragmented, and rearranged images, combined with generative AI technology, undergo a renaissance, transforming into novel sensory experiences. The frames persist ghostlike, assuming diverse manifestations. Just as photographs endure through media evolution, their influence in terms of wealth and power becomes entrenched, impacting Thailand's in contemporary era.
Prapat’s work prompts contemplation on the permeation of these structures beyond borders, serving as narratives for those navigating the currents of the present.