ARTCUBE 2R2

Ongoing

A Wave of Pathos

Qwon Sunwang unravels the profound traces of life, love, and existence through his evocative canvases. In this exhibition, he presents works that explore the movement of relationships and emotions, grounded in scenes of light and flow within natural landscapes. The organic lines traversing the surface and the overlapping layers of color do not merely represent a specific scenery; rather, they reveal a sense of time permeated by sensations and memories. The artist treats nature not as a simple subject, but as a structure where emotions reside. Intangible elements such as rainbows, wind, and the flow of light appear within repetitive rhythms and organic compositions, suggesting the traces of emotions that arise and vanish within relationships. Using the form of a landscape, his work pictorially constructs the distance, density, and passage of time inherent in the emotion of love. Qwon Sunwang has held numerous exhibitions both in Korea and abroad, including in Seoul and Paris, and his works are held in prestigious collections such as the National Museum of Modern and Contemporary Art (MMCA) Art Bank.

Ongoing

존엄: 축적된 시간

Behind a finished canvas lie tens of thousands of brushstrokes. What initially appears to be a single, uniform plane of color reveals entirely different layers upon closer inspection. The subtle overlapping of textures, the physical traces of matter, and a surface that transforms with the shifting light create a complex depth that cannot be reduced to a single hue. In this sense, Oh Ji-yoon’s work is a painting crafted from time; the finished piece is not merely a result, but the profound sum of every moment spent creating it. The artist meticulously layers materials with contrasting physical properties: hanji (traditional Korean paper), charcoal, gold, and pearl. Hanji breathes, charcoal remembers the darkness, while gold and pearl radiate reflected light. As these disparate elements converge, the canvas transcends its flat surface to become an entity possessed of a unique "density." "Dignity: Accumulated Time" originates from a fundamental inquiry into human existence. Through her work, the artist speaks of life itself, unfolding the agony, pain, compassion, and self-reflection encountered throughout the journey of living onto the screen. This process serves as a gesture of consolation offered to the viewer. Dignity does not manifest as a single, fixed form; rather, it is forged through repetitive action and the accumulation of time, existing as a human state that embraces even the tremors and changes occurring along the way. This exhibition follows the evolution within a consistent series. To confront the traces of time and matter buried beneath a single color is to witness the process of accumulation itself rather than a mere outcome. Standing before a screen where tens of thousands of gestures are layered, viewers gradually encounter the density of time the work has endured—a time that begins to accumulate once more within the context of their own lived experiences.

Closed

갤러리 소장전

Artcube 2R2 is currently presenting a solo exhibition by Christoph Ruckhäberle, while also operating concurrent exhibitions on B1 and the 6th floor. B1F | Hiroyuki Solo Exhibition Hiroyuki, who was first introduced at Art Cube 2R2 last year through an art fair and a curated exhibition, now unfolds a more complete and deepened vision of his artistic world in this solo presentation. Upon entering the gallery, two paintings installed at the front are layered with a media work conceived and produced by ARTTOKEN, adding a luminous dimension to the space. The imagery extends beyond the canvas, expanding into the exhibition environment to form a continuous, immersive world. Painting and moving image are organically interwoven, creating an integrated visual scene and offering a heightened sensory density not experienced in previous presentations. 6F | Gallery Collection Exhibition On the 6th floor, the gallery presents a collection exhibition built through its long-term curatorial vision. Works by artists across generations and genres are brought into dialogue within a single space, including Damien Hirst, Ha Taeim, Kim Jihee, Lee In, Lee Seokju, Chun Kyungja, and Jeon Hyuklim. The 6th floor collection exhibition is available by appointment only. For inquiries, please contact: 📧 Email: daisy@arttoken.ai 📷 Instagram: @artcube_2r2 아트큐브 투알투는 현재 크리스토프 루크헤베를레(Christoph Ruckhäberle)의 전시를 선보이는 동시에, B1층과 6층에서 갤러리 상설전을 함께 운영하고 있습니다. B1F | 히로유키 개인전 작년 아트큐브 2R2에서 아트페어와 기획전시를 통해 처음 소개되었던 히로유키는, 이번 개인전에서 보다 온전하고 깊어진 자신의 세계를 펼쳐 보입니다. 전시장에 들어서는 순간, 정면에 배치된 두 점의 회화 위로, 아트토큰이 기획·제작한 미디어 작업이 빛의 레이어로 더해집니다. 작품의 이미지가 캔버스를 넘어 공간 전체로 확장되며 하나의 연속된 세계를 이루는 이 연출은, 회화와 영상이 유기적으로 결합되며 하나의 통합된 장면을 형성하고, 이전 전시에서는 경험할 수 없었던 감각적 밀도를 제시합니다. 6F | 갤러리 소장전 6층에서는 갤러리가 장기적 안목으로 구축해 온 컬렉션을 중심으로 소장전을 선보입니다. 데미안 허스트, 하태임, 김지희, 이인, 이석주, 천경자, 전혁림 등 시대와 장르를 가로지르는 작가들의 작품이 한 공간 안에서 조응합니다. 6층 소장전은 예약제로 운영됩니다. 관람 문의는 아래로 연락 주시기 바랍니다. 📧 이메일: daisy@arttoken.ai 📷 인스타그램: @artcube_2r2

Closed

크리스토프 루크헤베를레 초대전

When can a painting be said to be “alive”? When an image, fixed on the physical support of paper or canvas, moves beyond being a mere visual object and begins to function as an experience that expands perception and sensation, only then do we feel that a painting breathes and moves. The work of Christoph Ruckhäberle begins precisely at this point. A graduate of the Leipzig Academy of Visual Arts and an important representative of the New Leipzig School, Christoph Ruckhäberle has continuously reconfigured the most fundamental elements of painting, dot, line, plane, and color, through experimental composition. In his work, geometric abstraction coexists with decorative rhythm, repetition, and layering. The pictorial surface is no longer a closed field, but an open structure that continuously expands beyond its boundaries. This formal language extends beyond painting into sculpture, woodcut, and installation, allowing his imagery to traverse dimensions and dissolve the conventional limits of medium and space. This exhibition presents 38 works by Christoph Ruckhäberle, illuminating his sustained exploration of painting’s expanded possibilities and his experiments in visual order. Abstract elements composed of straight lines and chromatic planes transform into spatial structures, while recurring patterns and rhythms guide the viewer’s gaze and activate a dynamic mode of perception. In this way, painting is no longer experienced as something merely to be seen, but as a sensory apparatus encountered within space itself, an approach that is distinctive to Ruckhäberle’s practice. Moving beyond formal inquiry within pure painting, Ruckhäberle’s work raises fundamental questions about how images operate upon the viewer and how they stimulate perception. By loosening the boundaries between painting and space, vision and the body, art and everyday life, his practice rearticulates the latent possibilities of contemporary painting. Through this exhibition, visitors are invited to encounter the rhythms of color and form that operate beyond the static image, and to experience the spatial dimensions generated by painting itself. 그림은 언제 '살아 있다'고 말할 수 있을까. 종이와 캔버스라는 물리적 지지체 위에 고정된 이미지가 단순한 시각적 대상에 머무르지 않고, 감각과 인식을 확장하는 경험으로 작동할 때, 우리는 비로소 그림이 움직이고 호흡한다고 느낀다. 크리스토프 루크헤베를레(Christoph Ruckhäberle)의 작업은 바로 이 지점에서 출발한다. 독일 라이프치히 예술학교 출신으로, 신(新) 라이프치히 화파를 대표하는 작가인 크리스토프 루크헤베를레는 점·선·면·색이라는 회화의 가장 기본적인 요소들을 실험적으로 재구성해 왔다. 그의 작품 속에서는 기하학적 추상과 장식적 리듬, 반복과 중첩이 공존하며, 평면은 더 이상 닫힌 화면이 아니라 끊임없이 확장되는 구조로 인식된다. 이러한 조형 언어는 회화에 국한되지 않고 조각, 목판화, 설치 등 다양한 매체로 이어지며, 이미지가 놓일 수 있는 차원과 경계를 유연하게 넘나든다. 이번 전시는 크리스토프 루크헤베를레의 작품 38점을 통해, 그가 지속적으로 탐구해 온 회화의 확장 가능성과 시각적 질서에 대한 실험을 조명한다. 직선과 색면으로 구성된 추상적 요소들은 화면을 넘어 공간 속 구조물로 전환되고, 반복되는 패턴과 리듬은 관람자의 시선을 이동시키며 능동적인 감상을 유도한다. 이는 회화를 '보는 대상'이 아닌, 공간 속에서 경험하는 감각적 장치로 인식하게 만드는 작가 특유의 방식이다. 크리스토프 루크헤베를레의 작업은 순수회화의 형식적 탐구를 넘어, 이미지가 관람자에게 어떤 방식으로 작용하고, 어떻게 감각을 자극할 수 있는지를 묻는다. 회화와 공간, 시각과 신체, 예술과 일상 사이의 경계를 느슨하게 만드는 그의 작품 세계는 동시대 회화가 지닌 가능성을 다시 한 번 환기시킨다. 이번 전시를 통해 관람자는 정지된 이미지 너머에서 작동하는 색과 형태의 리듬, 그리고 회화가 만들어내는 공간적 경험을 마주하게 될 것이다. 협력: UNC갤러리

Closed

Spectrum of Emotion

Emotions are not singular. Like color and light, they resonate with different intensities in each person. This exhibition explores how emotion is transformed into form, color, and rhythm through the distinct visual languages of four artists. Rather than expressing feelings directly, they allow subtle emotions to permeate the structure of the image, the density of color, and the flow of rhythm. At the point where the end of the year meets a new beginning, their works invite viewers to pause amid the busyness of passing time and turn their gaze inward, reflecting on their own emotions. Within the visual resonance created by differing emotional states, stillness and vitality, warmth and tension coexist. Through this convergence, the artists demonstrate that emotion is not a linear phenomenon, but a spectrum.

Closed

Spirit of Korea, Spirit of Paris : The Curator’s Eye

The curator's eye... The essential tasks of a museum curator are to preserve, study, and enrich the collection for which he is responsible. To do this, it is imperative to learn how to see and educate one's eye. Images are essential to any art historian. From my teenage years onwards, I collected postcards, photographs, and clippings from sales catalogs in shoeboxes to build up a visual repertoire of the works of painters, draftsmen, sculptors, and architects of modern Europe (16th–18th centuries AD). These images were a source of learning for me and helped me exercise my memory. It was and still is necessary to review them and see the works and places they illustrate in order to immerse oneself in their characteristics. It is a long, constant, ongoing task, but it is the only way to better understand those who created them. A work of art requires careful viewing. The memory must be imbued with it. Only then will it be possible to identify the style and genius of a particular artist, to understand his technique, to grasp what makes him unique, what sets him apart from others. This knowledge acquired over the years undeniably influences the way I look at art and then, in a creative process, construct the image I want to convey of the work I am looking at. It then becomes a question of framing, lighting, color range, and the juxtaposition of forms that reflect a more personal perception of the work of art. I have been taking photographs for a long time. At first, they were intended for my visual repertoire. Then came the time to write books, where, in order to illustrate my point, it was necessary to use images to accompany my text and make it easier to understand. Framing then became very important. What should be shown, which element, which detail, which point of view, which perspective ?

Closed

천년의 노래:가을의 서사(songof1kyears)

For nearly a thousand years, the Banggye-ri ginkgo in Wonju has stood in one place, quietly holding life and time within its trunk. Before this towering tree, the artist returned to the site for over a year, brush in hand, meeting the ever-changing light and wind with body and mind, and translating the tree’s weight of time and vital force onto the canvas. Song of a Thousand Years: Autumn Narrative focuses on the “autumn” chapter within a yearlong cycle. The moment when golden ginkgo leaves shimmer and bathe the season in light is both the fruit of a year endured and a mirror reflecting the ripening of our own lives. With the realization that “the tree is drawing me,” a single tree comes to stand for a person, the forest for a crowd, and the mountain for life itself. These works honor the unrepeatable value of moments encountered on site. Working before a living subject, the artist accepts the ceaseless shifts of wind and light and the turn of the seasons. The day’s gentle morning light slowly deepens into the clear colors of noon, and each leaf quivering in the breeze settles onto the surface along the grain of time. If photography fixes an instant, working from life is an act of duration—an attempt to hold all the instants that flow and accumulate. The finished paintings are not mere landscapes, but records of moments and change as the artist’s body experienced them. As the artist once stood before the ginkgo, so too may viewers move beyond nature’s outward forms, contemplating autumn through the works and feeling the season’s passage. How do we endure time, what fruits do we bear, and how do we ripen? Before these questions, the ginkgo’s thousand-year breath and the quiet resonance of life will be gently conveyed. 천 년 가까운 세월 동안 원주의 반계리 은행나무는 묵묵히 한 자리를 지켜오며 생명과 시간을 담아온 존재다. 작가는 이 거대한 나무 앞에서 1년이 넘는 시간 동안 현장을 찾아 붓을 들었고, 매 계절, 매 순간 달라지는 빛과 바람을 몸과 마음으로 마주하며 나무가 품은 시간의 무게와 생명력을 화폭에 담았다. 〈천년의 노래: 가을의 서사〉는 사계절을 기록한 연작 가운데 특히 ‘가을’의 서사에 주목한다. 노란 은행잎이 반짝이며 계절을 물들이는 순간은 한 해를 견뎌낸 결실이자, 우리 삶의 성숙을 비추는 거울이다. “나무가 나를 그리고 있다”는 깨달음을 통해, 한그루의 나무는 한 사람을, 숲은 군중을, 산은 인생 그 자체를 은유한다. 이 작품들은 현장에서 마주한 순간의 고유한 가치를 보여준다. 작가는 살아있는 대상 앞에서 시시각각 변하는 바람과 빛, 계절의 변화까지 받아들이며 붓을 움직였다. 아침의 은은한 빛이 서서히 정오의 선명한 색채로 스며들고, 바람에 흔들리는 나뭇잎 하나하나가 시간의 결을 따라 화면에 쌓인다. 사진이 한순간을 고정한다면 사생은 흐르는 시간을 견디며 이어지는 모든 순간을 담아내는 지속의 행위다. 완성된 작품은 단순한 풍경이 아닌, 작가가 몸으로 경험한 순간과 변화를 담은 기록이다. 은행나무 앞에 선 작가가 그러했듯, 관람객 또한 작품을 통해 단순한 자연의 형상을 넘어 가을과 함께 작품을 사유하며 계절의 변화를 느낄 수 있는 전시를 경험하길 바란다. 우리가 어떻게 시간을 견디고, 어떤 열매를 맺으며, 어떻게 익어가는가. 그 물음 앞에서 은행나무가 품은 천년의 숨결과 삶의 울림이 조용히 전해질 것이다.