he Mitsuko Castle Japanese Museum is planning for its 21st exhibition:
‘ways to plainness‘ April 12 – May 11, 2025
the realization of ‘DO’
Rainer Junghanns / RAUM _ fuer _ RAUM
is invited to add his concept
‘d a t _ code’ (Do Art Trans)
Movement, Change
Pilgrimage principles, Expression.
‘d a t _ code‘
is an act of cognitive reassurance emerging from a fundamental physical uncertainty, expressed as an artistic process.
Maho Maeda
From the moment we conceived in the womb, we each walk the path of life that has been given to us. Even though we are helped by various people, nature, and things, we must proceed on our own path with our own feet and cultivate it with our own strength. Sometimes we feel like that path continues forever, and sometimes we feel like it ends in a flash.
On the scale of the universe, an individual is a tiny existence, but each of us must surely create our own path, as we interact with other paths, we will develop a path that leads to the grandeur of the universe.
How will my path continue?
Maho Maeda was born in Hyogo, Japan.
Living and working in Mexico City
Art Education: M.A.(1998) and B.S.(1996) in Fine Arts, painting at the Kyoto City University of Arts in Japan. Royal College of Art by the award of an exchange program in London, England (1996). „Akademiebrief (2008)“ „Meisterschülerin“(2007) by David Rabinowitch at Kunstakademie Düsseldorf, Germany.
Participant of Global Art Project Trilogy ‘HIDDEN _ Places’ /
‘nomansland.academy’ /
‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Solo Exhibitions:
2023 Hashi Gallery, Mexico City
2022 RAUM _ fuer _ RAUM, Düsseldorf
2019 Casa Mariscal in Mexico City / Niepel bei Morawitz Gallery in Düsseldorf Germany
2015 & 2011 Niepel bei Morawitz Gallery in Düsseldorf Germany
2012 Cornelia Kamp Gallery in Sylt Germany
2006 Nicols Gallery in Düsseldorf Germany
1999 Gallery Haku, Gallery VEGA in Osaka Japan
1997 Gallery 16 in Kyoto Japan
Participated in many group exhibitions around the world, like Sweden, Germany, France, Luxembourg, Spain, Argentina, Mexico, China and Japan. Prize & fellowship: 1st prize in the “Mediaan art award” Germany (2008) /1st prize in “15º Kö Galerie art award” Germany (2005) / Suda Prize in the “Kyoten” Japan (2000) / Dosokai syoreii Award in the Kyoto City University of Art, Japan (1996). Scholarships: The Japanese Government Artist-in-Residence Program (2006-07) / The POLA ART FOUNDATION in Japan (2004-05).
LENA Nowhere
The Samjongjido (三從之道)
refers to the Confucian principle prescribing the rules that women in Confucian cultural spheres were expected to follow. It means obeying one’s father before marriage, one’s husband after marriage, and one’s son after the husband’s death. My maternal grandmother was someone who faithfully followed this path.
I live a life completely opposite to hers. I was born without a legal father and have neither a husband nor children. There is nothing and no one I am obligated to follow. Instead, I live by the words she once told me when I was young: “Follow your heart.”
She passed away when I was very young, so I never had the chance to ask her whether a life following Samjongjido brought her happiness. I can only speculate. Starting from her grave, I plan to revisit the neighborhood she never left throughout her life, reflect on the memories she and I shared, and contemplate the life she lived conforming to societal norms. At the same time, I will consider the experiences of Korean women under the patriarchal system, as embodied by my grandmother, my biological mother, and myself.
LENA(b.1980) is a visual artist who conducts photography, video art, and installation, based in Seoul, South Korea.
She philosophically focuses on themes such as her identity, social minorities, private emotions, and social issues.
LENA defines herself as a person who stands on the border. The border is the spot not outside nor inside. She considers the border constructs wider and flexible insights, and it devises awareness in a complicated society without bias. She keeps her eyes on unjust ones and diversity and aims to exhibit her thoughts through her works.
Her initial works display aesthetical images, loneliness, and unnamable moments in photography. She was influenced by Henri Bergson, Fujiwara Shinya, and Sophie Calle, thus, she attempted to capture the time-space as an observer in her early works. She mainly uses film cameras due to her belief that film photography is more closed to capturing instant moments in photography progress.
Recently, LENA concentrates to convey her identity as a female artist and an Asian onto her works. Nah Hye-Seok, Agnès Varda, Virginia Woolf, Sylvia Plath, Audre Lorde, and Adrienne Rich affect her, along with these ideas, she broadens her fields whilst grafting her insights onto social issues. She has begun to produce uncanny video works and objects with photography since 2017. Her works are deeply rooted in literature, philosophy, and old and European movies, together with, she combines her thoughts, adopting various methods.
She studied BA philosophy at HUFS in South Korea, and MA photography: Images and Electronic Arts at Goldsmiths College in the UK, also she has a short-term course diploma from NYFA.
Participant of the Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Participant & Co _ Curator of the Global Photo Art Project ‘summer _ T I M E’
by Rainer Junghanns / RfR
Erik Bachthold Meyer
I look for processes that arise from our perception and interpretation we give to the images we perceive throughout our lives, Our existence is made up of countless events and images, these are not created randomly, we organize them.
This work creates a collage of images that create a single body, a single form that speaks of a being composed throughout our life, which ends up being a totem of each person, a unique image that speaks of the path we have created along throughout our lives, forming a single complex image of ourselves.
Erik Bachtold M. was born in Mexico City in 1966. 1990 attends the National Arts School – UNAM México, from 2003 to 2005 studied at the Kunst Academie in Düsseldorf Germany, with Professor Daniel Buren. In 2019 get a master’s degree in sculpture at the National University of Mexico, UNAM. Selection of some exhibitions in Mexico and abroad: 2021- Hashi Gallery, Mexico. 2020- “Calibre 16” Eibar, España. Sculpture.
2019- Galería Libertad “recuerdos contenidos” Querétaro. Sculpture.
2018-Works of Paper, Works on Paper, CASO – Contemporary Art Space Osaka. Sculpture.
2017- Botanical garden Mexico city Installatión 2015- Galerie #23, Velbert, Germany. 2014 Guangdong Contemporary Art Center .Guangzhou, China. Sculptur-
2014 Arte Hoy Galerie. Mexico City. Sculptur –
2013 Abstract Art Museum, Manuel Felguerez. Zacatecas, Mexico grafik. –
2013 Hiroshima Art Center, Japan. Object Art.-
2005 Monterrey Technological University. – 2008 Galerie Espace Apart Gerlitzki frank, Luxembourg –
2007 Colpach / Grendel Luxembourg / Belgium –
2005 Deutsche Bank Düsseldorf. –
2004 Garash Gallery Mexico City – Art Academy Düsseldorf Germany.
2002 National Arts Centre, Mexico. – 3D Museum „First Tridimentional Art Bienal“ –
1999 – Uwa, Ehime, Japan. Installation.
Participant of Global Art Project ‘nomansland.academy’ & ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
2013- Professor “Sculpture department” in the National Art Shool FAD. UNAM.
From 2011 to the date- Sculpture professor in the Mexican Art Center, and numerous workshops.
Miryeon Kim
Here and now, two female workers are on the 314th day of their high-altitude protest, demanding job security. Alongside them, I, recovering from breast cancer treatment, and fellow women are navigating our paths through economic, social, physical, and psychological pain and anxiety. In the midst of these multiple crises, we support and care for each other, aiming to overcome them through a sense of communal solidarity. The <Knit Together Project> is a temporary yet powerful act of solidarity. Small pieces knitted by individuals within their own communities are gathered and stitched together like a quilt, forming a single blanket. This completed blanket is sent up to the rooftop where the protesting female workers stand. This project is a practice of art that fosters mutual care and communication, sharing the energies of coexistence and regeneration. It goes beyond a simple physical creation, becoming a symbol of solidarity, weaving together our shared experiences of pain and healing.
2Channel Video_ loop_4K _2024 (Documentation Video)
1969 Born in Andong, Korea
Education:
2013 Digital Media Art, completion of doctoral studies, Kyungpuk National University, Korea
2008 Academy letter in David Rabinowitch and Martin Gostner, Kunstakademie Düsseldorf, Germany
2004 Student in Prof. A.R. Penck’s Meisterschüler 2001, Düsseldorf Art Academy,
with Prof. A.R. Penck, Germany
1992 BA in Painting, Kyungpuk National University, Korea
Selected solo exhibitions:
2019 ‘SPOOKY MENTAL’ , with Gabi Rottes, Gallery GUBLIA, Essen, Germany
2019 ‘Return’, space for space‘, Düsseldorf, Germany
2018 ‘Random Grid, Random Daegu’, Hyangchon Culture Centre, Daegu, Korea
2016 Project space Sarubia, Seoul, Korea
2015 ‘Light and Iron, Future of Memory’, Pohang Art Centre, Pohang, Korea
2014 ‘Future of Memory’, Alternative Artspace- Ipo, Seoul, Korea
2013 ‘The spatial Plants’, Room duru, Seoul, Korea
2012 ‘12th Ha Jung-Woong Young Artists Invitation Exhibition’, Gwangju Museum of Art, Korea
2011 ‘The spatial Plants’, Korean Cultural Centre, Korea, Berlin, Germany
2009 ‘Young Artists Invitation Exhibition’, Daegu Art Centre, Daegu, Korea
2008 ‘before and after’ Moonshin Museum Gallery LIGHT, Seoul, Korea
2007 Remapping Worringerplatz, Glasshous, Düsseldorf, Germany
Participant of Global Art Project Trilogy ‘HIDDEN _ Places’ / ‘nomansland.academy’ /
‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Adjunct Professor in YEUNGNAM UNIVERSITY
Invited Professor in DAEGU HAANY UNIVERSITY
Moon Rohaizan
This photography series began as a personal exploration of mental health, driven by an unspoken weight and the search for a sanctuary amid the chaos of life. Struggling with feelings of loneliness, self-doubt, and the burden of cultural stigma surrounding mental health, I sought solace in observing the fleeting, quiet moments of others during their daily commutes.
In Asian culture, mental health often remains taboo—acknowledging struggles can feel like admitting to being broken or burdensome. These unspoken battles, compounded by toxic work environments rife with gaslighting, exclusion, and unrealistic expectations, left me yearning for an escape—a safe space where vulnerability could exist without judgment.
As I commuted, I noticed a shared sense of detachment among fellow passengers. Physically present yet mentally absent, they seemed to retreat into their private worlds, finding solace during the 40 minutes of travel. This series captures those moments, isolating individuals within their personal space and portraying the universal desire to escape—even briefly—from the demands of daily life.
Using a mobile phone to remain unobtrusive, I framed these portraits to reflect a sense of being stuck, tethered to the routine, yet finding temporary refuge in the monotony. The consistent composition and subdued tone reveal a melancholy that mirrors my internal struggles, creating a narrative of shared introspection.
This ongoing project is not only an artistic exploration but also a conversation starter about mental health, self-worth, and the silent struggles we carry. Through this work, I hope to uncover the beauty and weight of these quiet moments and inspire others to acknowledge the need for safe spaces, both physical and emotional.
Moon Rohaizan is a self-taught photographer and accomplished project manager based in Kuala Lumpur, Malaysia. She discovered her passion for photography while pursuing a business degree in Dublin, Ireland—a turning point that fueled her creative journey.
Currently, Moon serves as the Project Manager for the Kuala Lumpur International Photoawards (KLPA), where she oversees the execution of one of Asia’s most prominent photography competitions. She is also a committee member and contributor to KL-Ga.org.
Her curatorial and artistic contributions include serving as Assistant Curator for the MOCA Fest visual art team during the World Islamic Economy Forum (WIEF) in 2015, as well as managing the Exposure+ Photo Fest in 2022 and 2023, showcasing her commitment to fostering creativity and community engagement.
Throughout her career, Moon has collaborated with various cultural and creative organizations, including working as project manager of the Two Mountains Photo Project 3.0 and Photo Symposium Asia. Her ability to connect with audiences and elevate narratives has been recognized internationally, having spoken at the Suwon Photo Festival in 2022 and being part of the co-curators team at Jeju Biennale in 2024. She was also part of the publication Kuala Lumpur-Berlin, Kisah Dua Bandaraya, Stadtgeschichten – Kuala Lumpur, Berlin in 2011.
With a deep passion for storytelling and empowering voices through photography, Moon’s work reflects her dedication to exploring diverse narratives while contributing to the creative and cultural landscape in Malaysia and beyond.
Nisrine Boukhari
„Light is fundamental to spacetime—it defines the limits of speed and connects space and time within the universe. When space and time are separated, the characters become detached from the flow of light, making it unattainable.
The State of Water presents a visual and poetic interpretation of the separation of space and time through fragmented dialogue between three characters: Past, Present, and Future. The interplay of light, shadow, and water becomes a metaphor for the dissolution of identity, memory, and structure. Slowness and text aligned with the rhythm of sea waves create hypnotic visuals, let the mind wander, play with perception, and forget the characters‘ words.“
N Boukhari is an artist-theorist based in Vienna and Stockholm. She explores language’s role in creating an immersive, poetic experience of mind and body and has extensively researched the state of Mind Wandering since 2012. She coined the term „Wanderism“ to describe the State of Mind that embraces associative, wandering thoughts, challenging mental health stigmas through her interest in the philosophy of mind. This State of Mind serves as a metaphor for those who reinterpret the concept of a State politically, transforming it into a mental one—a haven for those who dwell within their minds amid harsh realities.
Boukhari studied Sculpture at the Faculty of Fine Arts/Damascus University and holds an M.A. in Social Design from the University of Applied Arts Vienna, where she is pursuing a PhD in Artistic Research. She participated in exhibitions and artist/research residencies worldwide at UmArts (Sweden), Serlachius Museum/Finland, Iaspis (Sweden), Art Omi (NYC), and Delfina Foundation (London). In 2019, she was selected as „Artist of the Year“ by the Swedish Art Association. Boukhari is also a co-founder of AllArtNow, the first independent contemporary art organization in Damascus.
Participant of the Global Art Project ‘HIDDEN _ Places’’
by Rainer Junghanns / RfR
Jo Sunghyun
“Photographs are beautiful, yet they deceive the viewer’s emotions, sometimes blurring the line between reality and illusion, leading to both fleeting and exquisite imaginations. Whether pure or not, one senses themselves within and envisions their stance toward the world.”
– From the artist’s diary
Jo Sunghyun delves into the tangled mass of emotions and thoughts within himself, defining the raw, unrefined essence of his heart as “purity.”
Through photography, he unveils the echoes of emotions linked to this essence, such as love, hatred, anger, compassion, and freedom. In his work, glowing white bodies and forms reminiscent of the human physique take shape. The figures he portrays tell of existence through incomplete forms—clusters and scattered powders that resist full definition. Like the candid confessions of his diary, the deeply hidden emotions in his work rise to the surface and float, unable to coalesce into one yet inseparable from each other.
These raw emotions, indefinable yet undeniable, emerge as he gazes deeply into his inner self, uncovering his unique perspectives. What he reveals through his work are things closest to the “raw,” akin to the babbling of a child before the acquisition of language. His confession—that he still doesn’t know what lies within him—stirs a vague recognition of something we all sense but cannot articulate: that primal purity before spoken words.
We rediscover lost, raw emotions from his words. Deeply concealed feelings rise to the surface, adrift. Emotions that cannot merge into one yet remain inseparable. Found through a profound introspection of the self. The artist’s relentless effort to observe and express his inner world as it becomes “something unspeakable,” encapsulated within the rectangular frame of his photographs. What lies within? Perhaps the diminished presence of “self,” or the hidden “self” no one else knows. As the artist notes, whether pure or not, we are undeniable beings set in this world.
“Floating Fragments” speaks of Jo Sunghyun perspective on existence and his way of discovering something within himself. In his photography, the words of Lu Xun resonate: “Originally, there was no path on earth. When more people walk upon it, it becomes a path.”
Participant of the Global Photo Art Project ‘summer _ T I M E’
by Rainer Junghanns / RfR
Keun Ju Park
Fleeting Landscapes is a series documenting the passing scenery through a car window during a journey in Madagascar. It explores the dual meaning of connection and separation that exists between the moving car interior and the outside world. The car window serves as more than just a physical boundary; it becomes a point of connection between myself, an outsider, and the locals, while simultaneously reinforcing a sense of separation from their world.
Instead of consciously framing my subjects through the camera’s viewfinder, I mechanically pressed the shutter, recording moments as they unfolded. This approach reflects an intention to capture the subjects as they are, free from interpretation or intervention. Yet, the resulting images inherently bear the traces of a boundary — the roles of observer and observed naturally imprinted on them.
This project finds deeper resonance when connected to Japanese philosophy. Just as Japanese philosophy views life as a path (道), this work focuses on the fleeting moments of experience encountered along the journey. It shifts the emphasis away from reaching a destination and instead centers on the present — on the environment, the experience, and self-awareness.
As Angelus Silesius once wrote, “I do not know who I am, where I come from, or where I am going, yet I am astonished at how happy I am.” This sense of wonder is woven into the project. The car window, while physically dividing me from the world outside, also offers new perspectives and opens the door to unfiltered, spontaneous experiences. In this way, Fleeting Landscapes transcends being a mere collection of photographs; it becomes a meditation on the journey of life and a record of the path (道) as it is lived in the present.
Ultimately, this project is a reflection on the interplay between connection and boundaries. It serves as a process of re-examining my relationship with the world and myself, reminding us that every experience leaves a trace — a fragment of the journey that shapes who we are.
Participant of the Global Photo Art Project ‘summer _ T I M E’
by Rainer Junghanns / RfR
Yana Kononova
Kononova’s practice involves ecocritical investigations that position terrains not as mere backdrops or scenery for human history, but as historical processes in their own right.
She engages with the development of the idea of landscape as a protagonist, speculatively addressing the sensibility of the landscape itself. Her work also centers on weird ecologies and geographies, exploring the landscape as a milieu of techno-geographical imagination that both possesses and creates historicity.
Kononova delves into ways of thinking and navigating through environments with alien temporalities, while harnessing the materiality inherent in the photographic medium. Using medium and large-format analog cameras, she aims to achieve the tactility she seeks in images that reside on the threshold between the sensitivity of the photographic surface and the act of representation. Her inspiration is drawn from contemporary philosophical works in the theory-fiction genre.
Participant of the Global Photo Art Project ‘summer _ T I M E’
by Rainer Junghanns / RfR
Saraswati Gramich
I propose a drawing on paper that explores the notion of slowness.
The earth and its atmosphere consist mostly of moving entities, like the clouds, water, living organisms, all human activities, the resources we need and all the pollution we generate.
The planet is limited and not big enough. The fragility of intricated links of humanity and nature provokes a question on the choice to be determined on the way I live my life.
The drawing proposes a composition as opposed to domination that touches the notion of time.
Participant of the Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Omar Rosales
Hair dryer, garbage bag, polish, timer
Variable measurements
2025
Specifications:
The garbage bag is painted with flowers of different colors.
The garbage bag connects to the mouth of the hair dryer, the timer turns the hair dryer on and off every 10 seconds.
The bag inflates and deflates to the rhythm of the hair dryer being turned on.
Concept.
What is the meaning of nature today? Or since man was eliminated from Eden we live in a fiction and really the human being is the only living being far from nature and to “believe” in the natural has created mercantilist concepts of “organic” “superfood”, “natural medicine”. Everything is a fiction.
Dr. Omar Rosales (Mexico City, 1976)
He holds a doctorate in Japanese art with a specialization in sculpture from Hiroshima City University (2017) and two master’s degrees, one from the Academy of San Carlos (2004) and another from Hiroshima City University (2014). He received the Monbukagakusho scholarship for graduate studies from the Japanese government from 2010 to 2017. He received support from the Japan-Korea Cultural Foundation for an artist residency in Seoul, Korea in 2012.
Participant of the Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Ralph Tepel
‘calm harmony’ –
a short film by Ralph Tepel about the tea ceremony with Mitsuko
Tranquility might be the result of the other three principles of the tea ceremony stated by Sen no Rikyu (wa = harmony, kei = respect, sei = purity). CHA-DO is the wabi way to plainness, an encounter with the beauty and the sound of nature, with the sound of fire, water, air in contact with clay in form of the tea bowle, the beauty of raku.
Going back to the very beginnings of wabi cha, is going back to the plainness by more than meditating nature, by experiencing nature with all senses.
Artist, Curator, Director Schloss Mitsuko
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Harald Hofmann
‘less than a second from an unfinished iconography’
DINA 3 _ Drawings, Film
from
‘QUESTION of an EXISTENCE’ (ongoing project )
The title “Questions of an existence – Befragungen einer Existenz” and a quotation f rom F. Schlegel about fragments in the beginning comprise the concept of this movie. Without a narrative structure, the film is based on an idea of a sequence of individual associations realized as a series of separate images. This is one reason why this film has no end and continues in many episodes.
1967 born in Bad Homburg, Germany Study of architecture FH Düsseldorf, Germany
Studied at the Academy of Art and Master under Jannis Kounellis, Düsseldorf , Germany
Since 2005 member of the “International Artist Forum IKG”
2018 and 2019 guest lecture at the faculty of art , Paderborn-University, Paderborn, Germany
Participant of Global Art Project Trilogy ‘HIDDEN _ Places’ /
‘nomansland.academy’ /
‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Takwe Kaenders / Ralph Tepel
It’s an art project over years starting by taking photographs at Lichtenburg/Prettin, the first concentration camp for women established by the Nazis in 1937 and run until 1945. The women were forced to brutal corvee at the nearby soap factory.
The photographs were taken to show the path the women had to walk every single day. They were reduced to black and white using an old analogue photocopier on sheets of overhead film.
This is the first part shown at Mitsuko Manor. The second part contains the cast iron plates made from photographic template.
And the third part is a short film by RALPH TEPEL (Curator, Director Schloss Mitsuko) on excavating the iron cast plates in front of the studio of Takwe Kaenders titled „Es gibt Dinge, über die wächst kein Gras“, which is also the title of the art project overall.
The use of this special German idiom is, that grass might grow but will not cover the crimes of the culprits and the sorrow of the victims.
TAKWE KAENDERS
2022 grant of art fonds foundation Germany
2001 sculpturer diploma Burg Giebichenstein / Halle, Salle, Germany
curatorial work since 2010
Rainer Junghanns
The Story of the MOMBASA _ SHIPPING _ PROJECT Volume IX
from MOMBASA
via Hamburg
to LVR LandesMuseum Bonn
to Kunstverein Ulm
to Kulturforum Herz Jesu, Köln
to Kunstverein Langenfeld
to Kranhalle, Galerie Tedden, Oberhausen
to Schloss Mitsuko, MV
to Kunsthaus NRW/ Kornelimünster
to Jeju Art Biennale 2024/25, Jeju Island Korea
to Schloss Mitsuko (return)
Living in Düsseldorf
1985 Study Kunstakademie Düsseldorf
1989 Awarded first prize Kunstort Düsseldorf, Kunstpalast Düsseldorf
1991 Awarded first prize, first international biannual exhibition Györ, Hungary
1992 Grant from the Foundation for Art and Culture, State North Rhine-Westphalia
2006 Grant from the Foundation for Art and Culture, State North Rhine-Westphalia
2020 HIDDEN _ Messages
2021 Research Grant, Commissioner for Culture and Media of German Federal Government
2022 Scholarship Holder, Culture and Science of the State of North Rhine-Westphalia
2022 ‘nomansland.academy’
2023 ‘undress me my little B U D D H A’
2024 ‘MOMBASA _ SHIPPING _ PROJECT’ Kunsthaus NRW / Kornelimünster, Aachen
2024 Jeju Art Biennale, Jeju / Korea
2025 Photo Collaboration Project _ KP Gallery Seoul / japanese Museum, Schloss Mitsuko, Thürkow / GER
Autor & Concept of the Global Art Project Trilogy: ‘HIDDEN _ Messages’ / n’omansland.academy’ / ‘undress me my little B U D D H A’ , Seoul, Mexico City, Schloss Mitsuko , Saint Denis / Paris
Autor & Concept of the Global Photo Art Project: ‘summer _ T I M E’
Marco A. Marranez
Video and photography.
In life, the choice of something implies the sup plantation, diversion or degradation of something else. Aiming towards a goal or moving away from it is synonymous with transformation: the path of our existence.
The piece is made up of 12 photographs, that can be arranged according to the space, and the animation of a dry flower that, like sunflower and other heliotropic plants, moves in search of sunlight; In the piece this movement is not defined by sunlight but by the light of the printed images placed around or from the viewer himself. For this reason, the movement of the flower seems to have no defined pattern and even seems erratic,
pointing or moving away from the photographs or the viewer.
In the best- or worst-case scenario, the image of the flower on the monitor stops being an abstract idea and, perhaps, becomes a reflection of the person looking at it.
Marco studied Graphic Communication and Fine Arts at ENAP (National School of Fine Arts, UNAM) and is currently working on his thesis to one day complete his Master’s in Fine Arts at the same institution. He is an active member of the interdisciplinary group Arte + Ciencia (www.artemasciencia.org) and co-founder of the collective „Gaznate, cine dislocado“ (https://vimeo.com/gaznate).
Presentations, projects and group exhibitions nationally and internationally…
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Marc Guillermin
Hammered aluminum, painted wood, wooden rods, h : 32 cm x 60 cm x 50 cm
What an experience it is to be fully in the present with this strong feeling of being immersed in the elements and feeling our human smallness : air, water, stone, vegetal, vertical and horizontal, mineral and gaseous…
We then experience the world to the fullest. The contrast between the impalpable moving and the static, the power of the jagged mountain resulting from transformations, geological folds suggesting a colossal power and the apparent lightness of the vaporous clouds, the result of the infinite cycle of water, the longevity of stone mixed with the transience of clouds.
In the device, each element is connected to the other and allows the stability of the whole. It appears as a construction game, where each element is interdependent on the others, evoking a fake set like the set of a theatre, and its fragile balance.
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Jiwon Park
The Contact 2021 ‚In Search of the Lost Star’ _ Media Art
The title of the work to be submitted on Wege zur Schlichtheit 21 – The Road to Ordinariness 21: 道 – Dô 12.04.2025 – 09.06.2025 is The Contact 2021 _ ‚In Search of the Lost Star‘. 2 single-channel videos, 5 minutes of running time, 2 clips (approximately 5 minutes of running time video sound file without beginning or end).
This work is a video work that imagines the distant past and distant future of human life on Earth, a lost universe, in the relationship between humans and nature, with a pan-universal imagination. It is part of the work installed at the outdoor booth of Sanjicheon in Jeju Island along with a video documentary. I believe that the context of the work is newly created and given meaning depending on the time, place, and environment. I will remake and submit the video and music of The Contact 2021, which is reborn in Mitsuko Castle.
The Contact 2021 is a video installation that collects sacred and secular stories surrounding Jeju Island and the space and time of Tamna Jeju in images. Finding the lost star of Tamna is finding myself. – Work Note
Park Ji-won is the representative operator of Alternative Art Space, an exhibition and creative space in Munrae Art Village, and a visual artist who utilizes various media such as film, video, photography, and sound. He majored in Korean language and literature in college and is studying media culture in graduate school. He is interested in social art that visualizes the invisible forces that move the world.
2024 IPO Presentation “How do you depiction this era? – -2024 『New Life』(新生)_“12 Monkeys“
2023 Korea-France International Art Exchange Project ‚Metamorphosis‘
2023 Global Art Project Part 3 ‚My Little Buddha, Undress me my little B U D D H A – Me and My ( )‘
2021 [Art bob] New Imagination Exhibition with the Theme of ‚Art Labor, Food‘ at the Just Transition
2020 Jeju 4.3 Art Festival ‚Rail‘ – 4.3 Peace Memorial Hall Special Exhibition Hall
2018 Anti-Gentrification – „Criticism of Everyday Life“
2010 Auto-created Virtual Body 意生身 – Photo Exhibition
2015 A Story That Might Be a Dream „Flower, Pavin’s Gun“ – Photo / Video / Installation
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Gyully ii Sun
My work, which can exist only when space exists, cannot exist independently on its own.
Humans, too, who cannot exist alone, are similar to my imperfect work.
My drawings since 2004 until today burst out of the paper, seep into the walls and then exist as objects by breaking through the walls again.
Nevertheless, they are ongoing.
My works continue to resonate by expanding the structure through the process of repeatedly drawing with line tapes, covering them with medium
and tearing them off.
1991 – Graduated from College of Fine Arts at Yeungnam University -Graduated from the same graduate school (2002)
1993 – Daegu Crafts Competition (Excellence Award)
1996 – Korea-Japan Artist Exchange Exhibition (~2010)
1999 – Orientalism and Contemporary Art Exhibition (Daegu, Daegu Arts Centre)
2018 – Singapore Regent Hotel Art Fair
2022 – Participation in KIAF – “Needle Tension” solo exhibition (NYC, SPACE 776)
2023 – “KARMA LINE” solo exhibition (Daegu, Eul Gallery)
2024 – “This time, this place” solo exhibition (Daegu, Gallery DK)
– “The time, the place” solo exhibition (Seoul, 636 Gallery)
– Gyeongnam International Art Fair (Changwon, International Convention Centre)
– ArtDaegu Fair (Daegu, International Convention Centre)
Monika Bertermann
Nothing stays as it is, old is replaced by new. New things are constantly emerging.
The advance of digitalization at the end of the 20th century also forced the transformation of modern diagnostic technology in imaging processes. Traditional X-ray films became superfluous, irrelevant images were thrown away. The aesthetic appeal of the images with the concentration on light and shadow only and the look and feel of the flexible films aroused my interest in the challenge of an artistic transformation with various experimental design options. „A path into new territory“ – neverland.
As a result, an image series with material prints or folds with new image statements were created and will be created. Cutting techniques anonymize sensitive personal data and in the process positive and negative fragments were produced, starting point and parts for the artistic path.
The conventional X-ray image shows an image of three-dimensional objects on a two-dimensional surface. In my transformations, I let them become three-dimensional again, with reference to objects and human subjects on another layer of the path of lifecycle.
born in Thale (Harz)
studied at a technical college and worked as a nurse
2021 nomination for the Rostock Art Prize 2021, small sculpture
2022 nomination for the Mecklenburg Insurance Group Art Prize for Fine Arts in Mecklenburg-Western Pomerania
2022 Solo exhibitions (selection)
• 2002 Friedland, Art Association, Fischerburg
• 2003 Quedlinburg, Gallery in the Castle Museum / Bonn, Ahrweiler Gallery
• 2005 Greifswald, Pommernhus Art Gallery Stettin (Poland), Kierat Gallery of the Association of Polish Visual Artists (ZPAP), Outside, Inside and Elsewhere
• 2021 Kummerow, Photographic Collection Kummerow Castle, Cabinet, Transformations
• 2022 Neubrandenburg, Neubrandenburg Art Collection, „The Velvet Black Rainbow“, picture objects, sculptures and installations with X-ray images by Monika Bertermann
Bernd Kommnik
‘The Grove or On the Inexpressible in Art’
At the beginning of my path there was a search. The indeterminate, unspoken stood in the room like the artistic intentions. The staffage in a project from 2013 represents this search for the inexpressible. I find the inexactly nameable as a component of my artistic practice in Prof. Heinrich Radeloff’s Shinto grove. The photo documents from 2013 and 2024 are an excerpt of the cyclical paths that I take during my artistic time.
Video 2:16 min b/w HD 1920×1080 and or stills / music: bernd kommnick 2025
1995 Diploma and master student at the Berlin Art Academy
1996 Funding from Deutsche Kreditbank AG
1999 Scholarship from the City of Neubrandenburg
1999 Scholarship from the Ministry of Culture of Mecklenburg/Vorpommern
2001 Scholarship from the Cultural Fund Foundation
2011 Residency scholarship from the Schleswig-Holstein House in Rostock
2023 Nomination for the Rostock Art Prize, object art
SOLO EXHIBITIONS (SELECTION)
2022 „Retrospective“, Mitsuko Castle, Museum for Japan and Contemporary Art, Todendorf/Thürkow, catalogue
Anke Bär & Beate C. Köhler
Constantly searching for a state of active non-action, the two artists span between life and death, becoming and passing away. The carefully inked dead birds on gently swaying sheets of paper go back to Beate C. Koehler’s respectful photographs of dead birds along the way, in the sand, on the asphalt, between tram tracks. The photographs, transferred in a dedicated process, seem to find their final resting place on the light boxes at the feet of the viewer. The black ink birds swing timelessly alive in the installation in the air above.
Soon after meeting, Anke Bär and Beate C. Koehler were keen to embark on a joint artistic process, explore questions of life and build a bridge between ink drawing on the one hand and photography and film on the other. In an open, experimental process, they let themselves flow, explored curiously and inspired each other. Their joint journey has resulted in closely interwoven works that value life in its finiteness.
Anke Bär (*1977) lives and works as a freelance author, illustrator, lecturer, cultural scientist, freelance artist and curious animal in Bremen. She loves stories, variety, interacting with people of all generations, challenging questions and the smell of ink.
Exhibitions (selection):
2024: kopfkino l Kunstverein Osterholz-Scharmbeck/GER
2018: Kirschendiebe I Villa Hermannburg Mainz/GER
2016: Salon de Bär I Städtische Galerie Delmenhorst + Kunsthalle Göppingen/GER
2016: 30 Illustrators for Germany I International Bookfair Bologna/IT
2013: Exhibition participation I Biennial of Illustrations Bratislava/SK
Beate C. Koehler (*1971) is a photo, video and sound artist and deals with questions of identity and the relationship between people and their environment. She works with photography, film and sound, often in interdisciplinary constellations. Her works are multi-layered and created by
merging different elements.
Exhibitions (selection):
2024: Polar landscapes | Bremen Harbor Museum/GER
2022/23: 1000 & Your View, GER/PL/CZ
2022: NordArt, Büdelsdorf/GER
2022: Art exhibition Nature – Man | St. Andreasberg/GER
2021: Hairy Business, Kunsthalle Bremen/GER
2020: ID-ENTITÄTEN – Dynamische Beziehungen | Women’s Museum, Bremen/GER
Joint exhibitions 2023:
„Transience in Art“ | An exhibition as part of the Life and Death Fair Bremen/GER
„Bird Messages“ | Ink Art Gallery Weimar/GER
„KreiseZiehen“ | Installation, performance and choir concert | Friedenskirche Bremen/GER
Maks Dannecker
A conceptual approach to photography themes determines Maks Dannecker’s work.
By introducing paint particles, shapes, and surfaces into her work through arrangements she associates background stories on the topic of URBAN DENSIFICATIONS.
Born in 1976. Homebase: Berlin + Salach.
Educated photographer: Johannes-Gutenberg-Schule Stuttgart | Examination certificate PHOTOGRAPHER: 2002.
Further educations: CURATING, Universität der Künste Berlin | Certificate: 2018.

Choe Rayun
,Transitum‘
EMBRACE WITH AN INTRUDER
침입자와 끌어안기
As we go through life, we sometimes encounter unexpected events and difficult times. I, too, have faced
personal hardships—at times avoiding them by immersing myself in work, at other times feeling them pierce me
like thorns. Eventually, I felt the urge to escape into the forest.
While staying in Jeju, a conversation with a local friend led me to realize that many wounded souls seek refuge
on the island. Was it mere coincidence? I began to reflect once again on why I had come to the forest.
At the entrance garden of the Jeju Folklore and Natural History Museum, there stands a jorok tree. In
September, its leaves were covered with clusters of small galls, which had grown heavy and eventually fallen to
the ground, riddled with holes. These „galls“ are insect homes, but they are not made by insects themselves.
Rather, the tree transforms its own leaves to provide shelter for the insects that live on it. For this reason, they
are called “ A Gall for Insects,“ not simply insect nests. Aphids and various other insects make their homes within
these galls. It was through the story of the jorok tree’s insect galls that I entered the forest.
The forest was a completely different world, where countless lives moved, made their own sounds, and grew
slowly over time. I walked through it as if moving at the pace of the kiwi vine’s growth—slowly, ever so slowly.
Back in my studio, I recalled the gentle, flowing sounds I had heard in the forest: the wind whispering through
the leaves, the murmur of water trickling, the soft patter of rain. I began to create „flowing“ sounds inspired by
these memories. All I had were simple stationery items—grass, scissors, modeling clay, paper, and pencils—but I
felt compelled to craft an instrument that could recreate the flowing sounds of the forest. Though I could never
perfectly replicate them, I spent time trying to get closer, mimicking their essence.
Among the traditional instruments of the Andes, there is one called Palo de Lluvia—the „rain stick.“ It is made by
hollowing out a cactus trunk, embedding its spines inward, and filling it with small stones and grains. Taking
inspiration from this, I attempted to recreate the „flowing sounds of the forest,“ using the process to reflect on
my wounds and my own existence.
The text written on the instrument, {Intruder and Embrace}, is a letter to those who are in pain and have to go
through the rising time while standing on the wound.

Participant of Global Art Project’s ‘nomansland.academy’, ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Mira Baek
There are points, lines, and faces in the picture.
Lines made from points are separated and merged to form faces.
The faces support each other, creating a square, enclosed space.
The dots are arranged up and down inside the square frame and then move around, piling up, scattering, and floating.
At the top is what appears to be a window, and at the bottom is a passage through a small gap.
The dots between the window and the open gap create a moving shape that flows in and out.
Where does your gaze go between the dots flowing in and out from above and below?
Standing at the crossroads of entrance and exit, which path do you choose?
Mira Baek was born in South Korea in 1976. She lives and works in Paris and received her degree in plastic arts at Versailles School of Fine Arts in France in 2014.
She has exhibited in solo exhibitions at gallery La Maison Juste, Paris and gallery Mulae, Seoul, South Korea.
Her numerous group exhibitions include “Ode-calligram to nature” at Museum of Art and History of Saint-Denis, France and “Undress me my little Buddha” at German Japan Museum-Schloss Mitsuko and “Sphere international Salon” at Hashi Gallery, Mexico City and ”B&W I W&B” at Gallery 67 in Paris.
She was honored with the Engraving award 50th Salon de Vésinet in France. Participated in an artist residency at
Château des Soeur, Pisseloup in France.
She is currently working on the temporality of the human experience between life and death for a solo exhibition in France in 2025. Her project exhibition „In Continuum“ will be shown at Leeshin Gallery in South Korea in 2025.
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Silvia Minni
This work questions if women can live to exist freely one day and if a woman’s body will be ever free from society’s obsession, oppression and violence.
These three Polaroids stitched together show the fragility of this existence.
The blurred gives the sensation of trembling, shaking. The body is somehow enclosed by the edges of each polaroid. The woman’s body is still trapped by law, religion, culture, war, sexism.
1996 – 99 Institut europeo di design di Roma (Italie) Corso triennale di Fotografia Diplômée avec mention très bien
2005 École des métiers de l’information (CFD), Paris Formation photo-journalisme
2024 undress me my little Buddha> Global Art Project, 60ADADA, France, organisation et commissariat
2024 undress me my little Buddha> Global Art Project, Schloss Mitsuko, Allemagne, organisation et commissariat
2024 SPHERE – Salón Internacional de Arte Contemporáneo Mexico
2023 Métamorphose projet échange Corée du Sud. Organisation et commissariat, 60AdaDa, Saint-Denis.
Participant of Global Art Project ‘undress me my little B U D D H A’
by Rainer Junghanns / RfR
Jeauk Kang
Across diverse horizons, at the boundary between wings and winds.
Modern travel exhausts the boundaries of the U-topos constructed by ancient imagination, dissolving the very notion of movement within the horizon of mythic representation. The cognitive mapping of space no longer follows Euclidean continuity but transforms into a process of disjunctive montage.
The seas once navigated by Jason and Odysseus are now reconfigured within the flows of the network, where our daily lives are already embedded in the trajectory of heroic journeys. Vision and sound, extended through TCP/IP protocols, traverse space, positioning us as aeronautic subjects who, like Hermes, survey the grand narratives of civilization from above.
The airport is no longer merely a transit point but an interstitial portal where heterogeneous spatiotemporalities converge. The metallic body of Garuda, a machine-formed deity, connects Jeju to Constantinople and, ultimately, to the intimacy of the domestic realm. The geometry of space is reconfigured, the physicality of movement stripped away—what remains is nothing but the aesthetics of connectivity.
Curatorial Director, 4th Jeju Biennale
Founder & Director, Suwon International Photo Festival
Kang Jeauk is a curator and visual artist whose practice navigates the intersection of art, society, and history through a critical and interdisciplinary lens. As the Curatorial Director of the 4th Jeju Biennale and the Founder & Director of the Suwon International Photo Festival, he has played a pivotal role in fostering transnational artistic dialogue and cultural exchange. His curatorial approach centers on the entangled narratives of social memory, environmental crises, and historical consciousness, shaping exhibitions that interrogate urgent contemporary issues. With an extensive portfolio of international projects and jury engagements, he has established a dynamic platform for cross-cultural discourse, particularly in reframing global challenges such as climate change and disaster through the language of art. His work seeks to bridge disciplines, reconfigure exhibition spaces as sites of inquiry, and cultivate new perspectives within the evolving landscape of contemporary art