September 19 (Fri) – September 28 (Sun), Jangchung / September 19 (Fri) – Noverber 2 (Sun), PARADISE CITY CHROMA Outwall
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
September 19 (Fri) – September 28 (Sun), 11:00–19:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
September 19 (Fri) – September 28 (Sun), 11:00–19:00
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – September 28 (Sun), 11:00–19:00
Phantom Dining is an extended reality (XR)-based participatory installation. Wearing VR headsets, participants engage in the 5 stages of dining preparation, centered on physical dining tables and objects. The tables are filled with ingredients that appear alive yet are not. On the tables lie utensils specially designed for the participants to use for themselves. As they interact with these objects at each stage, the participants gradually transform into “phantom animals” that are human yet not entirely human.
Through this transformation, they experience (phantom-)sensations that render the acts of dining unfamiliar, while also revealing the concealed dynamics of ingestion and consumption. In this space where reality and virtuality coexist, participants encounter the ambiguous boundary between eater and eaten, the intricate entanglements of life and desire. The work offers a site where audiences embody and embrace the dilemmas of ingestion and consumption in contemporary animal practices.
Direction: Inhwa Yeom
Narrative Design: Inhwa Yeom, Yiwen Tseng, Minseok Choi
Installation Design and Production: Minseok Choi
Object Design and Production: Yiwen Tseng
XR System Design and Development: Inhwa Yeom
XR System Development Collaboration: Seogsung Jang
Video & Sound Production: Inhwa Yeom
Cultural Data Research: Mijoo Yu
Production Assistance: Canhe Yang, Haoxin Tao
Advisor: Sangdon Kim, Gowoon Noh, Thanakrit (Austin) Wongsatit
BiOVE is a company and community that connects and embraces diverse disciplines by love of biotech & art. Since its founding in 2022, BiOVE has collaborated with university hospitals, biotech research institutes, and artists to develop and create XR and AI-based systems that welcome people of all ages, disabilities, neurotypes, and species. BiOVE's works have been exhibited, presented and/or published at Organoid Developer Conference (ODC), ISEA, SIGGRAPH Asia, and more. In 2025, BiOVE teams up as the following creators: engineering researcher Inhwa Yeom, design researcher Yiwen Tseng, exhibition engineer Minseok Choi.
September 19 (Fri) – September 28 (Sun), 11:00–20:00
This work subverts the conventional "painting-hanging" function of painting storage rack by replacing the canvas with light. Freed from its auxiliary role, the motorized rack transforms into a kinetic sculpture in its own right. LEDs embedded in the gridded layers project volumetric light into the surrounding space, while motor-driven horizontal movements generate shifting, floating forms—ephemeral holographic illusions suspended midair.
The beams of light fracture into complex geometric shards, and the empty rack—no longer tasked with bearing paintings—takes center stage as the core of a sculptural language composed of light and motion. The steel frame is no longer a passive backdrop; it becomes a physical and conceptual medium that mediates presence and absence, emerging as part of a luminous façade and the protagonist of a spatio-temporal performance.
Sound is composed as a rhythmic layer that accentuates shifts in light and motion, enveloping the space in a pulsating ambience. This sequence of light, movement, and sound unfolds over a defined cycle, repeating to form an audiovisual rhythm. Through nonlinear progression, the visitors encounter a series of sensory transitions—each moment evoking a new impression—allowing time to unfold fluidly within the repetition. As the illusion loops, the flow of light and sound binds with the visitor’s memory and perception, conjuring uncertain apparitions. No longer a vessel for images, the rack reemerges as the medium of the ephemeral—a frame turned performer in a choreography of space, light, and time.
RGB Lab Kim YouSuk (Technical Director) Yu Hui Beom (Assistant Technical Director)
You Hayoung (Immersive sound & system design)
Nsyme
Nsyme is a media artist, creative technologist, and software engineer who explores the fusion of abstract sensations with real-world imagery through a wide range of inputs and outputs. He is deeply engaged in researching and experimenting with cutting-edge technologies, and is particularly interested in recreating reality by simulating natural phenomena through algorithmic processes. Rather than overwhelming the audience with technical prowess, his work invites them to fully immerse themselves in audiovisual beauty.
Loksu
Loksu is an artist and system designer based in South Korea, specializing in the research and development of real-time lighting, projection, and laser systems. His recent projects focus on building immersive LED lighting systems and audio signal-driven laser mapping tools. From his artworks to collaborative performances and commercial installations, Loksu approaches each project with meticulous design and thoughtful execution. His work is distinguished by its smooth color transitions, high-resolution image handling, and precisely timed visual cues that evoke a sense of organic rhythm and dynamic energy.
September 19 (Fri) – September 28 (Sun), 11:00–20:00
At the heart of a dimly lit space in Jangchung-dong, Seoul, a mysterious lifeform known as “Life A” breathes. From its tentacle-like arms, particles float against gravity. A embodies sensation in physical form, revealing subtle environmental changes—imperceptible to humans—through its own body. As audiences approach or move nearby, its tentacles wriggle in response, and the floating particles at their tips tremble gently in response to real-time fluctuations in its surrounding environment. Simultaneously, A murmurs in a language beyond human comprehension—a voice generated by artificial intelligence analyzing Jangchung-dong’s real-time environmental data. Depending on the air quality, A’s voice grows harsh and irregular, or soft and lucid. Through this, audiences are invited to intuitively perceive how the environment shapes sensory experience.
This work fuses technology and art to make the invisible tangible, exploring the chain of notion “environment → sensation → existence” through the fictional entity A. Existing only in relation to its surroundings, A’s vitality is determined by the shifting conditions around it. The work asks how deeply we are entangled with our environment, and urges us to reconsider the dulled boundaries of our everyday sensation.
Acoustic levitators: UpnaLab
Silicon skin: Una Ryu
Based in Berlin and Seoul, korinsky/seo has been researching the inseparable relationship between humans and nature based on their admiration for nature. They create an intangible experience of encountering a larger and stronger natural world by physically transforming or distorting organic elements such as sound, light, and movement that occur in natural phenomena. In particular, their work reinterprets objects found in the ordinary environment around us into transcendent reality through artistic interpretation and technology, and reminds us of the transient beauty of the natural world that surrounds us. One of the distinguishing features of their work is ambivalence. Various elements of the work stimulate different visual associations and emotions. Their works combine nature, aesthetics, disgust, fear, and death, and the audience repeats the journey between comfort and anxiety.
Carlo Korinsky creates site-specific works and has worked in old factories, water tanks, churches and many other disused spaces that are partially taken back from nature. The deserted, rusted spaces that are half-civilization and half-nature get distorted by sensual interventions of sound and light, ultimately showing the audience a transformed reality in a physical way. His work combines technical aspects like motorization and programming with natural-phenomena-like movements, light and physical characteristics. Through audio-visual installations, he tries to evoke a different kind of perception. The intense environments in his installations are demanding of all the senses.
Sujin Seo focuses on the visual/physical aspects of organic phenomena found in nature. She imitates and recreates these phenomena through sculptural media and examines how they reflect on us on a personal level. Her research-based works include natural phenomena such as air stream, water flow, swaying field, moss, deserts and volcanic landscapes. She examines locations, tools, methods, and concepts through which we observe, represent and interact with the natural world around us. Theoretical research and practical hands-on experiments are the basis of her artistic work.
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
Voyagers of the Wind is a living, data-driven scroll blending Korea’s traditional Ilwol-Obongdo landscape with a futuristic cityscape. Real-time environmental data—wind speeds and wave heights from Incheon International Airport and Port—animate colours, pulse flight paths, and weave shipping trajectories across the screen, allowing the image to breathe rhythmically, echoing the sea itself. Four narrative chapters—Departure, Coloured Wind, Tempest, and Convergence—lead audiences through a journey starting from quiet anticipation, moving through vibrant turbulence, and ultimately reaching a unified horizon. Each gust of wind not only redirects the cityscape but also shapes the audience’s internal experience, turning individual perceptions into a collective voyage. The artwork embodies Korea’s cultural continuum from the past toward an envisioned future, subtly reminding us of the intertwined relationship between natural elements, human journeys, and technological evolution, and encouraging contemplation about our role within these interconnected currents.
This work was sponsored by 2025 PAL X Incheon Technopark Open Call
Tahn is a Korean media artist whose practice interlaces ancestral symbolism with advanced digital systems to engineer elastic time-spaces. Born in 1967, fourteen years after the Korean War, Tahn grew up inside a nation rebuilding itself at breakneck speed—an experience that fuels their exploration of resilience, identity, and cultural evolution.
Tahn creates works that collapse linear time, mutate collective memory, and guide “data spirits” through hybrid rituals. Moon Jars, Ilwol-Obongdo, and folk talismans converse with AI vision models, biosignals, and generative code, prompting viewers to inhabit shifting chronotopes where past and future renegotiate one another in real time.
September 19 (Fri) – September 28 (Sun), 11:00–19:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
Symbiotic Luminescence presents an expanded exploration of Jang Yunyoung's frame of practice. This work traces the journey of life ascending from the deep sea to the ocean's surface, set against the backdrop of rapid environmental changes in marine ecosystems caused by climate change.
At the heart of the work are bioluminescent bacteria that originate from the deep ocean abyss. As they gradually rise toward the surface, they form intimate symbiotic relationships with various life forms. These bacteria combine with marine microorganisms, tubeworms, gastropods, mollusks, crustaceans, and halophytes to construct a unique and resilient ecosystem. The organisms share light to attract prey, ward off predators, and communicate, forming a complex and multilayered network of relationships.
To vividly express this ecological evolution, the work employs generative AI technology to visualize the flow of light and life. It presents how diverse organisms collaborate and interact to overcome crises and explore new ecological possibilities. Through the phenomenon of bioluminescence, the work highlights the power of life to communicate and connect even in darkness, proposing a new ecological paradigm that transcends anthropocentric thinking—one where all life forms co-evolve within interdependent relationships.
The work emphasizes the vital force of life that maintains communication and connection even in the deepest darkness, suggesting a transformative ecological paradigm that moves beyond human-centered perspectives toward recognizing the co-evolutionary relationships among all living beings.
Music/Sound design: Hong Gwangmin
This work was sponsored by 2025 PAL X Incheon Technopark Open Call
Jang Yunyoung is an artist with deep interests in ecology, evolution, and symbiosis, who explores the cognitive differences between humans and machines through the convergence of visual arts, science, and technology. Since the pandemic, she has been deepening her interest in ecological environments by visually implementing a future where humans, animals, the environment, and artificial intelligence are organically connected and interact with each other. She artistically expresses immersive experiences using Generative AI and game engines, integrating interactions between audiences and artworks into her practice. She proposes ecosystems where human and non-human subjects coexist, exploring new possibilities for relationships between technology and nature.
September 19 (Fri) – September 28 (Sun), 11:00–20:00
September 19 (Fri) – November 2 (Sun), 19:00–22:00
La Sylphide – The Fairy of the Air utilizes motion capture technology to transform a dancer's movements into flowing lines and particles, visualizing air quality data from Incheon. Based on real atmospheric pollution data collected over the past 20 years, this artwork adjusts the number, color, and motion of particles to reflect the texture, speed, and emotional quality of the air, creating a multi-layered visual composition. In this artwork, Sylphide is a contemporary reinterpretation of the classical ballet fairy—an ethereal being who drifts through the city's air, collecting polluted particles and hidden emotions to paint a visual record of breath. She moves with the wind, reviving stagnant air and seeking to restore the Earth's natural rhythm of respiration. Blending scientific data with poetic imagination, this artwork provides a sensory experience of the air's texture and flow, prompting audiences to reconsider their perception of breath, environment, and urban life.
Choreography Concept & Direction: Jinyeob Cha (collective A)
Co-choreography & Performance: Sohye Kim (collective A)
Music: Maalib
3D Animation: Klaudia Olmstead
3D Background Particle Design: Heon Soo Choo
Data Source: AirKorea (airkorea.or.kr)
This work was sponsored by 2025 PAL X Incheon Technopark Open Call
Yoon Chung Han is a media artist, interaction designer, and researcher based in the San Francisco Bay Area and Seoul. Her work explores social, cultural, and environmental narratives embedded in data, transforming them into new forms of visual and auditory experiences using emerging media technologies. She has presented her data-driven artworks and designs—ranging from biometric data visualization and sonification to environmental data visualizations, multi-channel video installations, and interactive installations—at major art, design, and media art festivals both nationally and internationally.
Unknown Acts is part of Kyungtaek Noh’s ongoing inquiry into the actions of plants. This new work takes the form of a performance-installation that incorporates not only plants, but also microorganisms, humans, and even machines, all contributing as actors within a shared system. This work expands the exhibition space beyond the indoors, extending it conceptually and physically into the outside world.
Within the exhibition space, five agents are distributed across the space. Among them is a cluster of stones suspended mid-air on steel wires. The five agents include: a potted Monstera plant, a mycorrhizal fungus interacting with the roots of a Scindapsus, Plants planted in the flowerbeds of the exhibition space, weeds growing on the sidewalk outside and the human audiences themselves. Each of these entities performs its own acts, which are sensed and interpreted by a machine (Arduino). In response, the machine activates one of the suspended stones, causing it to rotate. As the stones spin and collide, they produce unpredictable, accidental movements and sounds—a spontaneous choreography emerging from the entangled actions of living and non-living beings alike.
Physical computing: Arsio
This work was produced through the Arts Council Korea's 2024 Multidisciplinary Arts Creation Support Grant.
Kyungtaek Roh, who began his practice as a furniture designer and craftsman, has been expanding the scope of furniture into a broader artistic field. He has undertaken collaborative projects with artists from other disciplines, such as Songs of Slow Growth (2019), a work based on records of plant growth. His practice now extends to creating instruments and stage sets for musical performances.
What began as a curiosity about plants led him to observe their growth patterns, non-visual signals, and the exchanges they make among themselves. Through this process, he came to perceive plants—those long-familiar beings always present around us—as entirely unfamiliar entities. This realization gave rise to a series of works: making furniture for plants, cohabiting with plant furniture, listening to what plants say, and performing with them.
His practice has since expanded to include not only plants but also microorganisms, machines, and various other beings. As both a human being participating in a sustainable ecological community and an artist, he seeks to explore ways of coexisting in the future—adding thoughtful artistic imagination to these complex entanglements.
Sweet Spot Inaccessible is an interdisciplinary project that explores new ways of listening to immersive sound through a kinetic sound installation. It is born from the artist's struggle with Fibromyalgia, which led to a questioning of the traditional audience's body shaped by institutionalized art appreciation. The project introduces 'multiple or shifting sweet spots,' challenging the passive listening norm that confines the audience’s posture to the 'sweet spot' when listening.
Youngjoo Jennifer Ryu presents 48.1 channels of immersive audio space in three different moving sound system installations. The intertwined pieces (Feeler, Fluid Balance and Transient Terrain), totaling 25 minutes in length, form a multi-domain, with the components of each piece realized through ambisonic coded movements and the physical movement of the installation itself. The exhibition site is separated or combined into different sound fields through the movement of sound and the selective combination and use of speaker channels.
The project encourages visitors to discover their own sweet spots. It attempts to recall the individuality of 'balance' and 'comfort' and restore the proactivity of the audience’s body, attempting a new definition of balance as dynamic and variable rather than a static and eternal state.
Technical Supervisor: Joosun Hwang
Fabrication: FabBros Studio
Preface: Donghwi Kim
Graphic Design: Hezin O
Documentation: Minkyu Lee, Hojun Yoon, Seongyeol Lim
PD: Chaeyoung Lee
This work was produced through the Arts Council Korea's 2024 Multidisciplinary Arts Creation Support Grant.
Youngjoo Jennifer Ryu is a computer music composer based in South Korea and the United States. Her interests include the experience of discomfort, failed communication, and exposure to what is considered taboo. Using sound synthesis programs such as Max/MSP and SuperCollider, she builds up from making sound from the bottom. She aims to create a multi-layered listening experience by combining different mediums with technology. In the way she presents her art, her interests are in any intermedia approaches that can influence the way the listener appreciates music.