네 명의 여인이 저마다의 속도와 목소리로 자신의 이야기를 엮어 보았습니다.
공연은 완주 고산에 위치한 새와 구슬에서 두 차례에 걸쳐 열립니다.
연출 및 음악 감독: 최병주
각색: 김미란, 이대신 @ekzkfkw 
<Sharon is Karen, revisited〉(2026)
투명 유리로 된 물건을 모아 재구성한 이 신작에는 국적도 성격도 이력도 제각기 다른 11인의 작가가 참여하고 있다. 그러나 이들은 모두 김나영 & 그레고리 마스(이하 김 & 마스) 자신이다. 두 사람은 다른 자아의 이름과 양식을 빌려 작업하는 이 방식을 ‘프레노니미(phrenonymy)’라 부른다. 가명(pseudonymy)의 일종이지만 단순히 이름만 빌리는 것이 아니라 정신 상태와 성격적 특성까지 반영한다. 보존과 전시, 내부와 외부를 잇는 통로라는 기능이 공존하는 비트린의 속성은 복수의 이름과 인격이 뒤섞인 이들 작업의 비결정성과 호응한다.
이번 신작은 김 & 마스의 또 다른 정체성, ‘킴킴갤러리’의 기획전 형식으로 2025 치바 시티아츠 트리엔날레에 출품했던 〈Sharon is Karen〉(2025)을 변형한 것이다. 작품 제목은 영어권 문화에서 흔히 쓰이는 “Sharing is caring(나눔이 곧 배려)”이라는 격언을 비튼 언어유희이다. ‘Sharon’과 ‘Karen’은 영어 밈에서 서로 대비되는 인물형을 가리키는 기호인데, 샤론이 친절하고 인내심 있는 사람인 반면 캐런은 특권 의식에 기대어 무리한 요구를 하거나 인종차별을 일삼는 사람이다. 작품은 대조적인 두 이름을 혼동하는 상황을 끌어온다. 이처럼 여러 출처에서 길어 올린 유무형의 재료로 유머를 구사한다는 특징이 이들의 작업에서 공통적으로 발견된다.
캐런이라 불린 사람이 실은 샤론이었던 것처럼, ‘11인의 참여 작가’는 프레노니미로서 김 & 마스의 예술적, 정치적, 개인적 경험을 가로지른다. 수십 개의 가명을 사용했던 포르투갈 시인 페르난두 페소아(Fernando Pessoa)가 처음 사용한 가명 ‘알렉산더 서치(Alex Search)’, 그레고리 마스의 출신 지역 하겐에서 유래한 ‘디트마어 하겐(Dietmar Hagen)’, 반동적 정치인으로 변절한 러시아 펑크 시인의 성을 딴 ‘그리고리 리모노프(Grigori Limonov)’가 그 예다. 유희적인 공상 속 등장인물들은 그레고리 마스가 진단받은 ‘비외상성 해리성 정체성 장애’라는 희귀한 상태와도 연결된다.
투명 유리 오브제만으로 이루어진 신작은 작품이 놓인 비트린 자체, 그리고 비트린을 품고 있는 건축물의 100주년을 기념하기 위한 선택이다. 이케아 제품부터 빅토리아 시대 유물, 무연(lead-free) 골동품, 표면이 매끄러운 디캔터, 인삼을 담는 단지, 잼 병, 그리고 포름알데히드를 채웠던 동물 표본 보존 용기 등 각기 다른 출처와 용도를 지닌 투명한 것이 포개지며 바로크적인 과잉의 형태를 이룬다. 레이어 위에 레이어, 굴절 위에 굴절이 중첩되면서 투명함은 복잡한 깊이를 만든다. 유리는 영원에 가까운 수명을 가지지만 깨지기 쉽다는 상반된 속성을 갖는다. 1만 년을 버티는 물질이 손에서 미끄러지는 즉시 산산조각 날 수 있다는 아이러니는 역사를 만들어온 건축, 특히 지난 100년간 혁명, 전쟁과 재건, 경제 성장으로 인한 도시의 변화를 견뎌온 이 건축물에 대한 은유이기도 하다.
김 & 마스는 해체와 변형, 차용과 재조합을 오가는 전술, 사물과 개념을 뒤섞는 방법론을 “프랑켄슈타이닝”이라 명명해 왔다. 〈Sharon is Karen, revisited〉는 분열하는 자아에 대한 은유이자 100년의 시간을 견딘 건축에 대한 성찰이다. 작품 수장함, 개방형 전시 공간, 특정 장소, 지형지물인 비트린에 놓인 투명한 존재들은, 진실한 이름이나 하나의 색으로 수렴하지 않고 잠시 이곳에 머무르며 서로를 겹친다.
김나영 & 그레고리 마스(b. 1966, 1967)
2004년부터 한국과 유럽을 중심으로 활동해 온 작가 듀오이다. 김나영은 서울 출신으로 서울대학교 조소과와 파리 국립미술학교를 졸업했고, 그레고리 마스는 독일 하겐 출신으로 파리 소르본대학교 철학과와 파리 국립미술학교, 조형예술 고등연구원, 네덜란드 얀 반 에이크 아카데미에서 수학했다.
김나영 & 그레고리 마스는 서로 연관이 없는 재료나 개념을 조합해 이질적인 관계망을 만든다. 과거와의 연결을 새롭게 검토해 현재를 정의하는 것이 이들의 대표적인 방법론이다. 공간이 없이도 상황을 조건 삼아 실행 가능한 예술을 모색하면서 ‘킴킴갤러리’를 창립(2008─)해 동료들과 기획, 출판, 커뮤니티 워크숍 등을 지속중이다. 《파라노이아 파라다이스》(2024, 아뜰리에 에르메스, 서울), 《리프로스펙티브》(2019, 성곡미술관, 서울), 《무아 자기도취》(2014, 스플릿트 파운틴, 오클랜드, 뉴질랜드) 등의 개인전을 열었고, 경기도미술관(2025, 안산), 치바 시티아츠 트리엔날레(2025, 치바, 일본), 국립현대미술관(2022, 과천) 등에서 단체전에 참여했다.
비트린
비트린은 일민미술관 건축 100주년을 맞아 지금은 사용하지 않는 옛 출입구에 가설된 공간입니다. 미술관에서 ‘진열장’을 뜻하는 단어인 비트린이 수장함이자 임시 통로로 기능합니다.
기간 2026.4.20.(월) ― 7.20.(월)
장소 일민미술관 옥외 비트린
주최 일민미술관
참여작가 김나영 & 그레고리 마스
기획 신지현
진행 신혜인
그래픽 디자인 슬기와 민
공간 디자인 길종상가
번역 및 영문 감수 콜린 모엣, 일민미술관 학예실
Sharon is Karen, revisited (2026)
This new work, which presents a reorganization of assembled objects made of transparent glass, features 11 artists from different nationalities, mentalities, and backgrounds.
Yet all of them are also Nayoungim & Gregory Maass (hereafter N & GM). The two artists use the term “phrenonymy” to describe this creative approach of drawing on the names and styles of different alter egos. It is a form of pseudonymy that does not simply borrow names it reflects different psychological states and personality characteristics. The nature of Vitrine as something that combines the functions of preservation, exhibition, and connection between the inside and outside corresponds to the indeterminate aspects of the artists’ work, with its mixtures of multiple names and characters.
The new work is an adaptation of Sharon is Karen (2025), which previously appeared at the Chiba City Arts Triennale 2025 under the format of a special exhibition by the “Kim Kim Gallery”another identity of N & GM. The title is a form of pun based on the phrase “Sharing is caring,” a common expression in the English speaking world. The names “Sharon” and “Karen” appear in English language memes as symbols for contrasting personalities: “Sharons” are kind and patient, whereas “Karens” routinely make unreasonable demands or act in racially discriminatory ways based on a sense of privilege. The work incorporates a situation that muddles the two
contrasting names. This use of humor drawn from both tangible and intangible materials of various sources is a common feature found throughout the artists’ work. Just as the so called “Karen” turns out to have been a “Sharon” in reality, the “11 participating artists” represent a “phrenonymy” informed by N & GM’s artistic, political, and personal experiences.
Examples include “Alex Search,” a pseudonym first used by the Portuguese poet Fernando Pessoa (who used dozens of phrenonyms); “Dietmar Hagen,” who hails from Maass’s hometown of Hagen in Germany; and “Grigori Limonov,” named after a Russian punk poet who became a reactionary politician. The characters in these playful fantasies also relate to Maass’s own rare condition of having a non-traumatic Dissociative Identity Disorder.
The new work, consisting entirely of clear glass, represents a choice that commemorates the very Vitrine in which it is positioned and the 100th anniversary of the building that houses it.
A baroque surplus arises from the superimposition of transparent objects representing different sources and uses: IKEA items, Victorian relics, lead free antiques, sleekly surfaced decanters, ginseng jars, jam bottles, and animal specimen preservation jars that once held formaldehyde. Through the presence of layers upon layers and refractions upon refractions, the transparency creates a complex sort of depth. Glass is a material with opposing properties: it can last more or less forever but is also quite fragile. This irony the fact that a substance that has survived ten thousand years can shatter the instant it slips from our hand provides a metaphor for architecture that has created a history and a structure that has withstood the changes in the city over the past century of revolution, war, reconstruction, and economic growth.
N & GM use the term “Frankensteining” to describe this strategy of alternating among deconstruction, transformation, borrowing, and recombining a methodology that mixes objects with concepts. Sharon is Karen, revisited is a metaphor for the divided self, and a reflection on architecture that has lasted for a hundred years.
Vitrine represents a display case, an open exhibition space, a particular site, and a geographic feature, and the transparent presences inside it do not converge on any real name or single
color. Instead, they remain briefly in a state of juxtaposition.
Nayoungim & Gregory Maass (b. 1966, 1967)
They have been working together as an artist duo since 2004, based between South Korea and Europe. Nayoungim, born in Seoul, graduated from the Department of Sculpture at Seoul National University and L’École Nationale Supérieure des BeauxArts (ENSBA) in Paris.
Gregory Maass, born in Hagen, Germany, studied philosophy at the Sorbonne University and furthered his artistic training at ENSBA, L’Institut des Hautes Études en Arts Plastiques in Paris, and the Jan Van Eyck Academie in Maastricht. The duo creates heterogeneous networks by combining disparate materials and concepts, bridging tangible materials with intangible ideas.
Their methodology involves reconfiguring past connections to situate the present through a new lens. Seeking an artistic practice that responds to situational conditions rather than spatial constraints, they founded Kim Kim Gallery (2008–)a flexible, situational system through which they pursue diverse activities, including peer
collaborations, curatorial projects, publishing, and community workshops. Their selected solo exhibitions include Paranoia Paradise (2024, Atelier Hermès, Seoul), Reprospective (2019, Sungkok Art Museum, Seoul), and No ego Ego Trip (2014, Split Fountain, Auckland, New Zealand).
They have taken part in group exhibitions at Gyeonggi Museum of Modern Art (2025, Ansan), Chiba City Arts Triennale (2025, Chiba, Japan), and the National Museum of Modern and
Contemporary Art, Korea (2022, Gwacheon), among others.
Vitrine
Vitrine is a provisional exhibition space installed in front of the now closed side entrance of the Ilmin Museum of Art, marking the 100th anniversary of the building’s architecture.
Period 2026.4.20.(Mon) ― 7.20.(Mon)
Venue Ilmin Museum of Art (Outdoor Vitrine)
Organized by Ilmin Museum of Art
Artists Nayoungim & Gregory Maass
Curator Shin Jihyun
Coordinator Shin Hyein
Graphic Design Sulki and Min
Spatial Design Kiljong Arcade
Translation & Edited by Mouat Colin, Curatorial Dept. of Ilmin Museum of Art
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잉고 바움가르텐 개인전
전시 기간: 2026. 04. 03 - 04. 30
On display through October 9, 2023, Not Paintings, Daegu Art Museum’s special exhibition, introduces 34 works of media and photography from the museum’s collection, which it has been collecting since before its opening. The exhibition explores how art forms have been transformed and expanded through encounters between art and technological media.
For a few years, the Daegu Museum of Art has been studying its collections to identify trends in contemporary art and presenting them through exhibitions.
Modern Life, held in 2021, was a project co-organized with the Fondation Marguerite et Aimé Maeght in France. It was a collaborative study of the collections of both institutions under the theme of modernism. Held in 2022, A Season of Meditation was an exhibition that explored people and humanity through 93 works from the Daegu Art Museum’s collection, including paintings, photographs, sculptures, and new media.
The exhibition Not Paintings, which opened on June 20 and runs through October 9, introduces 34 works of media and photography from the museum’s collection, which it has been collecting since before its opening in May 2011. The exhibition explores how art forms have been transformed and expanded through encounters between art and technological media.
These mediums, driven by technological advancements, are now being widely utilized as both a method and tool in the realm of artistic creations. “This exhibition aims not to merely showcase contemporary artworks that reflect the trends of the latest technology but to explore the changes and attributes that emerged from the intersection of art and technology,” said Park Bo-ram, the curator who organized the exhibition.
As art intersects with technological mediums, the paradigm of the act of “seeing” has undergone a profound transformation, along with the essential concept of art itself. Art has expanded from canvases to digital screens and from still images to moving videos.
A significant element that has emerged in these new art forms is “time.” Photography made us able to capture singular moments within a short period of time. Video-imaging technology enabled us to capture time in motion. And digital-based technology has allowed us to express non-linear timelines, enabling time to flow in reverse or be fragmented.
Furthermore, technology-based art has transcended the material properties of traditional mediums. Conventional paintings require paints and canvases, while sculptures require materials such as clay, plaster, or metal. However, with the advancement of digital technology, contemporary artists now have the freedom to choose from various modes of expression. Today, artists can explore a wide range of mediums, including photography, videography, graphic editing, scanning, compositing, 3D animation, virtual reality (VR), and multi-channel videos. This expansion of mediums has not only brought about changes in techniques and modes of expression but also in distribution methods.
Through the museum’s collection, the exhibition aims to show these changes in art.
This exhibition features works by artists from Daegu, such as Lee Kang-So, Park Hyunki, and Kim Kulim, who used video to conduct new media experiments, as well as works by the first generation of Korean media artists, including Nam June Paik, Kim Soun-Gui, and Kim Haemin, alongside works by contemporary artists who are currently actively engaged in their artistic practices.
Daegu was a center of the textile industry at the forefront of Korea’s industrialization and urbanization during the 1970s and ’80s. As capital flowed into Daegu, several galleries emerged, fostering the development of a unique and independent contemporary art scene distinct from Seoul. The Daegu Contemporary Art Festival played a significant role in this development.
Founded in 1974, the festival served as a focal point for artists nationwide, preceding its Seoul counterpart. In particular, during the fifth Daegu Contemporary Art Festival in 1979, artists like Lee Kang-So, Park Hyunki, Kim Youngjin, and Lee Hyunjae presented video works that contributed to the establishment of video art as a genre within the art world.
The exhibition is divided into three main themes.
The first section introduces a group of artists who expanded the boundaries of art, including Kim Kulim, Kim Soun-Gui, Kim Haemin, Park Hyunki, Nam June Paik, Lee Kang-So, and Chung Jae-kyoo. This section examines video installations and TV sculptures that emerged at a time when video art was first introduced and embraced in Korea, as well as formal explorations of frames, photography as a conceptual perception, and a general interest in mass media.
The second section features work by artists such as Kim Kulim, Kim Shinil, Oh Min, Moojin, Oh Junghyang, Lim Changmin, and Jeong Jeongju. This section explores the element of “time” that has emerged with the advent of new media art. Through the digital revolution and resulting medium experimentation, artworks now have the capability to express a new sense of “temporality.” This allows for the incorporation of new elements such as sound, interactivity, and multi-channel variations within the artwork. Here, the exhibition showcases works that capture moments of simultaneity and depict non-linear temporalities.
The last section explores the blurring of the boundaries between the virtual and the real in art through works by artists such as Yoo Hyunmi, Lim Taek, Lim Changmin, Wang Qingsong, Jeong Yeondoo, Ryu Hyunmin, Jade Sujin Lee, Debbie Han, Jo Seub, and Jun Sojung. Particularly when exploring such boundaries, digital photography and video allow for editing and compositing, making them popular tools of expression for many artists. Through works that traverse between the virtual and the real, artists freely express playfulness, reflections on reality, and questions and predictions about the future.
