Yun Suknam, one of the most prominent feminist artists from South Korea, entered the art world in her 40s. She spearheaded key moments in the Korean feminist art movement, such as forming the Siwol Gathering with Kim In-sun and Kim Jin-suk in 1985 and covering women’s issues in the group’s second exhibition From Half to Whole (1986). Later, she participated in the historic Women and Reality exhibitions as a member of the Women’s Art Research Association. Yun’s lifelong oeuvre stems from her early masterpiece series Mother and expanded to include portraits of herself and other women of her time, as well as later works on the theme of ecology. 

Song Sanghee is a Seoul-born, Amsterdam-based artist. Through various mediums such as video, drawing, and performance, she creates narratives that shed light on those who have been marginalized by society throughout history. As a middle-class, non-disabled Korean woman, she has posed a radical challenge to the norms, behaviors, and value systems that women of her class have typically adhered to under patriarchal dominance. Her confrontational approach, evident in one of her earlier works in the 2000s, Pietà of Losing a Son, seeks to reassess aspects of our social system that often go unnoticed.

Kim Minhyung examines people’s desires, particularly those of women, and how they are stimulated by capitalist society. In doing so, she identifies the mechanisms of shopping, which exploit personal insecurities to encourage more consumption. Her primary focus arises from her own body dissatisfaction, embodied in her High Heel series and Nail Care series. Her interest in the objects of consumption has gradually broadened from the consumption process to encompass the human interaction that takes place in it.

Roh Seungbok explores disturbingly ordinary issues, such as death and violence, through photography, video, and new media. Her structured and analytical approach chillingly reveals reality as it is while maintaining a sense of detachment. The 1366 Project, for instance, involves enlarging and abstracting evidentiary photos of battered women she met while volunteering for the 1366 Women’s Emergency Hot-Line with the intention to bring socially concealed acts of violence into light. 

Bahc Heeza, an artist based in South Korea and Germany, studies how the medium of photography functions in the contemporary world and raises fundamental questions about art and creativity through her “gaze”. The Women of Island series, one of her earlier works, captures the conflicting senses women in their thirties experience in their seemingly stagnant lives. 

Silent Megaphone is an artist collectivenb  that strives for an ideal society that upholds the dignity of each individual. Since our inception in 2017, our annual exhibitions have served as a guiding light for the feminist movement, inspiring a sense of solidarity among women.

Park Youngsook is a first-generation female photographer in South Korea, whose provocative portraits of women confront the patriarchal rejection of certain aspects of womanness. She has played a historic role in modern photography and the feminist art movement in South Korea, through her participation in Let Us Open the Water: Women's Liberation Poetry and Painting (1988) and her work with the Women's Art Research Association. She directed Trunk Gallery, Korea's first gallery specializing in photography, from 2006 to 2019.

Choi Moonsun, a digital-native tech-savvy Gen Z artist, explores the complex dynamics between individuals and society in the realm of social media. Through her digital drawings and installations, she addresses contemporary social issues in a language that reflects the fluid and ephemeral nature of internet culture.

gig is intrigued by different methods of creating surreal and contemplative visuals.  In her artwork Jellyfish Human, she employs digital imagery and video to twist the process of female reproduction, which is too easily objectified, into a whimsical fairytale-like narrative. It invites the viewer to imagine a liberated state from the constraints of their physical bodies.

Park Sang-eun incorporates her condition of dermatographism, where irritated parts of the skin raise, as a major medium in her works. Her photography and video art center around visualizing the wounds of socially marginalized and isolated groups such as women and sexual minorities. After putting her artistic career on hold due to marriage and subsequent motherhood, Park rediscovered her identity as a woman living in a patriarchal Korean society. This experience compelled her to concentrate on the oppressive customs that women endure.

Jung Yunsun bases her work on extensive research, employing a variety of media including installation, performance, archiving, and community art. Deeply interested in the contexts in which we interact and engage with local areas and communities, she delves into the meaning of human existence by crystallizing real-world issues through her own body. She has created several community-based works while staying at various residencies both in South Korea and abroad. 

Park Youngsun visualizes anxieties and fears experienced in our daily lives through familiar characters. Her particular interest in the domain of “home” exposes the insecurities and feeling of alienation that she felt within the patriarchal and collectivist familism. This is heavily influenced by her personal experience of having to stop her creative work for a long time to focus on her family. 

Roh Seungbok explores disturbingly ordinary issues, such as death and violence, through photography, video, and new media. Her structured and analytical approach chillingly reveals reality as it is while maintaining a sense of detachment. The 1366 Project, for instance, involves enlarging and abstracting evidentiary photos of battered women she met while volunteering for the 1366 Women’s Emergency Hot-Line with the intention to bring socially concealed acts of violence into light. 

Koo Jiun expresses her interest in sex and gender mainly through painting and installation, experimenting with non-conforming iconography. In her works, gender as both social and performative begins as a kind of camouflage for better social adaptation and then naturally evolves to produce a “hybrid” human figure of the new age. Her Androgynous God series borrows the form and meaning of Mushindo, a Korean shamanic ritual tool, juxtaposing images of deities alongside iconography of asexually or unisexually reproducing animal and plant species. 

Jung Yiji's work involves collecting strong impressions from ordinary interactions with other people and transferring them into images on canvas. The visual clarity that comes from a clear and crisp brushstroke collides with the intimate, personal, and obscure context of the moment, leaving a beguiling afterimage.

Debbie Han is a visual artist who deconstructs and reassembles beauty ideologies and representations of women in the media in both Western and Eastern cultures. Having immigrated to the United States as an elementary school student, she returned to South Korea in 2003 in her thirties to participate in a residency program and remained there until 2011. Her delicate analog-looking digital work incorporates realistic bodies of Asian women to the head of the Greek goddess Venus, an iconic symbol of Western beauty, mocking the oppressive idealized images of women and offering deep insights.

Chunhee's artwork challenges the cultural norm of using male figures as the default in iconography by replacing them with female figures. Whether it is Korean goddess Mago and Women’s Paradise painted in the form of Buddist Taenghwa, Japanese Shonen-style animations featuring women of various races and body types, or iconography of the twelve female zodiac animal guardians and women-centered tarot cards, her work offers a fresh perspective on subverting androcentric images.