Nahyun Maeng received her BFA in Photography and her master’s degree in Art Science from Chung-Ang University. She went on to study Art Theory at Korea National University of Arts, and is currently researching performance/interdisciplinary arts with a focus on Merce Cunningham and Bauhaus. Maeng is presently the assistant curator at Platform-L Contemporary Art Center since 2017. She has participated in exhibitions such as The Best World Possible (2019), Take Me Home (2019), Kerl Martens: Still Moving (2018), The Dialectic of the Stars: Extinction Dancefloor (2018), and The Persistent Stare (2014). Maeng takes pleasure in exploring the notions of flexible boundaries and relative expressions, and demonstrates fascinating curatorial works that traverse across borders through the exhibition as the medium..
Minji Chun studied French Language & Literature and Digital Arts at Yonsei University, and received her master’s degree in Art Management with a thesis focusing on Korean contemporary art at the Graduate School of Fine Arts, Seoul National University. Interested in ways of interpreting narratives of unmentioned histories and spaces, Chun stands at the forefront of contemporary art research and practice centering on the moving image as a critic and translator. Chun has organized and co-organized NOWHEREVER (2019), Hindsight (2018) and Promenade Hangeul (2017), etc., and is currently the curatorial assistant at the National Museum of Modern and Contemporary Art, Korea.
Haesun Chung studied Business Administration and Art History at Ewha Women’s University, and received her MA in Art Management from Seoul National University. She has worked at Nam June Paik Cultural Foundation (2013), Seoul Museum of Art (2014), Seoul Foundation for Arts and Culture (2015), Seoul National University Museum of Art (2016-8), Ilmin Museum of Art (2018-9), and is currently appointed in the exhibition division at the National Museum of Modern and Contemporary Art, Korea. Chung has participated as a curator in exhibitions such as Ugly As Art (Seoul National University Museum of Art, 2017), Ungmang (Ilmin Museum of Art, 2018), Songui Kim: Lazy Clouds (MMCA, 2019), and MMCA Collection Highlights 2020+ (MMCA, 2020), etc. Chung’s subject of interest takes off from the flat surface and expands to various mediums, as reflected in her contribution to the publishing project of Nam June Paik’s Catalogue raisonné, and her mater’s thesis A Study on the Post-Flatness Tendency in Park Hyun-ki’s Earl Works.