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Punto Blu Seoul, Jung District (2026)

07/03/2026

🕊️Online Exhibition Announcement🕊️

Celebrating this Women’s History Month, Punto Blu has been nominated to participate in ’s Women-Led Galleries Now Show.

We explore compelling works that reflect how women are shaping art, from the studio to the gallery, with artists

Discover more on the link on bio 🪽

05/06/2025

🪨Introducing on Artsy🪨

‘Dungeon Keepers 8’은 일상의 퇴적층이 몰입적이고 변화무쌍한 환경으로 전개되는 작품입니다. 여기서 ‘던전’은 침식과 형태학(morphology)이 만나는 지점으로, 물질이 서서히, 피할 수 없이 해체되어 아름다움과 기괴함, 유기성과 이질점과 같은 범주들이 뒤흔들리는 곳으로 표현됩니다.

슘스키는 본 연작에서 우리가 익히 알고 있는 행동, 공간, 시간의 구조들을 해체하려 합니다. 마치 고대 후기 조각품들의 왜곡된 비율이 사실성에 대한 쇠퇴된 관심을 보여주듯, 이 작업 또한 측정되지 않은 세계와 다시금 측정되는 세계의 메아리로, 엔트로피가 군림하나 구조는 결코 완전히 사라지지 않는 세계를 불러냅니다.

In ‘Dungeon Keepers 8’, layers of visual sediment drawn from both human and non-human activity accumulate within an immersive, morphing environment. These “dungeons” serve as sites where erosion and morphologies converge, unsettling traditional categories of the macabre, the beautiful, the organic, and the grotesque.

Beneath all these definitions lies a deeper current: entropy—the slow, inevitable unraveling of matter. A series of Dungeon Keepers, familiar structures of action, space, and time begin to collapse. Much like the distorted proportions of late antique sculpture reflecting a waning concern for realistic representation, the works conjures the echoes of a world unmeasured and remeasured, where entropy reigns, but structure never fully disappears.

*More information about the artist and the artwork can be found on our page.

29/05/2025

🪨Introducing on Artsy🪨

슘스키는 '오피스 박테리아 III'에서 보이지 않는 것, 즉 우리가 볼 수는 없지만 공존하는 미생물의 끊임없이 확장하는 세계를 조명합니다. 청결하도록 설계된 사무실 공간에서 번성하는 박테리아의 역설적인 모습에서 영감을 받은 이 작품은, 일상생활 속에 내재된 보이지 않는 생명력에 대한 시각적 명상을 선사합니다.

단색 팔레트로 그려진 이 작품은 기묘하게 익숙하면서도 낯선 형상들로 구성되어 있습니다. 뾰족한 윤곽과 모호한 기하학적 구조는 바이러스의 구조, 페트리 접시 배양, 또는 감시 카메라 스캔처럼 팬데믹 이후 우리의 의식 속에 도처에 존재하는 이미지들을 연상시킵니다. 생명이 우리의 통제나 편안함을 넘어 지속된다는 현실과의 조용한 대면을 제시하는 것입니다.
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In The Issue of Office Bacteria III, Szumski magnifies the invisible: the teeming world of microbial life that coexists with us, even in environments designed to appear sterile. Inspired by the paradox of clinical cleanliness in office spaces and the thriving ecosystems of bacteria that persist within them, the work offers a visual meditation on the unseen vitality embedded in everyday life.

Rendered in a stark monochrome palette, the painting evokes forms that are both strangely familiar and entirely alien. Their spiked contours and ambiguous geometries echo viral structures, petri dish cultures, or surveillance scans - images made ubiquitous in our post-pandemic visual consciousness. Nevertheless, there is no threat here, but only the presence of a quiet confrontation with the reality that life persists beyond our control or comfort.

*More information about the artist and the artwork can be found on our page.

24/05/2025

🪨Introducing on Artsy🪨

폴란드 출생 작가 스타크 슘스키는 시각적 코드의 의미(앤트로피)가 어떻게 쇠퇴하고, 재구성되고, 증식하는지 탐구하는 작가입니다.

그는 선사 시대 벽화, 신석기 시대 암각화, 중세 시대 상징, 현대적 그래피티, 해체된 로고타입 등 다양한 도상학적 원천을 가변적이고 살아있는 존재로 되살려, 이런 형태들이 건축적 장식이 아닌 끊임없이 진화하는 상징적인 체계로 존재할 수 있도록 합니다.

에어브러시 페인팅은 그의 작업에서 핵심적인 매체입니다. 디지털과 아날로그 방식을 모두 아우르는 이 방법을 통해 역사적 참조와 즉흥적 제스처 사이의 경계를 모호하게 하는 질감과 시스템을 구축합니다.

2016년 바르샤바 미술 아카데미 뉴미디어학과를 졸업한 슘스키는, 그후 오스트리아, 독일, 헝가리, 이탈리아, 일본, 네덜란드, 노르웨이, 폴란드, 루마니아, 슬로바키아, 스페인 등지에서 활발하게 활동하고 있습니다.
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Stach Szumski (b. Poland) is an artist whose practice explores the entropy and regeneration of visual codes: how meaning decays, reformulates, and proliferates.

Drawing from a wide spectrum of iconographic sources—prehistoric wall paintings, Neolithic petroglyphs, medieval emblems, contemporary graffiti, and deconstructed logotypes—Szumski reanimates these forms as mutable, living entities. His works thus propose ornament not as decoration but as a site of memory, mutation, and symbolic renewal.

Airbrush painting serves as a central medium in his work. Across both digital and analog processes, Szumski cultivates textured visual systems that blur the line between historical reference and improvisational gesture.

A graduate of the New Media Department at the Warsaw Academy of Fine Arts (2016), Szumski has exhibited internationally across Austria, Germany, Hungary, Italy, Japan, the Netherlands, Norway, Poland, Romania, Slovakia, and Spain.

*More information about the artist and the artwork can be found on our page

01/04/2025

TZUSOO (b.1992) |

“Have we really broken the eternal chains that have bound our bodies? Are we simply repeating the countless discriminations that we have not been able to overcome physically, ignoring the enormous opportunity of virtual space?”

Berlin-based Korean artist TZUSOO explores these questions at Studio Princess Computer, where she uses digital tools to create animated figures that scrutinize social minorities, sexuality, and the evolving boundaries of humanness.

Some of her works have much to do with her desire for a baby. She takes technology as an entity to give “birth,” as she did her 3-channel video installation, Schroedinger’s Baby (2019/20). TZUSOO reinterpreted the famous paradox and brought the digital model of an embryo to develop the “baby” into different possibilities, loaded with symbolism about life and death.

Her 2021 collaboration with AI label Enterarts led to Aimy Moon, a virtual K-pop singer-songwriter and melancholic, genderless activist. In The Cyborg Manifesto, Aimy recites Donna Haraway’s seminal essay with the same title, provoking to break away from the hierarchical orders of gender, beings, and machines.

Her latest Agarmon series (2023) is a sculpture of moss and “agar,” similar to the word baby in Korean ‘aga.’ It is a mythic creature born in a moment of or**sm that exerts ecstatic entropy. The force behind Agarmon’s birth is akin to the state of highest impurity and indeterminacy in the digital realm of technology - the volatility of data and desire.

TZUSOO earned her BAs at Hong-ik University in Seoul and the Stuttgart State Academy of Art and Design where she continues teaching. She will present a solo exhibition at MMCA in 2025 after having shown at numerous venues across Europe, Asia, and the US, including SOMA Art Space 700, Künstlerhaus Stuttgart, Hessel Museum, and DAC Taipei. She was a DAAD Prize recipient and V2_Lab X Art Centre Nabi resident.

www.tzusoo.com

Words: Art in Culture, Art Chosun, Borneo Bulletin, Galerie der Stadt Sindelfingen, Be(attitude), edited by
PC: Art in Culture, Marie Claire, Vogue, TZUSOO

#추수

30/03/2025

✨Unpicking .jarvie on

Q: Your way of pricing the works is quite interesting - could you tell us about that?

A: “Anything can be the medium; anything could carry the potential for extra meanings. If a number near my price point can link a narrative, I’ll use it! The use of 26 in the ‘run’ print (£1,026) is a nod to both the 26-mile marathon and the 26 letters of the English alphabet. The prices of Seven for a Secret both relate to the poem the work shares a title with. The print edition (£345.67) references the counting action, whilst the sculpture itself (£7,777) has that notion of hitting the jackpot.“

*More information about the artist and the artwork can be found on our page

29/03/2025

✨Unpicking .jarvie on Artsy✨

Jarvie gravitates toward singular details others might overlook—a word, a rhyme, an action. Through careful laying and presentation, these fragments become interwoven into a world of manifold relationships, carrying an air of high potential - the mythic, the infinite. A wandering magpie seen on a morning walk can unfold into meditations on superstition, ecological disturbance, and intergenerational code. The word run becomes not just an action & operation, but a lineage and mantra, appearing on a treadmill reframed as a stage for social, political, personal, and existential commentary.

In Jarvie's world, anything can carry narrative weight. The diversity of his output is a direct reflection of his point of view, where living creatures, scientific observations, factual information, geopolitical organizations, cultural behaviors, subcultural oddities, and personal memory exist on equal footing. His goal isn't just to interpret but to direct attention, to create conditions in which others might feel the same wonder and build their own systems of significance.

Q: Given that your practice at large is multiplicitous, how do you choose your subjects and mediums for each piece?

A: “The best ideas have clarity, brilliance, and endurance - they choose themselves. Sometimes, seemingly incidental subjects are more potent articulators for essential truths. I often use readymade, but in a Kosuthian, informational sense because my ideal medium is your memory. Life is imagination, and everything else is statistics. It's our understanding of things that I’m interested in, and our understanding is entirely created; there is life as long as we continue to recreate it.”

*More information about the artist and the artwork can be found on our page

28/03/2025

✨Unpicking .jarvie on Artsy✨

Neither medium nor subject-specific, the emphasis in Cameron Jarvie’s practice lies in a process: a way of seeing and interpreting the world that he doesn’t just want to show his viewers - it's a process he wants them to enact. Taking the form of sculptural installations, print, performance, narrative detours, and hard-to-label ‘interactive systems,' his pieces attempt to unpick and reconstruct the logic and layers of what makes meaning. Jarvie speaks of "unpicking" as both method and mindset: an obsessive, meticulous impulse to dismantle the familiar and lay its mechanics bare.

Q: How did you first become interested in the notion of unpicking and/or directing meaning and its processes?

A: “It has always been this way, really. An interest in myths and encyclopedias held since childhood feels consistently relevant to my work. I’ve always had a genuine and utterly unabashed love of observing, interpreting, relating, and understanding things, which eventually manifested into an artistic practice. The subjects themselves matter less than how they could become lenses, parables, or metaphors leading elsewhere. You could consider what I do as lateral thinking with a poetic license.”

*More information about the artist and the artwork can be found on our page

17/03/2025

✨Introducing .jarvie on Artsy✨

캐머런 자비의 'run' (2024)은 동명의 퍼포먼스의 스크립트를 담은 작품입니다. 그는 이 퍼포먼스에서 점점 빨라지는 트레드밀 위를 정해진 시간 동안 달리며, 그 위에 투사되는 ‘run’의 수백개의 정의들을 크게 읽어내려 갑니다. (옥스퍼드 영어 사전(O.E.D) 2011년 최신 판 기준). 총 371개의 의미를 가졌던 ‘run’은 2021년에 645개로 확장되었는데, 이는 단어의 정의가 사용 활용도에 따라 점점 더 확장됨을 나타내는 동시에, 그 의미를 확장시키는 행위가 고정적인 행위라는 모순을 표현하고 있습니다.
_

Cameron Jarvie’s ‘run’ (2024) incorporates, in each unit, a treadmill with moving image text projection and durational performance activations. The treadmill runs slowly, with text projection synchronized to perfectly match the speed of the belt. For the activations, both the treadmill and text are sped up, and a runner runs on the treadmill for a set duration whilst reading the text aloud as it scrolls across the phone.

The script is the full definition of ‘run’ in verb, noun, and adjective forms as it appears in the O.E.D’s (Oxford English Dictionary) current edition (2011). This contains 371 separate meanings for the word, which expanded to 645 in 2021. The majority of these definitions are twofold, reflecting that the development of the word is indicative of the (English-speaking) world ever more in a state of activity over settledness, and conversely, the manner of that activity is ever more fixed in place.

*More information about the artist and the artwork can be found on our page

16/03/2025

✨Introducing .jarvie on Artsy✨

캐머런 자비 (1998년 홍콩 출생)는 런던에 기반을 둔 영국 예술가로, 설치, 독백, 지속적 & 인터렉티브 퍼포먼스 등의 다양한 프렉티스를 통해 우리가 생각하는 ‘의미’들이 어떻게 도출되는지, 또 어떻게 변화하는지를 탐구합니다.

그의 대표 작품 중 하나인 'Seven for a Secret'은 그림 형제의 동화 '브레멘 음악대'의 동물들처럼 켜켜이 쌓인 일곱 마리 까치를 표현한 작품입니다. 이 작품의 제목은 아래의 영국의 민요/동시에서 영감을 받아 지어졌습니다:

“하나는 슬픔, 둘은 기쁨
셋은 소녀, 넷은 소년
다섯은 은, 여섯은 금
일곱은 비밀, 금언의 비밀”

이 작품은 인간의 상상 속 동물과의 상호 관계에 대한 성찰을 야기하여, 실제 까치를 만날 때의 경험에 영향을 줄 수 있을만큼 사실적으로 제작되었습니다. 또한, 무의식적 연대를 이루는 이야기를 공유하는 행위의 역할에 대해서도 질문을 던집니다.
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Cameron Jarvie (b. 1998, Hong Kong) is a British artist based in London with an interdisciplinary practice across objects, monologues, durational performance, and systems of interactive encounter. His work seeks to unpick and/or direct the processes through which we draw meaning.

One of his signature pieces, Seven for a Secret, presents seven magpies stacked atop one another, similar in form to the animals from the Brothers Grimm tale ‘The Town Musicians of Bremen.’ The work is titled in reference to the UK folk poem/nursery rhyme, which goes:

“One for Sorrow, Two for joy
Three for a girl, Four for a boy
Five for silver, Six for gold
Seven for a secret, never to be told”

The work is designed to appear true enough to leave an impression that alters the feeling held in future encounters with real magpies in the wild. It also ruminates on the interrelational position of animals in the human imagination and the role of sharing anecdote in the emergence of mutual consensuses

*More information about the artist and the artwork can be found on our page

15/03/2025

✨Introducing .jarvie on Artsy✨

캐머런 자비 (1998년 홍콩 출생)는 런던에 기반을 둔 영국 예술가로, 설치, 독백, 지속 & 인터렉티브 퍼포먼스 등의 다양한 프렉티스를 통해 우리가 생각하는 ‘의미’들이 어떻게 도출되는지, 또 어떻게 변화하는지를 탐구하는 활동을 하고 있습니다.

영국 왕립예술학교에서 Contemporary Art Practice 석사 학위와 뉴캐슬 대학교에서 미술 학사 학위를 1급으로 수료한 그는, 2주간 진행된 대표작 ‘A Show Like No Other’로 The Final Year Student Prize for Achievement를 수상하고 ‘Formats, Fictions, Frameworks: Why the Least Important Thing About Art is the Art'로 The John Bell Simpson Prize for Most Outstanding Dissertation를 받으며 그 특출함을 인정받았습니다.

캐머런은 인도 Space 118과 영국 VARC 레지던시를 수료했으며, 폴란드 ASP Warszawa Erasmus+ 교환 프로그램, 영국 쉴드필드의 뉴브리지 프로젝트에도 참여한 바 있으며, 최근에는 대규모 전시와 워크숍, 실험적 퍼포먼스 이브닝, 보물 찾기 이벤트 등을 활발히 개최하고 있습니다.
_

Cameron Jarvie (b. 1998, Hong Kong) is a British artist based in London with an interdisciplinary practice across objects, monologues, durational performance, and systems of interactive encounter. His work seeks to unpick and/or direct the processes through which we draw meaning.

He holds an MA in Contemporary Art Practice from the Royal College of Art and a BA in Fine Art from Newcastle University with 1st Class Hons, where he received ‘The Final Year Student Prize for Achievement’ for his epic two-week-long piece ‘A Show Like No Other’ and received ‘The John Bell Simpson Prize for Most Outstanding Dissertation’ for his work ‘Formats, Fictions, Frameworks: Why the Least Important Thing About Art is the Art.’

He also has completed residencies with Space 118 (India) and VARC Hexham (UK), an Erasmus+ exchange program with ASP Warszawa (Poland), and the Collective Studio program with The Newbridge Project, Shieldfield (UK). Alongside his practice, he has curated and co-ordinated multiple large-scale exhibitions. Presently, he facilitates workshops, curates and hosts a quarterly experimental performance evening, and works professionally as a treasure hunt creator and facilitator.

*More information about the artist and the artwork can be found on our page

05/02/2024

🌊On View | Artsy Foundations Online Fair🌊

The inspiration for The Blue Series came from Yoon Dongju's poem “Beautitudes." He repeats the phrase '슬퍼하는 자는 복이 있나니' ("May there be happiness for those who are sorrowful") eight times and ends with '저희가 영원히 슬플 것이요' ("We will be forever sorrowful"). Rather than discussing the consequences or emotions arising from the grief, this poem acknowledges the recurring nature of solitude and portrays an attitude of facing and accepting it.

Ju, in response, transferred these musings onto each canvas after contemplating what the landscapes of solitude might look like and how the recurrence of these landscapes should be structured. The titles of the artworks were influenced by the essays of the Korean writer Jeon Hye-rin, as well as poems by Nietzsche and Rilke.

The Chatter has Ceased, 2022, 45.5 × 45.5 × 2.5 cm
I Am the Light, 2022,100 × 80.3 × 2.5 cm
Oil and pastel on linen

#주유진작가 #주유진 #뿐또블루

Punto Blu Seoul

07/03/2026

05/06/2025

29/05/2025

24/05/2025

01/04/2025

30/03/2025

29/03/2025

28/03/2025

17/03/2025

16/03/2025

15/03/2025

05/02/2024

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