アジア全域から新進アーティストとベテランアーティストの両方に焦点を当てるセクション「ディスカバー・ニュー・アジア」では、鈴木理策（日本）、グォン・ドヨン（韓国）、ロバート・ザオ・レンフィ（シンガポール）による特別インスタレーションを展示します。テーマを 『The Shape of Asian Landscapes: Then and Now』 とし、写真を通して、風景や自然が単に観察されるだけでなく、 どのように想像され、記憶され、変容していくかを探ります。この展覧会では、時間、感情、生態系への意識が場所や記憶と絡み合い、新たなビジュアル・ボキャブラリーを生み出し、アジア特有の視点を探求するよう観客を誘います。

The “Discover New Asia” section, focusing on both emerging and established artists from across Asia, presents special installations by SUZUKI Risaku, GWON Doyeon, and Robert ZHAO Renhui. Themed ‘The Shape of Asian Landscapes: Then and Now’, it explores through photography how landscapes and nature are not merely observed, but imagined, remembered, and transformed. This exhibition invites viewers to explore perspectives unique to Asia, where awareness of time, emotion, and ecosystems intertwines with place and memory, generating new visual vocabularies.
The Shape of Asian Landscapes: Then and NowThis exhibition explores where Asian and Western ideas of landscape meet. In the West, landscapes have long reflected representation and objectivity. 
In Asia, they have evolved through relation and lived experience, seeing nature as something to be connected with, not controlled.Here, the idea of landscape expands beyond the rectangular frame of photography. The exhibition space forms a circular panorama, inviting viewers to experience the landscape as one continuous flow. Inspired by Monet’s Water Lilies rooms at the Musée de l’Orangerie in Paris, the installation resonates deeply with SUZUKI Risaku’s quiet sensitivity to light and vision. Robert ZHAO Renhui’s owl sculpture adds another perspective—a global, non-human gaze that blurs front and back, reflecting the ongoing tension between humans and nature. GWON Doyeon photographs of feral dogs in Bukhansan Mountain reveal a landscape where city and nature, humans and animals coexist and collide, turning the familiar mountain into a mirror of our fragile boundaries with the natural world.


The Shape of Asian Landscapes: Then and Now


This exhibition explores where Asian and Western ideas of landscape meet. In the West, landscapes have long reflected representation and objectivity. In Asia, they have evolved through relation and lived experience, seeing nature as something to be connected with, not controlled.

Here, the idea of landscape expands beyond the rectangular frame of photography. The exhibition space forms a circular panorama, inviting viewers to experience the landscape as one continuous flow. Inspired by Monet’s Water Lilies rooms at the Musée de l’Orangerie in Paris, the installation resonates deeply with SUZUKI Risaku’s quiet sensitivity to light and vision. Robert ZHAO Renhui’s sculpture Buffy Fish Owl adds another perspective—a global, non-human gaze that blurs front and back, reflecting the ongoing tension between humans and nature. GWON Doyeon photographs of feral dogs in Bukhan Mountain reveal a landscape where city and nature, humans and animals coexist and collide, turning the familiar mountain into a mirror of our fragile boundaries with the natural world.