Giovanni Motta Millie Kelly Giorgio Celin Wang Jingyi Peter Jesppson Ana Barriga Ayobola Kekere-Ekun ​Hidden Message Oct 11 2021 - Dec 12 2021 INSTALLATION VIEWS WORKS ARTISTS The fate of Strawberries 150x150cm Acrylic.jpg Memento mori 137x119cm Oil.jpg Small Tiger 76x61cm mixed media.jpg De la mano 100x162cm Synthetic enamel.jpg Country Fasion 111x91cm Oil.jpg Pencil by the fence 33x50cm Oil.png WechatIMG3622.jpeg Giogio Celin Giovanni Motta Ana Barriga Ayobola Kekere-Ekun Wang Jingyi Peter Jappson Millie Kelly Painting has an extremely long and illustrious history, both domestic and international, and even in today's age of diverse ways of creating art, it is still a widely used creative medium, adopted by artists as a way of looking at reality and the self, while also making us aware of the need not to forget to look after our own perceptions when faced with the complexities of reality. As always, the exhibition features the works of seven artists from different countries, presenting a variety of painting styles and qualities. By focusing on the present, the artists delve into the secret caves of perception, capturing the hidden messages of reality and unearthing the deepest secrets hidden in people's hearts, not trying to create the fleeting phenomenon of events in progress, but presenting the sensitive identity of the artist as a provider of hidden information. While expanding the experience of everyday life in painting is already one of the fundamental functions of this ancient art form, the issues of painting are also closely related to the environmental, natural and spiritual concerns, as well as to gender, equality and race, which are the most pressing issues for humanity at the present time. The examination of individual and collective destinies through artistic practice is inseparable from the spiritual and healing nature of art itself. Nowadays, while a plethora of art forms are busy responding to the problems posed by the world and even attempting to offer solutions, painting is so silent instead, as it was in the primitive caves tens of thousands of years ago, helping the author to record and organise his own thoughts and curiosities, all of which take place secretly within the author's mind, as for any problem posed by the times and the environment, there is a psychological condition and an ideological implication, and it is the universal theme of contemporary art to reveal it through painting and various artistic mediums.

Ally Rosenberg Ania Hobson Fátima de Juan Gao Hang Hilary Doyle Jeremy Yamamura Matthew F Fisher ​The Fiction July 15 2021 - Aug 15 2021 INSTALLATION VIEWS WORKS ARTISTS IMG_2538.jpeg WechatIMG5887.jpeg WechatIMG6554.jpeg viewfile-3.png IMG_2494.jpeg SophieMenadeontheSubway2021.jpg Richard-Tilney-Bassett-210306-141153-0134-_theglasspassport-web.jpg Fátima de Juan Jeremy Yamamura Ania Hobson Matthew F Fisher Gao Hang Hilary Doyle Ally Rosenberg We are proud to present the second exhibition of Gallery Func this summer, 'The Fiction', in which we will present the work of seven promising artists. ​ The works in this exhibition, although they all are figurative painting, break away from the basic rules of traditional figurative painting and are post-modern and futuristic. These works vividly present the daily psychological states and rituals of life that are easily overlooked by us. The artists are concerned with the current situation of self-fragmentation in the information society, and they try to explore the real existence through painting. ​ The artists are both participants and spectators in their own lives. They watch the human life force unfold in the wider context and then, from their own selves, search for the port of balance between real life and imagination, which is the port of their artworks. They use their individual subjects as the base for their conceptual and pictorial structures, and use skilled techniques to embellish the complex expressions of their subjects, effectively and directly conveying their respective languages. ​ The realistic mood of the work is both familiar and new to the viewer, and the artist is placing the viewer in the real and fantastical world created by the painting itself, making the viewing of the painting more like reading some amazing narratives. It is as if something important has been snatched from this fictional world based on reality, leaving a big hole for us all to jump into and fill. ​ All of the works discuss the wonders of human existence as a living creature. The uncertainty of life itself is artfully displayed in each work. The sense of confusion about the future and the vibrant, throbbing energy of adolescence come crashing down on the dull and stagnant psychological world that drives adults. These works here become a spiritual stimulus for us, awakening our dormant senses.

Nov10 - Nov 13 2022 ART021 Shanghai Contemporary Art Fair INSTALLATION VIEWS WORKS ARTISTS motta 1000-1000.png whisper underwater, 2022 - oil, acrylic, resin, copper and mirror on canvas - 144x144cm.jp 微信图片_20221008123303.png Put the phone down 100x102 cm.jpg pod_185.png 25183cd1b23e37dafec1de62da7c713a.jpg 图片1.png 2022-10-13 155217.jpg Peter Jeppson Millie Kelly Luisa Mè Giovanni Motta Shigeki Matsuyama Tingwei LIANG Xiuching Tsay Yuna YU

錨點 2 Ally Rosenberg b.1995 Ding Hongdan, born in Guangzhou in December1995, graduated from the Third Studio of Oil Painting Department of Central Academy of Fine Arts, receiving a bachelor's degree in 2018 and a master's degree in 2021. She is currently studying a Ph.D. program at CAFA, supervised by professor Liu Xiaodong. ​ WORK OVERVIEW EXHIBITIONS ARTICLES ARTWORKS 錨點 3 EXHIBITION The Fiction July 15 - Aug 15, 2021 0X0A9759.jpg 錨點 4

Dec 26 2021 - Dec 29 2021 Guangzhou Contemporary Art Fair INSTALLATION VIEWS WORKS ARTISTS WechatIMG6554.jpeg viewfile-3.png IMG_2494.jpeg 鎴睆2021-11-24 涓嬪崍4.53.14.png WechatIMG3623.jpeg 01_G_Motta_Forgetting Sand_120X120_cm_Acrylic_on_Canvas.jpg Crash, 2021.png IMG_4125.jpeg Seungcheol Ok ​Gao Hang Fátima de Juan Matthew F Fisher Wang Jingyi Giovanni Motta Yokoteen Erkut Terliksiz

Time moves with merciful slowness Aug 4 - Sep 16, 2023 Ruofan Chen ​ INSTALLATION VIEWS WORKS ARTISTS GALLERY FUNC presents artist Ruofan Chen’s solo exhibition Time moves with merciful slowness, featuring a selection of her latest paintings, sculptures and moving images. They will be on view from 4 August to 16 September 2023. We are allowed into a pavilion of portals that deliver us to Chen’s differentiable manifolds represented by the trajectory of falling objects derived from her moving images, the viewports of digital construction of models and textures in her working files, the occurrences of motion blurs visualised through vector quantities such as wind and gravity, and the cache holding transcribed image data of various botanical specimens on canvas. Most of Ruofan Chen’s new works are based on one of her moving images, Botanical Bank: 54 Objects Transplanted. She continues in this exhibition the act of transplanting in an attempt to rehearse her version of spacetime unaffected by the gravity in present reality. It is an inquiry into the differentiability of meanings and the density of meaning-making through a sighting of both dynamic and static incarnations of transplanted objects. As told by Chen, these plants were taken from Jinshanling and she described the experience comparable to borrowing books from a library. In Chen's new media works, the field forces - particularly, gravity and wind - in the virtual world were set up differently. She has also planted hair on some objects, inviting the audience to embrace the softness. Chen’s paintings are renderings of the imagined motion blurs that occur when objects are moving. She investigates the visual characteristics of a specimen and gauges the layers of paint required for the particular abstraction. Soon she arrives at a multi-layered texture material ready for her to move the figurative bodies into the frame, as if the texture is revealed before the model. The composition of both dynamic and static visuals can be read as a series of superimposed still frames, each derived from the overall progression of image movement. The drags and blurs and trails and tails can all be interpreted as vectors demonstrating objects’ directions and magnitudes and representing the depth of Chen’s emotions. Ruofan Chen’s yearning for slowness defines her visual bond with nature, and her time keeping system in the exhibition brings us to more questions. Can we ever compare nature’s timepieces to our devices? What is the rates of the earth clocks to ours? Does the earth consider time divisible and differentiable? Does it use time to monitor societal progress? Does it measure anything at all? We are trained to handle between feelings of stress and inertia and start to recognise regular emotional switchings as reliable rhythmic transcriptions that examine our ability to cope. We are always running on clockwork. But Chen is hoping to slow down the movement of the world through her works, “the more gravity stretches out time, the slower time passes. I wish time moves with merciful slowness.”

Byungho Lee Jang Pa Jiyoung Yoo Seungcheol OK Yaerim Ryu Linked A collaboration with Gallery Kiche Sep 2 - Oct 1 2022 INSTALLATION VIEWS WORKS ARTISTS 8.1m-1.jpg 8.6m.jpg 255174488_625116481833512_6278098306295209550_n.jpg 72.5 x 49.7 cm.jpeg (Low resolution) Ein, 2018, silicone rubber, air compressor, 50 x 19 x 23 cm, Edition 15.j Ok Seungcheol Jang Pa Yoo Jiyoung Ryu Yaerim Lee Byoungho The title of the exhibition, LINKED, borrows from that of Albert-László Barabási’s book. In his work published in 2002, Barabási proposes “networking” as a scientific methodology and a measurement of thought, as well as a conceptual tool to grasp and understand the entire era with issues ranging from the Internet, the international financial crisis, and infectious diseases. Through extensive research and analysis, he explains that an individual or a nation, regardless of whether or not the subject actively may choose, is located in a tightly connected web at multiple levels (since long ago already). In the same context, deeply reflecting about “networking” becomes an important compass in establishing an approach to locate and grasp contemporary art. This contemplation is where the exhibition LINKED, an exhibition of five Seoul-based artists, begins. This exhibition, held jointly by Func and KICHE, is also a product of “networking”. ​ Five artists (Ok Seungcheol 玉承哲, Ryu Yaerim 柳叡林, Yoo Jiyoung 劉智映, Lee Byoungho 李炳虎, and Jang Pa 張琶) unfold their various artistic interests and practices ranging from flat pieces such as paintings, reliefs, mirrors, to kinetic sculptures. “Borrowing” and “references” freely interact as direct and indirect sources of inspiration in the process of their artistic production. The artists’ art practices themselves form a complex network in multiple dimensions. ​ From his first solo exhibition Un Original to the recent solo exhibition Create Outline, Ok Seungcheol persistently follows his aesthetic contemplations and questions about “originality.” He first gathers and reconfigures “JPEG” images created by collecting and recombining scenes from animations, dramas, movies, and memes drifting on the Internet, and places them in various media such as paintings, sculptures, videos, and posters. His characteristically distinct close-up cartoon face images do not remain fixed but rather constantly transform themselves through self-references or self-proliferation. The newly presented paintings and sculptures in this exhibition effectively show how Ok’s works are evolving. For example, Head Statue is a bronze sculpture that has been rendered to look like an old relic. The work’s portion under the neck is treated to seem as if a part of it was forcibly removed. Inspired by the moment when a memorial statue is demolished, the work nods at the recognition that things that were once considered inviolable (such as the original form) can collapse at any moment. ​ Ryu Yaerim constructs virtual nostalgia with the sentences and phrases from the novels she has read and the narratives associated with the various texts she encounters in her daily life. She defines her work as an intermediary medium that resides somewhere between painting and illustration and uses it as a platform to faithfully unfold her imaginary chronicles. To this end, Ryu minimizes the physical properties of her work by flattening the textures of the brush strokes as much as possible like ink wash paintings. Through the artist’s painting process on wood panels and, more recently, canvases, she captures the unrealistic figures, places, and events both theatrically and delicately. As such is her practice, her paintings are neutral in that while they seem very particular to a specific scene, they remain open to anyone and anywhere. Persistently following the fragments of her fictional stories and events becomes a strange time and space travel to reach the “existent while non-existent (or vice versa).” By digitizing or systematizing items or spaces, such as clocks, calendars, drawers, and color tables, Yoo Jiyoung brings objects that give structure to rational perception and buttress the framework of our daily lives into her creative practice. The originally intended structure and function of these objects are partially lost. Through the artist's intervention, their purpose and uses are naturally replaced with something else, leaving only the bare minimum physical form. A cupboard hanging on the wall with only its flat outline, for example, transforms itself into an object that lies between a cabinet in a cafe or kitchen and a pictorial work of art; a clock with only the minute hand remaining no longer tells a linear time but weaves words into a sentence. “Ein,” one of Lee Byungho's early works, visualizes invisible air and time by trapping air inside a mechanical figurative silicone sculpture and repeating contraction and expansion. The work reminds us that the simple rote of extinction and creation is the essential order of nature. In his recent works, Lee deconstructs the original form and re-recognizes it based on its intended imperfections. This compilation of the broken individual units moves away from their fixed uses and continues to renew its originality by recomposing itself depending on the specific time and space. Such creative practice reflects the artist’s attitude toward presenting the work in its fluidity by repeating the process of reproduction in which the original is constantly twisted and reconstructed. Throughout Jang Pa’s artistic practice, “female subjectivity” remains an important theme. Jang Pa brings to the fore the “feminine traits” that are considered negative in the male- dominated hierarchical system and imbues positivity onto these qualities. While she begins with an exploration of the “feminine,” she reflects on the sensory systems that universalize the feminine perspective and disturb the category of “woman” and carefully chooses the most fitting surface finishes and textures of her paintings. Jang Pa further actively incorporates art historical or cultural iconography into the oeuvre to materialize her artistic interests since her Women/Shape Series (2017). LINKED takes the premise that nothing can exist alone. The events and phenomena around us, as well as the artists’ creative practices themselves, exist within the dynamics of a “network” that has long expanded and become ever more complex. It is only when we apply this methodology of approaching various “phenomena,” can we not lose our way and faithfully engage with their present and future. ​ Text. Yun Duhyun, Director of KICHE ​ ​ OK SEUNGCHEOL OK Seungcheol (b. 1988) lives and works in Seoul. He has held solo exhibitions at Art Sonje Center(2022, Seoul), Space Isu(2021, Seoul) and KICHE(2020, 2018, Seoul) . The artist has staged various group exhibitions Nook Gallery(2022, Seoul), Daejeon Museum of Art(2021, Daejon), The Great Collection(2021, Seoul), Unit London(2020, London), Superellipse(2020, Seoul), Daegu Museum of Art(2019, Daegu) and Platform L Contemporary Art Center (2019, Seoul). JANG PA Jang Pa(b.1981) graduated from Seoul National University with a BFA in both Painting and double major in Aesthetics, MFA in Painting. Jang Pa has held solo exhibitions at KICHE(2022, Seoul), IAP Warehouse Gallery(2020, Incheon), DOOSAN Gallery Seoul(2018, Seoul), DOOSAN Gallery New York(2017, New York), Seoul Olympic Museum of Art(2016, Seoul), Makeshop Art Space(2015, Pajju), Gallery Zandari(2015, Seoul), OCI Museum of ART(2011, Seoul), Alternative Space HUT(2009, Seoul). Jangpa has staged and participated in various group exhibitions at Incheon Art Platform(2022, Incheon), D/P(2020, Seoul), Post Territory Ujeongguk(2019, Seoul), Museum of Art Seoul National University(2018, Seoul), Art Space Pool(2017, Seoul), Seoul Museum of Art(2015, Seoul), DOOSAN Gallery Seoul(2015, Seoul), OCI Museum of ART(2015, Seoul), BMOCA(2015, Paju), Seoul Olympic Museum of Art(Seoul) and more. RYU YAERIM RYU Yaerim(b. 1994) lives and works in Seoul. She graduated with a BFA painting at Hongik University and she is in MFA painting at Korea National University of Arts. She has held solo exhibition at Show and Tell(2021, Seoul), Art Space Hyeong(2020, Seoul). Yaerim has staged group exhibitions at Doosan Gallery(2022, Seoul), BGA maru(2021, Seoul) and Obertürkheim (2017, Stuttgart). She has been selected as an artist of “Now and Next”, which is a project of Frieze to celebrate the inaugural Frieze Seoul 2022 in Seoul supported by Chanel Korea. LEE BYUNGHO Lee ByungHo(b.1976) graduated from Hogik University with MFA and BFA. He has held solo exhibition at SPACE SO(2021, Seoul), Sangup gallery(2018, Seoul), SPACE SO(2017, Seoul), KICHE(2016, Seoul), T.A.V. Treasure Hill No. 13(2015, Taiwan), Gallery Hyundai_16 bungee(2011, Seoul), Gallery Zandari(2009, Seoul), and Alternative Space of Miccle(2007, Seoul). Lee Byung Ho has staged and participated in various group exhibitions at Nook Gallery(2022, Seoul), SNUMOA(2021, Seoul), 021gallery(2019, Daegu), Seoul Museum of Art(2019, 2015, Seoul), Busan Museum of Art(2019, 2010, Busan), sueno339 SPACE of ART(2017, Seoul), Seoul Olympic Museum of Art(2016, 2012 Seoul), KICHE(2014, Seoul) and more. YOO JIYOUNG Jiyoung Yoo graduated from Hongik University with BFA painting and Slade School of Fine Art with MFA painting. She has held solo exhibitions at Room Project Leeum Museum(2022, Seoul), ThisWeekendRoom(2021, Seoul), Alltimespace(2019, Seoul), Rainbowcube(2018, Seoul). She participated in various group exhibitions at Seoul Art Space Geumcheon(2021, Seoul), Keep in Touch(2021, Seoul), The London Arts Boards(2020, London), 155a(2020, London), Ilwoo Space(2019, Seoul), Muse at 269(2017, London), The Artwall(2016, Athens), Camden People’s Theatre(2015, London) and more. ​ 錨點 1 錨點 2 錨點 3 lee byungho yoo jiyoung

Byungho Lee Jang Pa Jiyoung Yoo Seungcheol OK Yaerim Ryu Linked ​ Object: Third Sense On View Mar 8 - Apr 13 2024 A collaboration with Gallery Kiche ARCHIVE Chialing Chang & Chih Chiu - Object: Third Sense Mar 8 - Apr 13 , 2024 Bingqian Yan - Another Parallel Dec 22 - Jan 27, 2024 Xiaoguo Chen - Children of The World Nov 6 - Dec 16, 2023 Tianshu Zhang - Entropy and Hidden Force Sep 22 - Oct 28, 2023 Ruofan Chen - Time moves with merciful slowness Aug 4 - Sep 16, 2023 DETOUR June 9 - July 15, 2023 Peter Jeppson - Fresh Fruits and Vegetables Mar 03 - Apr 15, 2023 ORIGINIS Nov 08 - Dec 10, 2022 Null Protocol Oct 07 - Nov 04, 2022 The Blooming Moment Jul 29 - Aug 27, 2022 Ruini Shi - Emotional Autonomous Region Jun 30 - Jul 23, 2022 A Fund of Gifts Dec 24, 2021 - Jan 18, 2022 Hidden Message Nov 10 - Dec 12, 2021 Self Delivery Oct 9 - Oct 31, 2021 USB: Multiple Port Aug 28 - Sep 26, 2021 The Fiction Jul 15 - Aug 15, 2021 Game Over, Play Again Apr 24 - Jun 6, 2021 FAIRS 021海报.jpg 西岸海报.jpg GZ Contemporary Art Fair Dec 26 - Dec 29, 2021 Art Xiamen Jun 17 - 20, 2021 錨點 1 ART021 Shanghai Contemporary Art Fair Nov10 - Nov 13 2022 Guangzhou Contemporary Art Fair Dec 26, 2021 - Dec 29, 2021 West Bund Art & Design 2022 Nov10 - Nov 13 2022 Art xiamen & Design Fair June 17, 2021 - June 20, 2021

錨點 1 Leo Park b.1995 Ding Hongdan, born in Guangzhou in December1995, graduated from the Third Studio of Oil Painting Department of Central Academy of Fine Arts, receiving a bachelor's degree in 2018 and a master's degree in 2021. She is currently studying a Ph.D. program at CAFA, supervised by professor Liu Xiaodong. ​ WORK OVERVIEW EXHIBITIONS ARTICLES ARTWORKS 錨點 2 EXHIBITION 錨點 3 DSC03440.jpg Null Protocol Oct 7 - Nov 4 2022

GIOVANNI MOTTA April 24 2021 - June 6 2021 Game Over play again? INSTALLATION VIEWS WORKS ARTISTS ROOMINTHEROOMBASSA.jpg ​Giovanni Motta Gallery Func is pleased to present GAME OVER play again? - the new solo exhibition of Giovanni Motta in which will be exhibited 14 paintings in acrylic on canvas and 2 sculptures, one in fiberglass and one in bronze, of the recent production of the Italian artist. ​ Belonging to the so - called Generation X and having grown up, therefore, in the eighties, it is not surprising that the signs and codes of the evolutionary age assume, for him, the form of objects that can be traced back to that decade. Japanese manga and anime, American cartoons and the first videogames, the user - friendly technology of the origins, with that mixture of simplicity and candor, and the entire merchandise catalog of the consumerism of the Eighties appear in his paintings as epiphenomena, revelations that correspond to states of mind lost in the meanders of memory, removed from the conscious layers of adult life. The personification of Giovanni Motta's puer aeternus is Jonny, a child who seems to have come out of the pencil of a mangaka, whose an atomical morphology is typical of a growing individual, with a tiny body and a hypertrophic head. Jonny is the artist's infantilized stand-in, the puberty avatar, the inner ghost, the aesthetic conformation of an unconscious projection, but it is also, by extension, a signal, a symbol that indicates anabsence, that underlines the vulnus, the wound, the gash that tears the existence of the adapted and uniformed man. Motta uses Jonny as a warning to himself and others, but also as an empirical demonstration that healing, everyone's healing, is possible through the rediscovery and recovery of this imperishable entity that frees us from time and senescence. In GAMEOVER play again? the enthusiasm is encoded in the form of the videogame metaphor. The condition of the player, estranged from everyday reality, is represented through the image of Jonny's fluctuation. But for Giovanni Motta the videogame is - like toys, food and consumer goods - only a symbol. What counts is the mood of the player, that feeling of "divine invasion" that accompanies the moments of euphoria and amazement of childhood, an emotional heritage that seems destined to fade in time. ​ Curated by Ivan Quaroni / Cherryup / Ricc