is pleased to present


an exhibition by

21st of October 2016, from 7 to 10 pm

"...The installations and drawings by Gregory Maass and Nayoungim documented consist mostly of widening gaps between the constituent parts. They form a seismic zone, riddled with ravines and fissures, eminently unstable cityscapes of found objects, catchy remarks, dumb puns, cartoons, gleefully deliberate ugliness, blunt parody. To the untrained eye, there is very little to keep the whole shebang from falling in over your head, leaving only rubbish. But the installations give the appearance of knowing that you've seen as many bad television shows as they have, and as many commercials, and as many films, and you know that they know, and they know that you know that they know. And they appear to know, and secretly build on a good deal of, say, Neo-Dada and Fluxus and Pop Art, and they have zapped from Concept to Minimal and back, and all that has taught them to keep their formlessness apart from their meaninglessness, making sure that the chasm between the dumb and the ugly is widening, that the real is only suggested, and that your curiosity is getting involved. Perhaps you have been through a moment, as a child in school, when you gave up drawing because cartoons always looked more convincing than anything you yourself could draw. Perhaps you have been to parties where people would tell you the plot of films and television programmes they had seen the other day, instead of telling from their own experience. This art seems to be willing to talk about such moments. ..." (Dr. Sytze Steenstra excerpt of "Conceptional Cartoons in Suggestion City") and 
"...Entering a room with works by Nayoungim & Gregory Maass —be it in an individual show or a group exhibition—conveys not only the impression of a heated climate of production, but also the sense of a search for how to proceed from work to work. In the comprehending act of beholding these works, a vague trace can be followed without all too much encouragement: it seems as if new antipodes are constantly being invented and added to what was just seen. One of the most important here could be the antipode between the autonomous sculpture and the readymade, or between “can do” or “would like to do,” when industrially made found pieces are placed alongside difficult to learn traditional pottery techniques, so that it sometimes seems as the two artists are working with a faux-surrealist variant of the culture of quotation. As historical definitions of surrealism speak of the “accidental encounter” of visual components from contradictory categories and the freedom-as-arbitrariness asserted in this impersonal formulation, with its exploration and authorization of a supposedly underlying unconscious, one finds oneself asking in the case of N&GM as well to what next higher level their syncretism might refer. ..."(Excerpt from "it all, indefinite article" by Clemens Krümmel)



63 Rue du Houblon, BE-1000 Bruxelles / Hopstraat 63, BE-1000 Brussel
by appointment only
Thibaut Espiau +32 (0) 487800329 / Ištvan Išt Huzjan +32 (0) 499820041 / Gregoire Motte +32 (0) 489348968

With the support of

Residents of Hopstraat 63, and DRUUM Contemporary Bed & Breakfast / druum.be

Hobo Sapiens


전체 공개 · 주최자: Artists Club / Coffre-Fort

no-ego ego trip @ Split Fountain's New Website

Images by Sholto Buck
Design of the site is by Jayme Yen and Layla TC
Oct. 2016

fountain design

Sep. 2016

Hotel Pommeraye

June- Dec. 2015

Light, 2011

Medium: Plastic, tripod, chandelier light, aluminium
Dimensions: 74.409 x 30.708 x 30.708 inches (189 x 78 x 78 cm)

We showed a range of smaller works, which deals with repetition, rhythm, and pattern which are a essential to create rhythm: by joining them together and giving them the same movement. The works themselves one by one already deal with this subject. Among other works, we installed a chandelier light with tripod, plastic container with aluminium straw.
Exhibition History:
Dancing to the Rhyme, group show, Kumho Museum of Art in Seoul, 2011

Awards/Publications: Unfucking real, monography, published by Mediabus in Seoul, 2013

Tale of Three Kitties, 2008

Medium: Wooden door, acrylic on canvas
Dimensions: 94.488 x 35.433 x 1.574 inches (240 x 90 x 4 cm)

This work made of the assemblage of tacky kitten painting, cats have become since then an obiquious reason for delight, not to speak of paintings of beards which could win any competition and a german Gründeruzeit door, which were lovingly restored. The work was inspired by youngster´s locker door, which is often decorated by images of horses and suchlike. Analytically written we as so often in our work assembled subjects on one level and themes on a methodological level in parallel. This is a perfect example of our application of Frankensteining methods, roughly written: in this case transplanting things weakly described by useless genres terms: object art (engl.), objet-trouvé, and painting, into an interdependent group.

Exhibition History: Auto-Focus, Solo show @ Gallery Shilla in Daegu, 2008

Publications: It’s nice to be nice, try it! , monography, published by Caustic Window in Seoul, 2009

School Days

Seoul , 1984
전투경찰이 서울대에 진입, 잔디밭에 배치되어 있는 모습

Frog 개구리

Jan. 2012 
Approx. 21x19x18cm, Ceramic, Plastic

-작품 개구리는 도자기 개구리 몸체와 플라스틱 모자 2부분으로 이루어져 있다.
-조립은 모자를 개구리 등에서 나와있는 나무 막대기위에 얹어 완성한다.
-모자는 개구리 얼굴의 오른쪽으로 살짝 기울여서 설치를 한다.
-모자는 개구리 몸체와 2지점에서 만나는데, 앞쪽은 개구리의 오른쪽 눈두덩이에, 뒷쪽은 개구리의 등부분이다.
-작품은 설치현장을 필요에 따라 일시적 접착제로 부착이 가능하다.
-모자와 개구리 몸체가 만나는  2지점에 파란색 접착고무를 적당량 잘라서 (앞쪽은 개구리의 오른쪽 눈두덩이에, 뒷쪽은 개구리의 등부분) 붙이고 눌러서 붙이면 완성된다.
접착제는 손쉽게 떼어낼수 있으면 작품 표면을 손상시키지 않는다.
Aug. 2016