The Invited Country Exhibition

In the invited country exhibition, traditional and modern craft from 13 countries, including Denmark, China, Hungary, and 10 ASEAN countries are on display.

The first country is Denmark. This year marks the 60th anniversary of diplomatic relations between Denmark and Korea. Under the theme of "Crafted Matter," you can see how Danish artists explore modern crafts. Also, you can sit on the works of pipes and sofas to experience them first hand.

Passing through the Danish pavilion, you can see the Chinese pavilion. Including two of the four greatest Chinese artists of modern art, Fang Li-jun and WieMin-jun, you will be able to see new works of crafts of 16 artists which have expanded into modern art.

The Hungarian pavilion is called “The Next Hand”. From students to artisans, you can see the works created by different generations. Feel the essence of Hungarian crafts from metal, glass, ceramics as well as textile crafts.

Under the theme of "ASEAN Craft: Tradition and Evolution," the ASEAN pavilion presents a variety of crafts from 10 countries. To celebrate the 30th anniversary of the establishment of Korea-ASEAN dialogue, the exhibition presents a meaningful moment to ASEAN's unique culture.

The yarn is made of up to seven different strands, which makes it possible to gradually change the colour of individual threads to achieve the desired shimmering effect in a process that Høj describes as 'painting with fibres’. The finished work incorporates more than 50 different fibres. Materials Threads and yarn made of viscose, polyamide, polyester, monofil and other fibres Dimensions.

Sound-absorbing element constructed as an open weave on a plywood ring, glued together of six laser-cut segments. The outside of the ring has 720 laser-cut slits to hold the thread. Suspended from a pivot joint, the ring is wound around with thread in thousands of high-precision movements. The weave takes about two weeks to complete. It has to be tight enough to produce a regular pattern and loose enough not to warp the ring.

The waxed cotton string contains a subtle reference to the many candles burning in the church, and the form expression of the sculpture echoes the pillars and arches framing the cloister as well as the life that has unfolded here, with added references to bird wings and nun’s veils. Materials Waxed cotton string, metal Dimensions.

Round bench with seating for two persons on both sides. First, the basic elements are built in wood. Next, the steel profiles are put in place, guided by hand-built wooden templates, and TIG-welded. Due to the large scale and the use of the many circle sections, the piece was first constructed as a wooden model in order to test angles, directions and dimensions. The form inspiration for the bench came from the cactus.

Hand-lino-printed paper, hand-cut, hand-folded and assembled
by hand.

A wide bench made of pieces of solid Oregon pine glued together. The three-dimensional pattern on the surface was created with a CNC milling machine and subsequently hand-finished with Japanese planers and profiled scrapers. The legs are made of two wedge-shaped pieces of Oregon Pine, joined with sliding dovetails in European walnut. Finally, the surface was sanded and finished with lye soap.

White hand-moulded, high-fired porcelain sheets that have been held over a flame from a candle. The flame creates black stripes of soot on the surface of the porcelain. The sheets are placed on a wooden board that has been blackened by a torch.

On the surface, the characters in the work are cracking with exaggerated gestures and mouth shapes, but Wie tried to express through that smile the confusion, emptiness, anger and sadness caused by China's cultural revolution, reform and opening.

The great breadth of space, the strong contrast of small figures, and the landscape of space have more than the usual size, but the large space shows the small scale of space and the humbleness of small figures, so it shows the fragility of people and life. He sometimes has an obsession with nihilism, sometimes deliberately expresses nihileness, and would never be so delicate without superb control, delicacy and patience. In his ideology that emphasizes the equality of men and women, they will disappear without a trace, with a single piece of leaves as big as a grain of sand.However, Pang Li-jun captured a vivid moment and completed his artistic imagination.

The author imagined the 'the human world' because the human world in the sky, " author of the arithmetic. We sometimes go a long way to see, such as water and mountains, rocks, trees. Real space sometimes people caught in trees and mountains, rocks, such as in water. This work is the writer's best teams in the eyes and hearts to express that nature is 'The human world in the sky'. 'human spheres' a recreated the nature of the real anxiety and anxiety, nostalgia and sentiment that can't help, not with police officers. Traditional landscape and nature in the author's thoughts and reproduce.

Psychology and spells require the mental aspect and the training the soul unfolds, the body and shell must grind and record even the smallest parts of life, and the soul is constantly corrupted in addition.

Liu Shui Yang's work transformed this endoskeleton into a mechanical form structure with a special meaning, using these social taboos to reinforce potential social conflict, collective, social and psychological stress, and individual, psychological and cohesiveness. The structure of the work itself explains the important role of social power in formal symbols and metaphorical meaning.

When the artist traveled to Inner Mongolia, he was inspired by the culture he met there. In Inner Mongolia's culture, horses are more than family rides. The artist, who recognized words like a person, tried to portray the human side of expressing emotion in the work you see. You can find human feelings in elements such as facial expressions, manes, and tails.

On the artwork Skating on Midsummers’ Eve (2003) by Zsuzsa Péreli appear two figures whose steps are in perfect harmony, as an emblematic representation of a relationship in perfect harmony. Based on the author’s comment, she saw a couple on an old photography, removed them as a motive from the original environment to attribute them a personal meaning. [...] The colourful world and the use of materialsin the carpets of Péreli are versatile and extremely rich. The wool is oftenmixed with silk providing a special light to certain points of the material, orshe contrasts it with chenille composing colours, faithful to the greattraditions of weaving, from a lot of different shades. All artworks are weavedby her own hands.

[...] The purple color represents repentance. The complementary color yellow represents the unreachable and unapproachable gold color that is symbolic of the celestial world. The color blue is the color of wisdom and the color of the mantle of Mother Mary’s, who is considered to be Hungary’s protector. Green represents hope and the rebirth of nature, while white represents purity and light. The artist originally used weaving techniques to create her pieces but, due to health complications, had no choice but to find another method. As a result, she now uses computer technology and transfers printing to create tapestries, sew, staple, and weave digitally to create her crafts.

This piece is Katalin Katona’s Glory...I, a series of works that emphasizes the symbolism of obelisks, pillars, doors, and wings. Obelisks have been used for around 2000 years as the everlasting linkage between earth and the heavens. Here, the artist combines vertically oriented obelisks and horizontally oriented doors to connect the sacred qualities of heaven and earth. Also, wings are combined with the obelisks to represent the never-ending phenomenon that is time. Through this piece, the artist uses physical depictions and theoretical approaches in order to combine abstract concepts.

Mr. Géza Laczák has been experimenting for more than a decade with metal crumpling the essence of which is that heoverheats the metal plates supported by different shapes and as a result of the heat theybecome fixed in various forms, smooth or crumpled, thus changing the occasionalartistic damages of the material into aesthetic element. Developing and thenchanging scale, he represents this technique applied at the beginning on articlesfor personal use or ornaments also on the above-mentioned place-sculptures.Theblocks of artistic surface placed deliberately ensure playful plastic-artvariety to his works forming a sophisticated contrast with the rigidgeometrical frame structure.

The artist is a renowned silverworker in Hungary, and his work is celebrated by collectors in Germany, Italy, the United States of America, the Netherlands, Israel, and other countries around the world. He decorates chalices and goblets with gemstones and most commonly uses motifs depicting images of heroes, kings, and princes and other famous figures from Transylvania’s history. Currently, Hungary’s gold and silver craftsmanship technology is on the decline. [...] The artist emphasizes the reality of how Hungary is gradually changing, losing its identity as a society that understands the arts and receives inspiration from it.

"Ceramic artist Julia Nema is presenting plate and bowl selections from her unique tableware collections. These were designed and hand made for various restaurants and chefs to serve food. In addition, her cups and bowls help people focus on the enjoyment of tea. All porcelain and stoneware pieces of Ms Nema are thrown on a pottery wheel or hand formed, and finally finished in her wood-fired kiln at a very high temperature, at about 1320 °C. Glazes and colours are developed by the artist, sourcing local materials from Hungary. Ever since Julia Nema encountered wood firing, she has been inspired to harmonize its spontaneity and primordial power with her constructivist aesthetics and her love for fundamental geometric and organic forms. She retains a back-to-basics approach in everything she creates. Her quiet, silent and poetic objects leave free space to fulfill for nature and users as well."

This piece is entitled "We come in peace III" by Vipoo Srivilasa. Born in Thailand and now working in Australia, Vipoo Srivilasa creates ceramic sculptures that perfectly harmonize his two cultural identities. [...] The artist's pieces at the ASEAN Craft Exhibition include Patience Flower and Happy Together. The Patience Flower series is inspired by the snowball blossom kettle from Meissen, Germany, dating back to the 18th century, created by attaching a myriad of small units to the surface.

The great wall expresses the ownership that the brick wall symbolizes and the boundaries defined by it. In particular, these boundaries are linked to the possession of natural resources or human desires and draw a call for economic and environmental issues in this era. Traditional lacquer techniques go through a process called material transformation. This technique embodies tactile features such as the rigidity, weight, and mass of the image to be displayed.

We will showcase the 'Debata' series, which reveals the various trappings of the human body by mixing various metal materials. It is derived from the Hindu term "god." The word "god" in Khmer specifically refers to the god of women, or angels. Visualization expands the realm of deified emotions by sculptural highlighting the signs of peace and inherent power. The images are made of burlap, iron, and steel, trying to change their shape to empower them with a great sense of divine energy. It seems to exist as a “god,” helping to escape the dark past and defend its own traditions and peace.

"His ceramics stand out with the new technique devised by the artist. You can read the unprecedented transformations and disciplines found in Singapore's history in how you can create your own unique patterns using masking and sandblasting techniques on colored ceramics."

The author's ancestor about the ancient tale, inspired by glamorous and sophisticated created a totem. In addition, the author's pedigree as a family and have reminded us of the diversity of Malaysia's rich culture.

[...] The Gregorian chair, which will be presented at this exhibition, is an iconic design and piece of art which represents Ito Kish. Decorative pillars of different heights and diameters support the backs of semi-circular rattan sheets. All of the materials used in Gregorian chairs are procured through sustainable materials and production means. The gemma tree, also used as a material, is a fast-growing, hard wood that is cultivated and supplied locally. As such, the success of the products is driving the growth of the community. Now, the chair is not merely a product loved by people all over the world, but also a classic design by Ito Kish.