Solo Exhibitions (Brief)

eobchae’s recent solo exhibitions include 《ROLA ROLLS》 (SeMA Bunker, Seoul, 2024), 《eoracle》 (DOOSAN Gallery, Seoul, 2022), and 《AMAEBCH》 (Museumhead, Seoul, 2022).

Group Exhibitions (Brief)

eobchae have also participated in numerous group exhibitions and projects, including 《Young Korean Artists 2025》 (National Museum of Modern and Contemporary Art, Gwacheon, 2025), 《24th SONGEUN Art Award Exhibition》 (SONGEUN, Seoul, 2024), 《2023 Gwangju Media Art Festival: Flux Unveiled》 (G.MAP, Gwangju, 2023), 《So-Called Normal Family》 (Suwon Museum of Art, Suwon, 2023), 《FRIEZE FILM 2022: I Am My Own Other》 (Magjip, Seoul, 2022), and 《The Fable of Net in Earth》 (ARKO Art Center, Seoul, 2022).

Awards (Selected)

In 2021, eobchae won the 12th DOOSAN Yonkang Art Award in the visual arts category.

Originality & Identity

eobchae has continuously worked on constructing speculative worldviews by focusing on perspectives that are lost or erased within the accelerated technological environment of the post-Internet era. In their early works, they critically examined contemporary audiovisual media such as YouTube, Instagram, and Twitter, exploring the distortions of reality and the cracks in subjectivity brought about by new technologies and environments.

For instance, the work oo-genesis(2020), presented at the Nam June Paik Art Center exhibition 《Reality Errors》(2020), they traced how internet-based media reconstructs reality, aiming to visualize the impact of technological development on human experience.

The artists critically represent the blurring of boundaries between reality and virtuality that occurs with the introduction of new technologies and social changes. In their solo exhibition 《AMAEBCH》(Museumhead, 2022), the eponymous work AMAEBCH(2022) uses cryptocurrency as a motif to visualize the moment where the boundaries between reality and the virtual world intersect, illustrating how the flow of data and information blurs the boundary between life and death. Moreover, by introducing the character Bishamonten, they construct a complex narrative where artificial intelligence and mythological symbols coexist.

Subsequent works by eobchae focus on critically examining how technological advancement merges with capitalist desires. In The Ones Who Left on Luges(2022), the story of subjects resisting the state by attempting hibernation and escape to claim the cryptocurrency 'eobchae coin' metaphorically portrays the mechanisms by which technology exacerbates social inequality. Additionally, the collaborative piece CHERRY-GO-ROUND(2019), presented in the two-person exhibition at the Nam June Paik Art Center with Sungsil Ryu, explores the intersection of reality and the virtual through a fictional narrative, seeking new narrative formats through technological media.

The long-term project ‘Daddy Residency’(2020-) combines artificial insemination and AI, expanding the concept of family and experimentally examining the impact of technology on social relationships. Through this project, they explore the potential of technological advancements to create new communities and family structures, reinterpreting individual identity and social roles.

In recent works, they reveal the contradictions within decentralized structures using blockchain and Web3.0 technologies, constructing critical narratives against technocratic utopias.

The work idempotentia(2025), unveiled in the exhibition 《Young Korean Artists 2025》(National Museum of Modern and Contemporary Art, Gwacheon), combines data integrity algorithms with religious myth structures, exploring how the normative properties of technology transform into new forms of oppression. This thematic focus consistently questions the intersection between technology and social imagination, which continuously transforms reality.

Style & Contents

eobchae adopts a method of expanding technological elements into aesthetic experiments, traversing various media such as video, sound, web, and performance. In their early works, they mainly used video and sound to experiment with the transformation of digital media and the resulting deconstruction of subjectivity.

The piece oo-genesis is a single-channel video that explores the reconstructed self through technology, integrating sound and visuals to form a complex narrative.

The solo exhibition 《AMAEBCH》 focuses on how technological practices become socially embodied. It visualizes the afterlife through the convergence of visuals and data, intuitively revealing the impact of the flow of cryptocurrency and AI outputs on human existence. By employing machine learning and LiDAR sensors, it reimagines mythological characters using modern technologies, presenting possibilities for new narratives.

The collective's working methods have increasingly expanded to form complex narratives centered around specific technological devices. In The Ones Who Left on Luges, the act of riding a luge combines the physical sense of speed with the capitalist logic of acceleration, adopting an experimental structure to test human behavioral patterns in extreme situations. The collaborative work CHERRY-GO-ROUND with Sungsil Ryu experiments with the structure of contemporary audiovisual media by blending vlog formats with second-person perspectives.

The recent piece idempotentia combines decentralized algorithms with religious metaphors to analyze the hierarchical structure created by the normative properties of technology in a multi-layered way. This complex use of media and narrative structure is an attempt to achieve both technological criticism and narrative transformation simultaneously.

Topography & Continuity

eobchae critically analyzes the inequalities that arise from the speed of technological advancement and capitalist mechanisms, seeking to reconstruct the voices of those who are lost or marginalized in the process. The critical consciousness of exploring the imbalance between technology and humanity has consistently been maintained from their early works to the present.

Their works focus on revealing the contradictions that arise as contemporary technologies intersect with social changes. Using digital media and blockchain technology as primary mediums, they visually dissect the paradoxical nature of technology in situations where reality and the virtual coexist. This characteristic is evaluated as a significant case in exploring the intersection of technological criticism and social narratives.

Recently, their works have expanded to discuss the reconstruction of humanity and technological dominance by presenting a critical perspective on the decentralized structure of Web3.0 and technocratic utopias. This approach goes beyond simple technological criticism, evolving into an exploration of how technology reconstructs the social mechanisms of the real world.