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MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
MATERIAL DIPLOMACY – visual and archival research by @work.prj and @aaaugusteee.
How do cultural, religious, political histories materialise in the objects gifted to the Vatican? How do these objects mediate moments of conflict, transition, or instability?
This project investigates the material dimension of diplomacy through the study of gifts exchanged with the Holy See. Conducted through on‑site research at the Vatican in early 2026, the work combines visits to the Vatican Museums and Apostolic Library with interviews with curators and ambassadors. It traces how objects, ranging from everyday artefacts to national symbols, embody negotiations of power, belief, and identity.
The project will be presented in a Research Night at @nieuweinstituut on April 16th, 2026.
Heartfelt thank you to
@delanyboutkan and @nieuweinstituut
@stimuleringsfonds
@vaticanmuseums @bibliotecaapostolicavaticana
Embassy of the Netherlands to the Holy See
Embassy of Lithuania to the Holy See
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
To keep the restaurant running during dinner hours, we built the installation for @breadandbutter.world to be fully removable.
Every evening at 5pm during @3daysofdesign , we would completely take down the exhibition, and at 11pm—after dinner hours—we’d return to set it all back up. Under the grey tablecloths were the restaurant’s original tables, waiting for their nightly transformation🌙
9) The day we finished the install at 4am and head home to Vanløse in the quiet CPH morning.
11) We brought the construction crew some coffee and asked if they could help shift a few materials and adjust the barricade. They kindly agreed and made things even better for us.
12) When we were too exhausted, we took naps in the nearest park.
15) A surprise bibimbap cooked up by @ouri.cph for the curating team during the show.
16) A wine called “Bread & Butter” we picked up from the supermarket.
Feeling lucky to have lived these moments
@work.prj @aeoffices @moshpitty @ouri.cph @petervinther @breadandbutter.world
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
Endless Table of Bread and Butter
Together with Copenhagen-based photographer @petervinther, we found ourselves drawn to the mood of 17th century Flemish still-life paintings. A block of Edam or Gouda on Delft Blue plates, ripe grapes, bread and butter, and a glass of wine— sitting side by side.
Thank you, Peter, for your support, your trust, and most of all, for bringing your presence and creative energy.
This exhibition wouldn’t have come to life without these incredible people:
@soegaardanna @eob_studio @forever.studio @moshpitty @laerkeryom @laura.bilde @bruundesign @kimkihyundesign @kunsik_ @kroyersatterlassen @thought.progress @aeoffices
We love you all. Until next time, have nice and warm days.
Supported by:
@ouri.cph @matari.sool @detovernaald @service.projects Korean Embassy
@breadandbutter.world
Curated with @aeoffices
P.S. Huge thanks to @moshpitty for being there night and day together 🫰
The first edition of Bread and Butter wrapped up after three sweet days🧈🥖
Thanks to everyone who stopped by — your conversations, smiles, and kind words meant a lot.
Without the team OURI @ouri.cph , this exhibition wouldn’t have happened. Thank you so much for being generous, creative, and curious. @atfg226 @jjo_lim @lifeofpi617
18–20 June, 2025 @3daysofdesign
Designers:
Ae Office @aeoffices
Anna Søgaard @soegaardanna
EOB @eo_bureau
Forever Studio @forever.studio
Hun Lee @moshpitty
Kihyun Kim @kimkihyundesign
Krøyer-Sætter-Lassen @kroyersatterlassen
Kunsik @kunsik_
Laura Bilde @laura.bilde
Lærke Ryom @laerkeryom
Maria Bruun @bruundesign
Thought Progress @thought.progress
Photography:
Peter William Vinther @petervinther
Curation:
Ae Office @aeoffices
Pyeori Jung @work.prj
So, shall we start thinking about what’s next, together?💛
Bread and Butter, the exhibition we’ve been curating with @work.prj , is opening tomorrow. Launching its first edition during @3daysofdesign , we asked 12 designers from Denmark, Korea, and the Netherlands: What is your perfect pair on the dining table?
We’ve been incredibly lucky to meet some of the coolest — and warmest — people on earth.
Bread and Butter @breadandbutter.world
18–20 June, At @ouri.cph
Sankt Peders Stræde 24A, København
10:00–17:00
Vernissage with Korean Pairings
18th June, 16:00–20:00
Designers:
Ae Office @aeoffices
Anna Søgaard @soegaardanna
EOB @eob_studio
Forever Studio @forever.studio
Hun Lee @moshpitty
Kihyun Kim @kimkihyundesign
Krøyer-Sætter-Lassen @kroyersatterlassen
Kunsik @kunsik_
Laura Bilde @laura.bilde
Lærke Ryom @laerkeryom
Maria Bruun @bruundesign
Thought Progress @thought.progress
Photography:
Peter William Vinther @petervinther
Kindly supported by:
@ouri.cph
@matari.sool
@detovernaald
@service.projects
Embassy of the Republic of Korea
Curation:
Ae Office @aeoffices
Pyeori Jung @work.prj
🍞🧈
#3daysofdesign2025 #3daysofdesign
Bread and Butter, an exhibition we’ve been curating with @work.prj and organizing with the support of @ouri.cph , will soon open in Copenhagen during @3daysofdesign.
12 designers each present their own take on “perfect pair” through dining objects, all placed side by side on one long dining table.
@aeoffices @soegaardanna @eob_studio @forever.studio @moshpitty @kimkihyundesign @kroyersatterlassen @kunsik_ @laura.bilde @laerkeryom @bruundesign @thought.progress
The exhibition will be open only during the restaurant’s daytime hours, before dinner service begins. Much more to share soon!✌🏻
@breadandbutter.world
18–20 June
Sankt Peders Stræde 24A, København
Bread and Butter, an exhibition we’ve been curating with @work.prj and organizing with the support of @ouri.cph , will soon open in Copenhagen during @3daysofdesign.
12 designers each present their own take on “perfect pair” through dining objects, all placed side by side on one long dining table.
@aeoffices @soegaardanna @eob_studio @forever.studio @moshpitty @kimkihyundesign @kroyersatterlassen @kunsik_ @laura.bilde @laerkeryom @bruundesign @thought.progress
The exhibition will be open only during the restaurant’s daytime hours, before dinner service begins. Much more to share soon!✌🏻
@breadandbutter.world
18–20 June
Sankt Peders Stræde 24A, København
Bread and Butter, an exhibition we’ve been curating with @work.prj and organizing with the support of @ouri.cph , will soon open in Copenhagen during @3daysofdesign.
12 designers each present their own take on “perfect pair” through dining objects, all placed side by side on one long dining table.
@aeoffices @soegaardanna @eob_studio @forever.studio @moshpitty @kimkihyundesign @kroyersatterlassen @kunsik_ @laura.bilde @laerkeryom @bruundesign @thought.progress
The exhibition will be open only during the restaurant’s daytime hours, before dinner service begins. Much more to share soon!✌🏻
@breadandbutter.world
18–20 June
Sankt Peders Stræde 24A, København
Bread and Butter, an exhibition we’ve been curating with @work.prj and organizing with the support of @ouri.cph , will soon open in Copenhagen during @3daysofdesign.
12 designers each present their own take on “perfect pair” through dining objects, all placed side by side on one long dining table.
@aeoffices @soegaardanna @eob_studio @forever.studio @moshpitty @kimkihyundesign @kroyersatterlassen @kunsik_ @laura.bilde @laerkeryom @bruundesign @thought.progress
The exhibition will be open only during the restaurant’s daytime hours, before dinner service begins. Much more to share soon!✌🏻
@breadandbutter.world
18–20 June
Sankt Peders Stræde 24A, København
Bread and Butter, an exhibition we’ve been curating with @work.prj and organizing with the support of @ouri.cph , will soon open in Copenhagen during @3daysofdesign.
12 designers each present their own take on “perfect pair” through dining objects, all placed side by side on one long dining table.
@aeoffices @soegaardanna @eob_studio @forever.studio @moshpitty @kimkihyundesign @kroyersatterlassen @kunsik_ @laura.bilde @laerkeryom @bruundesign @thought.progress
The exhibition will be open only during the restaurant’s daytime hours, before dinner service begins. Much more to share soon!✌🏻
@breadandbutter.world
18–20 June
Sankt Peders Stræde 24A, København
At Ease (2025)
Jung’s work reconstructs memories of control under a middle school guidance teacher through the reconfiguration of objects and space. This piece aesthetically explores the dynamics of authority and submission, revealing the fluidity and fictionality of memory. The recreated teacher’s office and its objects emerge as familiar yet alien presences, dismantling functional hierarchies and imbuing them with new meanings. By sublimating memories of punishment and control into aesthetic forms, the artist invites viewers to reflect on the layered implications of authority and the fragility of memory.
Notably, the work confronts the subtle yet pervasive forms of violence that persist in contemporary education, contrasting with the overt brutality of past educational practices. The power imbalances inherent in hierarchical teacher-student relationships erode creativity, and while rejecting such authority might seem like a solution, the work underscores the structural limitations that make this difficult to practice. The artist resists reducing the experience of control to mere pain, instead expanding it into a complex interplay of love and dominance. Simultaneously, the piece critically examines the hidden violences within modern educational systems and their stifling effects on creativity, offering a bitter commentary on the enduring struggles within institutional power dynamics.
In group exhibition, GGOKTU-GAKSI, Put Your Hand into Me.
28 March 2025 - 11 May 2025
@huidenclub
Photo by @rosizzle @work.prj
The exhibition is supported by @gemeenterotterdam
At Ease (2025)
Jung’s work reconstructs memories of control under a middle school guidance teacher through the reconfiguration of objects and space. This piece aesthetically explores the dynamics of authority and submission, revealing the fluidity and fictionality of memory. The recreated teacher’s office and its objects emerge as familiar yet alien presences, dismantling functional hierarchies and imbuing them with new meanings. By sublimating memories of punishment and control into aesthetic forms, the artist invites viewers to reflect on the layered implications of authority and the fragility of memory.
Notably, the work confronts the subtle yet pervasive forms of violence that persist in contemporary education, contrasting with the overt brutality of past educational practices. The power imbalances inherent in hierarchical teacher-student relationships erode creativity, and while rejecting such authority might seem like a solution, the work underscores the structural limitations that make this difficult to practice. The artist resists reducing the experience of control to mere pain, instead expanding it into a complex interplay of love and dominance. Simultaneously, the piece critically examines the hidden violences within modern educational systems and their stifling effects on creativity, offering a bitter commentary on the enduring struggles within institutional power dynamics.
In group exhibition, GGOKTU-GAKSI, Put Your Hand into Me.
28 March 2025 - 11 May 2025
@huidenclub
Photo by @rosizzle @work.prj
The exhibition is supported by @gemeenterotterdam
At Ease (2025)
Jung’s work reconstructs memories of control under a middle school guidance teacher through the reconfiguration of objects and space. This piece aesthetically explores the dynamics of authority and submission, revealing the fluidity and fictionality of memory. The recreated teacher’s office and its objects emerge as familiar yet alien presences, dismantling functional hierarchies and imbuing them with new meanings. By sublimating memories of punishment and control into aesthetic forms, the artist invites viewers to reflect on the layered implications of authority and the fragility of memory.
Notably, the work confronts the subtle yet pervasive forms of violence that persist in contemporary education, contrasting with the overt brutality of past educational practices. The power imbalances inherent in hierarchical teacher-student relationships erode creativity, and while rejecting such authority might seem like a solution, the work underscores the structural limitations that make this difficult to practice. The artist resists reducing the experience of control to mere pain, instead expanding it into a complex interplay of love and dominance. Simultaneously, the piece critically examines the hidden violences within modern educational systems and their stifling effects on creativity, offering a bitter commentary on the enduring struggles within institutional power dynamics.
In group exhibition, GGOKTU-GAKSI, Put Your Hand into Me.
28 March 2025 - 11 May 2025
@huidenclub
Photo by @rosizzle @work.prj
The exhibition is supported by @gemeenterotterdam
At Ease (2025)
Jung’s work reconstructs memories of control under a middle school guidance teacher through the reconfiguration of objects and space. This piece aesthetically explores the dynamics of authority and submission, revealing the fluidity and fictionality of memory. The recreated teacher’s office and its objects emerge as familiar yet alien presences, dismantling functional hierarchies and imbuing them with new meanings. By sublimating memories of punishment and control into aesthetic forms, the artist invites viewers to reflect on the layered implications of authority and the fragility of memory.
Notably, the work confronts the subtle yet pervasive forms of violence that persist in contemporary education, contrasting with the overt brutality of past educational practices. The power imbalances inherent in hierarchical teacher-student relationships erode creativity, and while rejecting such authority might seem like a solution, the work underscores the structural limitations that make this difficult to practice. The artist resists reducing the experience of control to mere pain, instead expanding it into a complex interplay of love and dominance. Simultaneously, the piece critically examines the hidden violences within modern educational systems and their stifling effects on creativity, offering a bitter commentary on the enduring struggles within institutional power dynamics.
In group exhibition, GGOKTU-GAKSI, Put Your Hand into Me.
28 March 2025 - 11 May 2025
@huidenclub
Photo by @rosizzle @work.prj
The exhibition is supported by @gemeenterotterdam
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
GGOKTU-GAKSI means “wooden doll” in Korean, a figure animated by strings or a guiding hand, caught between autonomy and submission. Growing up in South Korea, Pyeori Jung observed how discipline and play are braided together, games in childhood reinforced obedience, rigid education and mandatory military service ingrained a sense of control over movement.
The first puppet show Pyeori saw was in a classroom: a teacher pacing, striking his own back with a ruler as he observed students. His repetitive motions became predictable, and the children instinctively turned his act into a game.
For GGOKTU-GAKSI, Put Your Hand into Me, Pyeori Jung and Paloma Bouhana gathered five artists to explore the balance between individual expression and collective discipline, asking: Who pulls the strings? The exhibition questions autonomy, submission, and resistance, revealing the unseen hands that shape movement—both on stage and in life.
During the opening night, Angélique Aubrit & Ludovic Beillard’s life-sized handcrafted puppets waver between control and independence, guided by an unseen voice. Angyvir Padilla’s 3D-printed sculptures, embedded in blue sand, emerge from a collaboration with her mother—objects from their home in Caracas transformed into translucent childhood relics. Bin Koh’s Field Trip, a blackboard triptych borrowing from Cézanne’s The Large Bathers, meditates on birth, utopia, and death. Laure Prouvost’s Metal Man—a surreal hybrid of human and machine—points forward like a puppet freed from its strings yet still bound by mechanics.
Finally Pyeori Jung revisits his teacher’s disciplinary tools, examining how puppetry mirrors broader societal structures. Meanwhile, Paloma Bouhana presents four sculpted figures created by her young students, a playful challenge to artistic authorship and labor, opening space for creation unburdened by constraint.
@huidenclub Rotterdam
Invited by @livvaisberg
poster illustration
by @antonstuckardt
OPENING
28th of March
Performance from 19:00
CLOSING
13th of May
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Stick Chair (2024)
I got invited by @juliyennnnnnnnnnnn to come up with a DIY design for the DIY recipe book powered by @pinkessay
Stick Chair is a replicated version of Helsinki Olympic stick chair I encountered in Artek 2nd cycle in Helsinki in 2022. I was very fascinated by its simplicity, aged wooden color, technique, versatile functionality, and the beauty. The chair had very minimal touch with flathead screw, metal hook, and groove to function as a stick and a chair. After I found this beautiful masterpiece, I went back to South Korea for my summer vacation. Unexpectedly again, I encountered the modern version of this Helsinki Olympic stick chair that has one more function as an umbrella for golf touring!! Somehow the stick chair kept visible in my surroundings and stuck in my head after. I decided to remaster the logic of the original Helsinki Olympic chair, studying the technique and precise calculation that I haven’t really done in my works (most of time). It was the time for me also to understand and appreciate how the simple mechanism can be inspiring.
Therefore, I suggested to make the stick chair in aluminum, not only my favorite material but also impossible to execute steps without machines, or collective creativity. My intention is to let people who want to make this to engage more in their local community, have fun with neighbors, workshop teachers, and friends or families. I hope this DIY project will expand your social bubble in old-fashion way (face to face) and act as a connecting tool with your neighborhood by asking something that they cannot do alone🫰
Thank you again @juliyennnnnnnnnnnn@pinkessay
@allyjzhu
‼️The DIY recipe book you can purchase from this Friday (17.01.2025) on @metalabel__
Lastly, other incredible designers show their great imagination. Worth to check it out👀
Bloem_2023
Stackable Container
Material : Anodized Aluminum, PLA
Designed by Donghwan Song & Pyeori Jung
@songdong_93
@work.prj
#bloem #industrialdesign #productdesign #furniture #furnituredesign #container #anodizing #aluminum #container #artfurniture #dutchdesignweek
Bloem_2023
Bloem is a modular container inspired by the structure of artificial bee boxes found in apiaries. Made from anodized aluminum, it is designed to be both functional and visually engaging. The stackable and separable units allow users to adapt the container to various needs, offering flexibility in both form and use. The flower-shaped handles on either side add a subtle yet playful detail, softening the industrial feel of the aluminum while enhancing its decorative appeal.
Designed by Donghwan Song & Pyeori Jung
Exhibited at ‘Drawn To’ for Dutch Design Week 2023
@songdong_93
@work.prj
#bloem #industrialdesign #productdesign #furniture #furnituredesign #aluminum #container #artfurniture #dutchdesignweek
In Search Of… 🏠
Group exhibition at Albert van Abbehuis @albertvanabbehuis during Dutch Design Week 2024 @dutchdesignweek 🇳🇱
19.10.2024 - 27.10.2024
“…As a Madeleine dipped in tea on a Sunday morning, the visitors are invited to experience the interaction between the memory and the material world, in this house where souvenirs persist, intertwine and come to life.”
Text by @hugnymarie
With 14 artists and designers, I could experience something new in my career. I am really grateful for this opportunity and learned so much throughout the whole proces.
Fabulous photography by Pim @pim_top 🪄🪄
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