Gimhongsok participated in the collaboration project Our Set 2025: Gimhongsok × Kiljong Park at Suwon Art Space Gwanggyo. An annual program that pairs artists from different genres since its launch in 2022, this year’s edition of Our Set highlighted the experimental media practices of Gimhongsok and Kiljong Park. Divided into four sections—“Running Time,” “Open Stage,” “Intermission,” and “Backstage”—the exhibition offered a glimpse into the artists’ shared landscape of imagination and playful wit through their works.

In the section “Open Stage,” Gimhongsok made visible the workings of power and social hierarchy through the invisible, positioning his practice as an interface in which diverse elements interact dynamically. Among the works on view, Oval Talk (2000, recreated in 2006–2007) is an installation that shifts its form depending on the viewer’s position and angle. The idea for this work was raised from the artist’s questioning of his own preconceptions of the sphere as a “perfect” form. Gimhongsok transforms this reflection into a mythic narrative, conveyed through a speaker placed inside the installation. The visual experience thereby extends to that of auditory, deepening its layered meaning. Other works on view included Solitude of Silences, Public Blank, MATERIAL (2014) which invites the viewers to explore the artist’s critical yet humorous exploration into the core themes of his practice—hierarchy, labor, and regulations.

“Intermission” introduced both artists together, presenting brief information and interview footage on their practices shaped by different times and environments. Gimhongsok’s Four Gracious Plants-231234 (2023) is an experimental work that dismantles the border between East and West. Using Western materials such as acrylic paint and modeling paste, the artist paints the Four Gracious Plants (plum blossom, orchid, chrysanthemum, bamboo; 梅蘭菊竹), which was long regarded as symbols of the virtuous man in East Asian culture. Not only does he reconstruct these motifs to blur the distinction between East and West, but he also attributes authorship to a fictional artist named “Kosnoh Mig” (an anagram from his own name). Grounded in his critical perspective from the periphery rather than the center of art, Gimhongsok fluidly repositions the subject of creation.

Our Set 2025: Gimhongsok × Kiljong Park moved beyond conventional modes of collaboration and focused on the artists’ experiments in expanding and redefining their respective mediums. By bringing social and artistic orders to the surface, the exhibition created a space for visitors to newly recognize the orders of objects.