• Author's name

  Susumu Shingu (Japan)

  Born in Osaka in 1938

• Size

  420 × 420 × 450cm

• Quality of the Material

  Stainless Steel & PTEE

The wings divided by the pillars are constantly moved by the wind. The identically-shaped wings that move in unison with one another represent the reality of the divided Korean Peninsula. The sleeves of the traditional clothing, called Hanbok, were designed to resemble wings, and the wings, colored white represent white-clad people.

• Author's name

  Jaegil Woo (Korea)

  Born in Kyoto in 1942

• Size

  320 × 60cm × 12pieces

• Quality of the Material

  Stainless Steel

The stainless steel plate, which is subdivided into twelve sections, has a super mirror effect on one side that allows it to reflect all the lights and faces of nature, while seven rainbow hues on the interior convey dreams and hopes. Designed to spin with the wind, it represents the expansion of vision and hope for the future.

• Author's name

  Daniel Buren (France)

  Born in Boulogne-Billancourt, France in 1938

• Size

  287 × 8.7 × 26cm

• Quality of the Material

  Stainless Steel

This installation enhances the visual impact and environmental harmony. The 33 stripes reflect the 33 signatories of the Declaration of Independence. The entrance part is orange, neutralizing the colors of South and North Korea, and symbolizes the desire for unity, whereas the exit side is blue which signifies hope for unification. Each piece of art offers a window of reflection passing through the numerous gates of life through which humans enter and exit.

• Author's name

  Jean-Pierre Ratnaud (France)

  Born in Courbevoie near Paris, France in 1939

• Size

  525 × 375 × 1580cm

• Quality of the Material

  Stainless Steel

From the outside, as the installation is divided by a horizontal stage measuring 6 meters by 3 meters, the Geyangdae Terrace represents an imbalance between the South and the North. The two peaks, which are split in half and rising side by side into a 16-meter-high sky, allude to the reality that the South and the North walk in a parallel direction as the Korean people as a whole are homogeneous. It poses the author's question if it's appropriate to have two different symbols for the Korean people.

• Author's name

  Kozo Nishino (Japan)

  Born in Hyogo Prefecture, Japan in 1951

• Size

  600 × 530cm

• Quality of the Material

  Titanium & Steel

The titanium wings, which are the strongest and lightest among non-ferrous metals, demonstrate how much the movement in nature gives us such pleasure and food for thought. The tripod that holds up the wings can possess the power of three when two become one. This piece uses kinetic art to convey an upbeat future vision that emerges from that power.

• Author's name

  Sol Lewitt (USA)

  Born in Hartford, Connecticut in the USA in 1928

• Size

  620 × 200 × 500cm

• Quality of the Material

  Granite

This pyramid-shaped piece alludes to a human path that progresses one step at a time, following the logic of space between vertical and horizontal. The peak, where the two symmetrical sides converge, holds a brick. Meeting at the peak can carry many meanings, but one is that it is the way to unification, the path of art, and the journey of humanity.

• Author's name

  Sungmook Cho (Korea)

  Born in Daejeon, Chungcheongnam-do in 1939

• Size

  100 × 120 × 100 (5pieces)

• Quality of the Material

  Granite

Based on the oriental concept that everything in the universe is composed of yin, yang, and the five elements. The chair represents a place we can always go back to, whereas an empty chair represents hope for the future that is waiting for its owner. The empty chair, patiently waiting for its owner until the day of reunification acts as a symbol of hope.

• Author's name

  Julian Opie (England)

  Born in London, England in 1958

• Size

  450 × 510 × 17cm

• Quality of the Material

  Aluminium

This piece schematizes the face of modern society. Modern faces are depicted in different ways depending on the angle of the viewer's gaze. It raises the question of how in tune or antagonistic our faces are with the natural green spaces.

• Author's name

  Sangsook Park (Korea)

  Born in Seoul in 1951

• Size

  670 × 650 × 300cm

• Quality of the Material

  Granite

This modeling work streamlines the ondol, a traditional kind of housing of the Korean people. In the same way that the Ondol is both a welcoming and private space, a hidden space that is not always apparent in our lives, the path to unification is similarly metaphorically expressed as an unseen but inevitable path.

• Author's name

  Daehyun Jeong (Korea)

  Born in Imsil, Jeonbuk in 1956

• Size

  400 × 150 × 600cm

• Quality of the Material

  Granite

This piece which is reminiscent of ancient earthenware provides insight into the core of nature. As earthenware is regarded as heritage that teaches us the origins of our nation, the shape molded by the artist represents the awareness of its roots and a vessel that contains the soul of the nation. The earthenware's upside-down form suggests that division is an aberrant reality, and the square window that is open in the center expresses the desire for unification.

• Author's name

  Banghee Kim (Korea)

  Born in Seoul in 1955

• Size

  30 × 30 × 600cm

• Quality of the Material

  Granite

This piece consisting of circular stone pillars indicates a figurative portrayal of one's roots, as suggested by the columns. It has different appearances of varying sizes and thicknesses through natural arrangements faithful to environmental harmony. This work reminds us of the awakening of the roots of our people through the transmission of the meaning of one origin.

• Author's name

  Youngkyo Yoo (Korea)

  Born in Jecheon, Chungcheongbuk-do in 1946

• Size

  470 × 470 × 310cm

• Quality of the Material

  Steel

This piece, which emphasizes the creation of eco-friendly works, utilizes mechanical movements to repeat up and down motions at regular intervals. The work's straightforward flow, akin to black-and-white logic, suggests a one-sided dialogue between the North and the South that has persisted since the divide and expresses optimism for future unification by creating a blooming form.

• Author's name

  Hyunjoong Shin (Korea)

  Born in Seoul in 1953

• Size

  500 × 300 × 600cm

• Quality of the Material

  Aluminium

This piece of art represents a pterosaur, a type of flying dinosaur in the prehistoric era. The two dinosaurs' symmetrical posture and the contrast of red and blue represent the conflict between the two Koreas. A work incorporating grief for the lost nature, Paradise Lost is molded in the image of a falling animal, and the symmetrical stance of the dinosaurs confronting the hope of flight, signifying the unfulfilled dream of unification.

• Author's name

  Wim Delvoye (Belgium)

  Born in Wervic, West Flanders, Belgium in 1965

• Size

  150 × 120 × 50cm(5pieces)

• Quality of the Material

  Bronze

It is a piece of art that depicts the pelvis, the center of the human body. Just as the pelvis serves as means that divides the upper and lower parts of the human body, it conveys the message of unification, connecting the South and the North. The oscillating fan installed in the center of the sculpture has a compositional meaning for emancipation, highlighting the fact that humans are born, and endlessly struggle to rise from the ground but are ultimately buried in the ground.

• Author's name

  Dan Graham (USA)

  Born in Urbana, Illinois in the USA in 1942

• Size

  600 × 600 × 290cm

• Quality of the Material

  Stainless Steel & Glass

The six-meter-long triangular frame illustrates the three-way structure of the major powers encompassing the Korean Peninsula. The inner middle portion, which is split into a semicircle, is illuminated but depicts the reality of division where people cannot communicate with one another. Through the mirrored glass, the landscape under the sky appears to be one but the reality of the divide prevents people from communicating with one another. The artist conveys this through eco-friendly works that engage the public.

• Author's name

  Giovanni Anselmo (Italy)

  Born in Borgofranco d'Ivrea, Italy in 1934

• Size

  140 × 70 × 40cm

• Quality of the Material

  Granite

In the artist's "Invisible Things" series from the 1980s, the left section inscribed with Visibile is still missing, signifying the condition in which IN was removed from INVISIBILE, which in turn means invisible. The reality of division is evident and is meant to suggest a future where unification is possible.

• Author's name

  Jooho Kim (Korea)

  Born in Gimcheon, Gyeongbuk in 1949

• Size

  Human size × 8pieces

• Quality of the Material

  Granite

The piece is a humorous portrayal of the various facets of human beings. It reflects the sense of how priceless it is to be together through widely distributed arrangement, and it expresses the yearning for humanity through the fundamental unit of the family. The nation's separation ultimately led to losing some familiar faces, leaving only empty chairs for anyone to sit on.

• Author's name

  Jianguo Sui (China)

  Born in Shandong Province, China in 1955

• Size

  150 × 74 × 210cm

  114 × 70 × 210cm

• Quality of the Material

  Bronze

The piece is a humorous portrayal of the various facets of human beings. It reflects the sense of how priceless it is to be together through widely distributed arrangement, and it expresses the yearning for humanity through the fundamental unit of the family. The nation's separation ultimately led to losing some familiar faces, leaving only empty chairs for anyone to sit on.

• Author's name

  Heonyeol Park (Korea)

  Born in Gyeongju, Gyeongbuk in 1955

• Size

  260 × 260 × 350cm

• Quality of the Material

  Bronze

Angels are typically shaped like women. The angel depicted in the piece is a male angel standing to the left of the two female angels gazing in the same direction. The piece carries fundamental truths about the reality of a divided nation as portrayed in the image of losing the essence of balance and the heterogeneity of men, women, and the homogeneity of angels.

• Author's name

  Stephan Balkenhol (Germany)

  Born in Fritzlar, Germany in 1957

• Size

  173-230 × 30-55cm

• Quality of the Material

  Stainless Steel & Iron

Ten life-size silhouettes representing the figures of men and women are suspended from a 5-meter-high pole. This work aims to shed light on the inner world of humans through various aspects of contemporary times. Due to its height that cannot easily be reached, it symbolizes the pain and suffering of a nation that lost its homogeneity in the years of rage, It alludes to the compatriots in the North and South that cannot unite even if they try hard to reach out their hands.

• Author's name

  Kyungwon Ryu (Korea)

  Born in Jeonju, Jeollabuk-do in 1957.

• Size

  80 × 45 × 200cm

• Quality of the Material

  Marble & Stainless Steel

What is the human condition and what is the true essence of human beings? Is the human body divided into a woven framework, resembling a bar, or is it our substance? This work explores the core of the human need for freedom through the divided goddess of freedom imprisoned in the yoke and provides a deep portrayal of the truth of division as a question of human illusion.

• Author's name

  Youngwon Kim (Korea)

  Born in Changwon, Gyeongsangnam-do in 1947

• Size

  190cm × 3pieces

• Quality of the Material

  Bronze & Stainless Steel

One is made of bronze, one is made of stainless steel, and the other is a combination of the two. One is standing straight while the other two are upside down. There seems to be a problem. It is the appearance, the face, and the complexity of modern individuals exhibiting the colors of the Korean people, who share the same identity yet live in different colors.

• Author's name

  Jinsik Kang (Korea)

  Born in Seoul in 1961

• Size

  540 × 350cm

• Quality of the Material

  Stainless Steel

The five traditional harp-shaped plates of steel provide support to one another by harmonizing perfectly. Just like the contrasting yin and yang, the South and the North are divided, but only when they are in harmony can they maintain balance. In that harmony, there is a place where anyone can come and go. The gateway to an open world is unification.

• Author's name

  Sylvie Fleury (Switzerland)

  Born in Geneva, Switzerland in 1961

• Size

  200 × 150 × 70cm

• Quality of the Material

  Bronze

The reality of the divided Korean Peninsula is clearly illustrated by a shoe that appears to have been left behind in the bush. The artist intended for it to remain abandoned until such time when the national desire for unification is realized where they can be side by side, similar to when a lady leaves the house wearing a pair of shoes.

• Author's name

  IIya Kabakov (Russia)

  Born in Dnipropetrovsk in the former Soviet Union in 1933

• Size

  210 × 154 × 160cm

• Quality of the Material

  Granite

The upper part where the face is facing the sky represents a peaceful, free society while the deformed face on the side represents another face of the world shaped by idealogy. This piece is the empirical work created by an artist who has lived under socialism and in the free world. The two faces shown are those of the Korean Peninsula and Janus, a figure lurking in the inner world of humans.

• Author's name

  Soocheon Jeon (Korea)

  Born in Jeong-eup, Jeollabuk-do in 1947

• Size

  500 × 700 × 245cm

• Quality of the Material

  Stainless Steel

This piece strives to integrate the art of environment mirroring the surroundings. The revolving rhombus that is positioned in the center of the piece raises the question about wandering humans. It is a piece that expresses the desire for a world like this, one that is open from the inside.

• Author's name

  Jaume Plensa (Spain)

  Born in Barcelona, Spain in 1955

• Size

  550 × 250 × 1000cm

• Quality of the Material

  Stainless Steel

Depending on their location, the two high-rise pillars at the edge are etched with the words "South" or "North." The light that emanates from the street lamp represents the tension brought on by the conflict between the two Koreas, and the white cloth covering the table represents the unity of the Korean people as the "white-clad nation."

• Author's name

  Injong Won (Korea)

  Born in Wonju, Gangwon-do in 1956

• Size

  600 × 120 × 60cm

• Quality of the Material

  Aluminium

It is both an abstract flow with an intangible form and a physical object floating in space, representing unification and the national spirit. It depicts the dream of unification floating aimlessly through the embodiment of soft movements. The blue paint that has been applied to the surface inferentially symbolizes hopes and dreams.

• Author's name

  Sangup Han (Korea)

  Born in Ganghwa in 1960

• Size

  800 × 150 × 500cm

• Quality of the Material

  Bronze

The mobile phone placed in the middle of the forest embodies the notion of the loss of humanity and the ego of modern civilization. As mobile phones are essential for human communication, they symbolize the desire for dialogue between North and South Korea. However, the unidentified voice coming out of the speaker refers to the conflict between the South and the North that has persisted for more than half a century.

• Author's name

  Inkyum Kim (Korea)

  Born in Suwon, Gyeonggi-do in 1945

• Size

  800 × 200 × 160cm

• Quality of the Material

  Stainless Steel

A cosmological interpretation of yin and yang holds that while a person's exterior is a white space that can be easily tainted, their inside is a clean and transparent world. The visible and the invisible. Because it represents the human heart, the division is a tragedy brought about by humans.