The Breeder
Frieze Seoul 2025 | Booth A12

*** scroll down for English text ***

더 브리더(The Breeder)는  Frieze Seoul 2025에서 마리아 하사비 (Maria Hassabi) 와 루크 에드워드 홀 (Luke Edward Hall) 의 작품으로 구성된 부스를 선보인다.

Maria Hassabi (b.Cyprus) 는 라이브 퍼포먼스, 설치, 조각, 회화, 사진, 영상에 걸쳐 작업하는 작가이자 안무가로, 2000년대 초부터 ‘라이브한 신체–정지 이미지–조각적 오브제’의 관계를 정교하게 탐구해 왔다. 그녀의 작업은 시간성과 인체에 대한 사유를 바탕으로 매체 간 경계를 유연하게 넘나들며, 형식의 조직과 분절, 응시와 정지의 긴장을 섬세하게 드러낸다.

그녀의 작업에서 ‘공연하는 신체’는 압도적인 설치 속에 배치된 주체이자 매체로 기능한다. 사진·영상·조각은 라이브 퍼포먼스를 출발점으로 삼되 기술적 도구와 접근을 통해 ‘라이브니스’와 ‘리얼리티’의 한계를 넘어서고자 한다. 파편화된 디지털 시대의 감각 속에서 Hassabi의 작업은 스스로의 이미지를 다시 바라보게 하며, 정지와 움직임, 공간과 시간, 주체와 관객의 경계를 미세하게 흐린다.

따뜻한 색조의 붓질은 신체를 인식으로 향하는 통로로 사용하며, 최근 회화에서는 길게 늘어난 금박은 인체의 외피와 같은 물질성으로 나타난다. 사진적인 과정을 담은 제작 방식을 거치면서도 화면의 표면은 피부처럼 민감하고, 숨이 멎은 듯한 정지의 감각이 지배적이다. 작품의 인물들은 묘사적이지만 호흡의 부재가 또렷이 감지된다.

개인전 및 프로젝트

Tai Kwun Contemporary, Hong Kong (2023); LUMA Arles (2022); OGR, Turin (2022); Secession, Vienna (2021); Pulitzer Arts Foundation, St. Louis (2019); MUDAM, Luxenberg (2019); Point Center, Cyprus (2018); Centre Pompidou, Paris (2018); K20, Kunstsammlung Nordrhein- Westfalen, Düsseldorf (2017-18); Onassis Stegi, Athens (2017); Walker Art Center, Minneapolis (2017), Museum of Modern Art, NY (2016); Hammer Museum, LA (2015); The Kitchen, NY (2019, 2016, 2013, 2011, 2006); Stedelijk Museum, Amsterdam (2015); Performance Space 122, NY (2007, 2009)

그룹전/페스티벌

MAPS Museum for Art in Public Spaces, Køge, Denmark (2025); Ennova Art Biennale, Langfang, Hebei, China (2024); Tom Burr’s Torrington Project, Connecticut (2024); IMMA, Dublin (2024); UNLIMITED, Art Basel (2024); Kunstenfestivaldesarts, Brussels (2024, 2017, 2016, 2014); Thailand Biennale, Chiang Rai (2023); FRONT Triennale, Cleveland (2022); Museion, Bolzano (2021); River to River Festival, NY (2021, 2017, 2014, 2012); Gropius Bau, Berlin (2020); Performa, NY (2019, 2013, 2009); Serralves Museum, Porto (2019, 2015); Centre d’Art Contemporain, Geneva (2019, 2012); documenta14, Kassel (2017); the 55th Venice Biennale (2013); Crossing the Line Festival, NY (2016, 2011, 2009); ArtSonje, Seoul (2015); Australian Centre for Contemporary Art, Melbourne (2014); Steirischer herbst, Graz (2014); Panorama Festival, Rio de Janeiro (2012) 등

소장처

Tate, London; Walker Art Center, Minneapolis; Deutsche Bank; Art Collection Telekom, Germany; Onassis Foundation, Athens; Dakis Joannou Collection

캘리포니아 예술대학(CalArts) 학사.

—-

Luke Edward  Hall의 작업은 과거로부터 길어 올린 낭만적 미학 위에, 블룸즈버리 그룹(Bloomsbury Group)의 ‘예술과 디자인의 경계 허물기’ 정신, 세실 비튼의 세련된 감수성, 그리고 쉐스 앤더슨(Wes Anderson)을 연상시키는 세실 비튼(Cecil Beaton)의 색체 감각과 세련된 감수성을 겹쳐 형성된다. 그는 1920–30년대의 독특하고 우아한 라이프스타일을 재-해석하며, 친구와 지인, 상상 속 인물을 유려한 선으로 그려낸다. 20세기 중반의 장 콕토(Jean Cocteau)의 섬세한 선화가 불러오는 친밀함, 패트릭 프로크터(Patrick Procktor)와 존 크랙스턴(John Craxton)의 장면에서 느껴지는 정서적 모호함을 고립된 장면속 인물에 이식하며, 고전적 ‘아이코노그래피(Iconography)’와 일상의 ‘즉시성’을 결합한다.
인물·풍경·정물의 작은 화면들은 파스텔에서 선명한 색채까지 폭넓은 팔레트를 오가며, 민속과 미술사의 상징 체계를 끌어와 독자적 우주를 구축한다. 화면 속 인물은 때로 부드럽고 때로 관능적이며, 신체의 취약성과 에로티시즘을 드러내면서 규범적 표상을 가로지른다. 남성과 여성적 요소가 조화롭게 공존하는 구성은, 회화가 여전히 ‘정서’와 ‘태도’를 동시대의 언어로 번역할 수 있음을 증명한다.

Hall은 예술과 디자인의 경계를 넘나들며 인테리어, 패션, 서적·레스토랑·호텔의 벽화와 일러스트레이션까지 폭넓게 협업해왔다. 협업 기관/브랜드로는 버버리(Burberry), 랑방(Lanvin), 크리스티(Christie’s), 영국 왕립미술원(RA), 빅토리아 앨버트 미술관(V&A), 지노리 1735(Ginori 1735), 스벤스크 텐(Svenskt Tenn), 해비탯(Habitat) 등이 있다.

2020년 파리의 호텔 레 되 가르(Hôtel Les Deux Gares) 오픈과 함께 첫 대규모 인테리어/아트디렉션 프로젝트를 진행했다. 2019년부터 「파이낸셜 타임스」(Financial Times) 주말판(FT Weekend) 칼럼니스트로 활동하고 있다. 2022년에는 홈웨어와 의류 브랜드 ‘샤토 올란도(Chateau Orlando)’를 론칭했으며, teNeues, Vendome, Penguin에서 세 권의 저서를 출간했다.

개인전

아테네의 더 브리더(The Breeder, 2021, 2022, 2023), 런던 프리즈 No.9 코크 스트리트(Frieze No.9 Cork Street, 2023), 파트모스(2024), 뉴욕의 다니엘 쿠니 파인 아트(Daniel Cooney Fine Art, 2023), 베니스의 패트리샤 로우 컨템포러리(Patricia Low Contemporary, 2025) 등

—-

The Breeder is pleased to announce its participation at Frieze Seoul 2025 with a presentation by Maria Hassabi and Luke Edward Hall.

Maria Hassabi is a choreographer, perform and visual artist. Since the early 2000s, she has carved a distinct practice based on the relationship between the live body, the still image, and the sculptural object. Concentrated on stillness, deceleration, and aesthetic precision, her works—spanning performance, installation, photography, sculpture, sound and moving image—reflect on concepts of time and representations of the human figure. Her static works often take her live performances as a point of departure, while technological tools are used to transcend the limitations inherent to liveness and presence. By working across different media, she emphasizes the complexity of formal composition through varied methodologies. Hassabi’s works collectively encourage a re-examination of one’s own image in a fragmented, digital age, reclaiming a nuanced sensitivity often dulled by the rapid pace of visual consumption. In this disconnected world, she portrays an illusory presence, and blurs the lines between stillness-movement, space-time, subject- viewer. The strokes of warm colors attempt to draw us towards a corporeal form of self-perception. Her paintings feature elongated gold leaf figures. While a similar process with the photographic works was applied to create the paintings, their materiality resembles an outer skin, a distorted layer of a posed body. Stillness here is prominent. The figures are descriptive and yet, their lack of breath is palpable.

Solo exhibitions and presentations include, Tai Kwun Contemporary, Hong Kong (2023); LUMA Arles (2022); OGR, Turin (2022); Secession, Vienna (2021); K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2017-18); OCC Stegi, Athens (2017); Walker Art Center, Minneapolis (2017); Museum of Modern Art, NY (2016); Hammer Museum, LA (2015); The Kitchen, NY (2019, 2016, 2013, 2011, 2006); Stedelijk Museum, Amsterdam (2015); Centre d’Art Contemporain, Geneva (2012); Performance Space 122, NY (2009, 2007). Her works have also been featured in group exhibitions and festivals such as The Story of Public Art – Dancing in the Streets (On Power) at MAPS, Denmark (2025); ENNOVA Biennale, Langfang City (2024); IMMA, Dublin (2024); Unlimited, Art Basel (2024); Kunstenfestivaldesarts, Brussels (2024, 2017, 2016, 2014); Thailand Biennale, Chiang Rai (2023); Ob/Scene Festival, Seoul (2022); Hellerau, Dresden (2022); FRONT Triennial, Cleveland (2022); Museion, Bolzano (2021); River to River Festival, NY (2021, 2017, 2014, 2012); Gropius Bau, Berlin (2020); Performa, NY (2019, 2013, 2009); Pulitzer Arts Foundation, St. Louis (2019); MUDAM, Luxenberg (2019); Serralves Museum, Porto (2019, 2015); Centre Pompidou, Paris (2018); documeta14, Kassel (2017); the 55th Venice Biennale (2013); Crossing the Line Festival, NY (2016, 2011, 2009); ArtSonje, Seoul (2015); Australian Centre for Contemporary Art, Melbourne (2014), amongst others.

Hassabi was an Onassis Resident 2019-2022 and has received the 2019 Performa Malcolm McClaren Award along with Nairy Baghramian; 2016 New York Dance and Performance “Bessie” Award; 2015 Herb Alpert Award; 2012 President’s Award for Performing Arts from LMCC; 2011 Guggenheim Fellowship; 2009 Grants to Artists Award from Foundation for Contemporary Arts. Her works are part of collections such as Tate, London; Walker Art Center, Minneapolis; Deutsche Bank; Art Collection Telekom, Germany; Onassis Foundation, Athens; Dakis Joannou Collection. She holds a BFA from California Institute of the Arts.

—-

The romantic aesthetic of Luke Edward Hall’s works is informed by the past and suffused with references ranging from the Bloomsbury Group, who believed in blurring the boundary between art and design, to Cecil Beaton, with a Wes Anderson– like sense of colour. He regularly draws his friends, acquaintances, and imagined characters in a distinctive, fluid style that references the eccentric lifestyles of the 1920s and ’30s. Hall is greatly inspired by Jean Cocteau, whose mid-20th-century line drawings conjure the intimacy of romance, while the occupants of some of his more isolated scenes are imbued with the same emotional ambiguities found in the work of Patrick Procktor or John Craxton. His poetic drawings and paintings vibrate with bold, lyrical motion, combining classical iconography with the immediacy of everyday life, and oscillating between mythic narratives and deeply personal interior spaces. A painter of people, landscapes and still lifes, Hall’s intimate canvases merge pastel hues with explosive colour to create a symbolic universe derived from folklore and art history. The results are dreamlike, exploring psychological terrain as well as broader themes such as the vulnerability and pervasive eroticism of the male body. Hall approaches the body as both fragile and sensual, seeking to challenge dominant heteronormative representations and to unite masculine and feminine elements in harmonious compositions.

Luke Edward Hall works across a broad range of interests, blurring the boundary between art and design. His projects include interior design, fashion, murals, and illustration work for books, restaurants, and hotels. He has collaborated with diverse brands and institutions, including Burberry, Lanvin, Christie’s, the Royal Academy of Arts, the V&A, Ginori 1735, Svenskt Tenn, and Habitat. In 2020, Hall completed his first major interior design and art direction project with the opening of Hôtel Les Deux Gares in Paris. The previous year, he joined the Financial Times as a columnist for FT Weekend. In 2022, Hall launched his own brand, Chateau Orlando, which features homewares and clothing. He is also the author of three books, published by teNeues, Vendome, and Penguin. He has held solo exhibitions at The Breeder in Athens (2021, 2022, 2023), London (Frieze No.9 Cork Street, 2023) and Patmos (2024), Daniel Cooney Fine Art in New York (2023) and Patricia Low Contemporary, Venice (2025).