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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 🪄🪄
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.