Grand Josun Hotel - Busan
LOOP + GENSIS KAI
On the occasion of the Loop Plus Fair in Busan, ArtVerse Gallery is pleased to present the work of Korean-Chinese artist Genesis Kai. The artist's practice is grounded in the philosophical principle of Pothosophy, a conceptual framework developed by Kai to rethink desire as a structuring force of reality. Drawing on the ancient Greek notion of pothos and resonating with Neo-Confucian philosophy, Pothosophy understands desire as a movement and relation that unfolds across multiple intensities. This philosophical grounding informs a visual language where figures gather and converse within crimson-saturated landscapes.
Through unique prints on hanji (traditional Korean mulberry paper) and digital works, the artist reflects on creating as a form of meditation and continuity. These moving images are co-created through a dialogue with Artificial Intelligence (AI), which operates as an expanded perceptual field rather than a mere tool. This process allows continuity to take shape through relation, iteration, and sustained tension.
23th - 26th April 2026
Curated by Valentina Buzzi
This conceptual journey extends to Loop+ 2026 in Busan, South Korea, taking place from April 23–26 at the Grand Josun Busan Hotel. As Korea’s only art fair dedicated exclusively to media art, Loop+ serves as a specialized platform at the intersection of technological culture and contemporary production.
Within the fair, ArtVerse Gallery participates in Focus France, a special section commemorating the 140th anniversary of diplomatic relations between Korea and France, and supported by the French Embassy in Korea.
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In Busan, Genesis Kai unveils An Icon’s Last Wish (2026), a new video work created specifically for Loop Plus. In this work, the vanity becomes a site where the self is not merely adorned, but consecrated into an image. The open mirror reflects a skeleton—a memento mori that interrupts the rituals of beauty and self-fashioning. Resonating with Pothosophy, where longing is a sacred pressure, cosmetics and vessels gather like offerings around a desk, marking the daily labor of assembling the self through myth.
The mirror becomes both threshold and altar, reflecting the human ache to become unforgettable even in our most mortal condition. The presentation setting in Busan includes a conversation with Korean antiquities, introducing a lineage that traces back to the engagement of the artist with questions of cultural heritage and identity in the contemporary landscape of artistic production.
About Genesis Kai
Genesis Kai is the AI-infused persona and alter ego of Ming Shiu, a mixed Korean–Chinese new media artist whose work bridges visual art and metaphysical inquiry. Through Genesis, Shiu explores Pothosophy, her original framework treating desire not as lack, but as the tension that binds the world into form. Working across video installation, print on Hanji, and AI-driven collaboration, her practice reframes East Asian heritage, diasporic memory, and symbolic duality as sacred sites of investigation. Rather than archive culture, Genesis Kai lets it ache, float, and transform. Her art is not about representing identity; it’s about holding contradictions as fields of duration where philosophical architecture bleeds ancestral symbols so meaning is held, not owned.
Several works in this exhibition trace their origins to earlier presentations across major international art fairs. Every Shade of Crimson I and II debuted at Art Dubai 2025, marking the first emergence of Genesis Kai’s crimson cosmology. Later that year, Every Shade of Crimson III and the diptych She Bleeds in Three Tenses were shown at Paris Photo 2025, deepening the visual and philosophical language of ache, inheritance, and symbolic duality. The Tension That Holdsbrings these threads together for the first time, extending them into a unified, long-form conceptual body of work grounded in the artist’s framework of Pothosophy.