Articles
기억은 흐르는 강물 - Keiichi Tanaami: Adventures in Memory (퍼블릭아트, 2024년 10월호)
Memory is a flowing river - Keiichi Tanaami: Adventures in Memory (PUBLIC ART MAGAZINE, Issue 217, Oct 2024)
阪中隆文－想像と遂行を跨ぐアクティビティ (『阪中隆文』(BankART1929、2024))
Takafumi Sakanaka - Actions that straddle the imaginative and performative ("Takafumi Sakanaka"(BankART1929, 2024))
멀리서 포착한 현재 - Universal / Remote (퍼블릭아트, 2024년 5월호)
The Present as Seen from a Distance (PUBLIC ART MAGAZINE, Issue 212, May 2024)
ikkibawikrrr（「世界のアーティスト2024」特集、『美術手帖』 Vol.76(No.1101) 150-151 2024年4月）
ikkibawikrrr (Bijutsutecho, Vol.76(No.1101) 150-151, Apr, 2024)
玉繭、変様する身体と協働の場ー乾裕由子「玉繭」(乾裕由子「玉繭」展覧会冊子 2024年3月)
Double Cocoon, Transforming Bodies and A Place of Collaboration: Mayuko Inui "Double Cocoon"
공감을 위한 공감 거부권 - How I feel is not your problem, period. (퍼블릭아트, 2023년 9월호)
Sympathetic Veto for Empathy: How I feel is not your problem, period. (PUBLIC ART MAGAZINE, Issue 204, Sep 2023)
자이니치의 외침 - 리정옥 <BLUEPRINT> (아트인컬처, 2023년 7월호)
Cry of Zainichi - Ri Jongok 'Blueprint' (Art in Culture, Vol.24, no.7, Jul 2023)
세계의 교실, 전시라는 이름의 배움의 장 - WORLD CLASSROOM: Contemporary Art through School Subjects (퍼블릭아트, 2023년 7월호)
The world's classroom, a place of learning through exhibitions-WORLD CLASSROOM: Contemporary Art through School Subjects (PUBLIC ART MAGAZINE, Issue 202, Jul 2023)
抱擁の感覚でたどるものの在処ー好光義也「オブジェクト・シアター」(好光義也「オブジェクト・シアター」展覧会冊子)
The Way of Objects Traced by the Sense of Embrace - Yoshiya Yoshimitsu 'Object Theatre' (Exhibition pamphlet)
『太陽との対話（VR）』 アピチャッポン・ウィーラセタクン（タイ）× 坂本龍一（『令和4年度 舞台芸術国際共同制作事業 プロセスオブザーバー報告書』、2023年）
“A Conversation with the Sun (VR)" Apichatpong Weerasethakul (Thailand) & SAKAMOTO Ryuichi (International Creations in Performing Arts 2022, Process Observer Report, 2023)
유연한 무대가 체현하는 다원적 목소리 - Wendelien van Oldenborgh unset on-set (퍼블릭아트, 2023년 1월호)
"A Soft Stage that Embodies Polyphonic Voices - Wendelien van Oldenborgh unset on-set" (PUBLIC ART MAGAZINE, Issue 196, Jan 2023)
예술로 상상하는 팬데믹 이후 삶 꼴 - Listen to the Sound of the Earth Turning: Our Wellbeing since the Pandemic (퍼블릭아트, 2022년 9월호)
"Forms of Life after the Pandemic Imagined through Art - Listen to the Sound of the Earth Turning: Our Wellbeing since the Pandemic" (PUBLIC ART MAGAZINE, Issue 192, Sep 2022)
音と台詞たちのパッチワーク―豊川涼太「汝。気にすることなかれ」（サブテレニアン別冊、2022年8月）
"A Patchwork of Sounds and Dialogues: Ryota Toyokawa Macht nichts" (Subterranean, Aug 2022)
共有地を求める省察の身振り―ムン・キョンウォン＆チョン・ジュンホ：どこにもない場所のこと（ART iT、2022年7月28日）
"Gestures of Reflection Seeking Commons - MOON Kyungwon and JEON Joonho: News from Nowhere" (ART iT, 2022.7.28)
행복한 봄을 위한 길러냄의 시간 (미발표, 2022년 5월)
"Cultivating Time for a Happy Spring" (unreleased, 2022.5)
マダン劇小史―タルチュム、マダン劇、東九条マダン（ART RESEARCH ONLINE、2021年11月号）
"A brief history of Madangguk-Talchum, Madangguk, Higashikujo Madang" (ART RESEARCH ONLINE, 2011. 11)
力をはかる技法―加藤康司「For Whom We Fight“A面”、“B面”」（加藤康司「For Whom We Fight“A面”、“B面”」展覧会冊子、2021年）
"Arts for measuring power - Koji Kato: For Whom We Fight "A", "B"" (Koji Kato: For Whom We Fight "A", "B" exhibition pamphlet, 2021)
地に結ばれたる者（「地に結ばれたる者」展覧会冊子、2019年）
"The Destined of the Earth" (The Destined of the Earth exhibition pamphlet, 2019)
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Thesis
パフォーマンスの場づくりのためのキュラトリアル実践ースティルライブ（Stilllive）を事例にー（『GA Journal vol.4』、2023年）
“Curatorial Practice for Making Performance Place: A Case Study of Stilllive” (GA Journal Vo.4, 2023)
李禹煥における「仕草」に関する研究 －生きた構造としてのパフォーマンス－（『東京藝術大学美術学部論叢第19号』、2023年）
“A Study of ‘Shigusa’ in Lee Ufan: Performance as a Living Structure” (Journal of the Faculty of Fine Arts, Tokyo National University of Fine Arts and Music Vol.19, 2023)
東アジアにおける歴史実践の場としてのパフォーマンスーイム・ミヌク、高山明（Port B）、ワン・ホンカイを中心にー
（東京藝術大学 博士学位論文、2022年）
“Performance as a Place of Historical Practice in East Asia: Minouk Lim, Akira Takayama (Port B) and Hong-Kai Wang”
(Tokyo University of the Arts, doctoral dissertation, 2022)
浮遊する共同体と遂行される歴史－イム・ミヌクの「O Tannenbaum」(2018)をめぐって（『GA Journal vol.1』、2019年）
“Drifting Community and Embodied History Centered on O Tannenbaum (2018) by Minouk Lim” (GA Journal vol.1, 2019)
李禹煥と菅木志雄における「場」ーもの派の指向性についてー（東京藝術大学 修士学位論文、2018年）
“The Intentionality of Mono-ha: "Place (Ba)" in the Works of Lee Ufan and Suga Kishio” (Tokyo University of the Arts, master's thesis, 2018)