In the era of image overflow, 《Live Forever》 reconsiders photography as art practice and questions on the possibilities of its permanence. It has been less than two hundred years since photography first appeared in this world. Yet ever since, it’s been analyzed as an opposing medium of representation to painting from art historical perspective, as well as investigated through screen aesthetics or media theory from various angles. Subsequently, over the last 20–30 years since digital photography emerged, its aspect as data rather than a material-based property became more significant. Contemporary photography is in the state of being assumed as image and data along with painting, graphics and video, while spreading in light speed via social network platforms. The photographs by participating artists of 《Live Forever》, Heeseung Chung, Eun Chun, Kyoungtae Kim, Minjiyi and Yeonjin Oh, create constantly certain frictional force controlled by their own speeds. Even though their motivations and focuses in photography differ, each continues photography in their own tempo by using it as a poetic language created from the space in-between the arrayed images; by capturing the photographic desire of portraying the objects beyond the visual perception, by challenging conventions of visual perception, by defining oneself as a photographic agent who drifts in time and space and by exploring the photochemical properties and the essence of the photographic medium through camera-less work. Thus, 《Live Forever》 confronts the artists’ works presented as physical existence occupying the exhibition space to consider whether a photograph’s speed and the frictional force that regulates this speed could lead photography to its continuation as art.