I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Jin Meyerson. Image courtesy the artist.
Looking at Jin Meyerson's work from a distance, words 'complex', 'psychedelic', and 'warped' come to mind. Get a little closer and you begin to comprehend the sheer talent, discipline and patience one may only slowly acquire through a life of upheavals. Working primarily with oil on canvas, Meyerson constantly works on multiple pieces at once, with larger canvases (and by large we're talking some 3m x 4.5m) taking about 3 to 6 months before completion. Meyerson's creations command tremendous attention - like an Asian contemporary, abstract, beautiful yet disorientating Monet that requires several takes before you adjust in its presence, rather than it adjusting in yours.
Jin Meyerson is an American abstract painter who is currently based in Seoul and Hong Kong. He creates highly detailed and heavily distorted process-driven oil paintings, composed of images gathered from multiple sources—movies, television news, sports channels, advertisements, computer graphics, books and magazines—that mirror the overwhelming barrage of visual information provided by urban life.
Born in Incheon City, Korea, in 1972, Meyerson was adopted by a Jewish-Swedish couple from rural Minnesota at four years of age and raised in the Midwest. He received his BFA from the Minneapolis College of Art and Design in 1995 and graduated with an MFA from the Pennsylvania Academy of the Fine Arts two years later.
In the painting Broadacre (2013–14), Meyerson depicts a densely populated street in a chaotic, dystopian Hong Kong, its buildings stacked on top of each other and overgrown mossy tree branches wedged between them. The megalopolis featured again as an inspiration for the paintings in his solo show No Rest for the Wicked at Perrotin, Hong Kong, in 2013, including Untitled (Four Seasons) (2013) which features dishevelled hotel room sheets from his sleepless first night in the city.
Central Connection (2014), The Air We Breathe (2015) and Japantown (2016) are all psychedelic images of expansive industrial landscapes. Their impossibly curved metal walkways and factory pipes are created by Meyerson's highly physical method of production in which he takes his source images and stretches, layers, or recolours them using a computer or manually twists and scans them. Meyerson then recreates the dizzying, marbled effects in oil on canvas, producing complex multi-dimensional pieces that breathe life into our crowded modern cities.
In 2004, Meyerson held his first solo show—More than You Want, Less than You Need—at New York's LFL Gallery. He moved to Paris two years later and lived there until 2010, upon which he traveled to Changdong, Seoul, for a residency sponsored by the National Museum of Contemporary Art Korea. Since then, Meyerson has been based in various areas of Asia and has featured the region's cities and their relentless pace and impressive architecture throughout his work.
Meyerson's work is held in numerous public and private collections including the Solomon R Guggenheim Museum, New York; Saatchi Gallery, London; Vanhaerents Art Collection, Brussels; Dean Valentine, Los Angeles; Jerry Speyer Family Collection, New York; Yuz Foundation, Jakarta; and the Taguchi Art Collection, Japan. Selected solo shows include Accidental Tourist, Perrotin, Paris (2006); Progress is No Longer a Guarantee, Galerie Michael Janssen, Berlin (2007); Rare Earth, Yuz Foundation, Jakarta (2011); Endless Frontier 2, Hakgojae Gallery, Shanghai (2014); Nowadays, nca | nichido contemporary art, Tokyo (2015); and A Nexus of Art and Architecture, 520 West 28th Street, New York (2017).
Takashi Murakami in Wonderland was Murakami's first solo show in mainland China and Perrotin's second exhibition in its posh 1,200-square-meter Shanghai space. According to Perrotin's press release, it was also the artist's largest gallery show in Asia to date, featuring recent and new works specially created for the occasion.At the gallery's...
In November 2018, Perrotin debuted its fourth gallery in Asia in the heart of Shanghai. The space was inaugurated with the exhibition Takashi Murakami in Wonderland, on view through January 5.Just after the opening, Whitewall caught up with the woman behind the new location, Etsuko Nakajima.
Scandinavian art duo Michael Elmgreen and Ingar Dragset have become masters of the architectural installation over the past 13 years, picking up critical acclaim and international gallery shows as they go. Their work is characterised by presenting a familiar space in a different context.
Before the Beginning and After the End at Pearl Lam Galleries is a culmination of what Jin Meyerson describes as his "greatest hits and misses", comparable to a rock star compiling their chart toppers alongside little-known B-sides. Spanning seven years, they contain hints at his accumulated perspective and the defining experiences of his...
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