An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
Jin Meyerson, Continents Between Us (2018). Oil on canvas. 150 x 195.5 cm. Courtesy Pearl Lam Galleries.
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 evolution as an artist.
Meyerson was born in Incheon, South Korea, and spent his first years in an orphanage. At the age of five he was adopted by a Jewish-Swedish family and raised in Minnesota. His upbringing was just the start of his multicultural experience; as he jokes, "I was multicultural before the term was invented".
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, at which time 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).
Hong Kong — Before the Beginning and After the End is a solo exhibition by Jin Meyerson, an American artist, of Korean heritage, currently based in Seoul. The exhibition is a singular universal, albeit, at times bewildering narrative envisioned by the artist's deeply personal and culturally global experiences. Meyerson is an early pioneer of the use of computer graphics and image sampling, and a self-confessed visual junkie. On view is a bundled network of paintings and works on paper drawn from the past decade and presented collectively like a greatest hits/misses album. For Meyerson, the paintings are a commentary on our contemporary perceptions of the historical present and the history of painting itself.
With the speed and pace of today's world of images and stories, our experiences are increasingly temporary, fleeting and almost entirely indiscernible.
Meyerson states: 'And yet, through the cacophony, universal forms and stories persist. Like singular pure notes that ring true; despite the symphonic blunderbuss of noise, when we listen, look closely and endure a mono-myth emerges. Compounding, any sense of comprehension is the accumulation of history. Every minute in the present is the oldest in the record of humanity. We live in a time where the reorganization of our perceptions of history is constantly being updated by jostling, competing cultures, opinions and agendas. To this degree, the evolution of our perceptions and the ability to digest simultaneous multiple images and meanings has now evolved to where we can view several distinctive sources without losing sight of the conceptual whole.'
The artworks displayed here, at Meyerson's latest solo exhibition are, in essence, an exercise and celebration of this newly evolved ability of global human perception.
Drawing on Meyerson's own experience with Hong Kong's densely-packed cityscape, Broadacre awaits us in the birthplace of its own inspiration. Borrowing the concept of Le Corbusier's original designs, the artwork also enkindles Frank Lloyd Wright's utopian and modernist community plan of the same name.
The Age of Everyone comments on the Arab Spring, the Umbrella Movement and the global phenomenon of public social protests of the day. Infusing Meyerson's memory of standing in front of gothic stained glasswork, the image is intentionally quasi-religious and sampled from images of rock festivals, streets fairs and the landscape of the Fukushima disaster.
Adding another dose of reminiscent of Hong Kong, Untitled (4 Seasons) was created with multiple layers of the artist's personal iPhone images. Consumed by insomnia, the photos were taken from his very first night in Hong Kong. The sheets of the bed at the Four Seasons Hotel served as quiet reminders of the patterns of distortion in his compositions.
Both sampled and sourced from the sprouting spring flowers at the disaster site of Fukushima, The Resonance of Resurrection and Sanctuary articulates the contemporary idea of the aura, transmitted through a frequency of polarized colour and tonality, while using an identical composition.
Tapping into a long tradition of mono-type printing, Don't You Forget About Me and Learning to Let Go showcase an updated version of a technique invented by bored American housewives and posted on YouTube, primarily for creating faithful reproductions of their beloved family pets, where acrylic polymer is employed to fuse a simple image onto a piece of wood. Meyerson brings images of his finished paintings and fuses the images onto another piece of paper, removing certain sections while also leaving the remnants of the top layer or plate to form a singular and unique whole. The finished artworks themselves became a series of self-sampled and process-driven gestures, questioning the final context of the original artwork.
The Evolution of Perception, Before the Beginning and After the End, and Continents Between Us fuse images of abandoned warehouses in the US and China that are pushed through a process of analogue distortion wherein the 'base' images are performatively manipulated by hand while they are being scanned face down. This is done hundreds of times, catalogued, curated and collaged together into compositions. As the process develops, they then become highly detailed oil paintings, often times departing from, and breathing life into, the flattened digital sketches.
Incheon, Origin, and Confession are a selection of Meyerson's new abstract pictures debuting at this exhibition. Having grown up with the legacy of artists like Richter, Polke, and Kippenberger, the artist has been creating work that bridges the gap between representation and abstraction for the past two decades. The three artworks are residual, re-purposed process paintings where the artist uses the remnants of the material from the above-mentioned paintings to re-create entirely new compositions. On view is de-collaged masking tape, which is physically taken from the process of making other paintings and collaged palette scrapings.
After decades of being overlooked, it's fair to say that 73-year-old American artist McArthur Binion is having a moment. With a spate of recent exhibitions, notably his inclusion in the 2017 Venice Biennale Viva Arte Viva and a 2018 solo exhibition at the Cranbrook Art Museum in Detroit, this past month the artist has also celebrated the opening of...
Who is Slim Stealingworth? He wrote an 80-page essay for a Tom Wesselmann monograph in 1980. He also penned various catalogue essays for Wesselmann until 2002, two years before the American pop artist's death. 'Many of these earliest works began with finding a piece of wood that seemed special,' Stealingworth notes about Wesselmann's process.
LONDON — Following Baghdad's fall to US troops in 2003, more than 15,000 artifacts were looted from the National Museum of Iraq by thieves. The presence of ISIS went on to facilitate further destruction of ancient culture in the country, yet looting and pillaging in Iraq is nothing new. Western archaeologists have been laying their claim over...
Monster Chetwynd’s imagination takes over Villa Arson in an outpouring of creativity on the walls, ceilings or floor. A sound atmosphere and colourful lighting support this punk and humorous production. The artist adds an ecological claim through a strong relationship with poor, light, easily transportable materials.
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