Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
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.
BUSAN ― Danish artist group Superflex interprets the symbolism of power and capital at the heart of the 2008 global financial crisis in "In our dreams we have a plan" at Kukje Gallery Busan.The title of the exhibit is borrowed from the lyrics of ABBA's hit song Money Money Money, but changed "my" to "our," suggesting...
A white hand, black with soot, clamps open and shut. It lets pieces of lead fall through its gnawing fingers. Sometimes it catches the pieces, sometimes not. It always allows the lead to leave below the frame. The body is framed as a fragment, the hand floats. It would seem there is no end result to all this hand-grasping: as soon as a lead is...
Susan Laxton's book Surrealism at Play passionately traces how a particular art movement envisioned and articulated its own transformative potential. As Laxton illustrates, the Surrealists agitated for exploding art into life, which meant engaging with their day-to-day reality, and taking a critical stance toward it. A professor of art history at...
While every bathroom is a crime scene, on occasion, this week the art world sighs and chuckles over the latest audacious act of art theft: the removal of America (2016), the solid gold, functioning lavatory by Italian artist Maurizio Cattelan, which until the early morning of Saturday, September 14, was installed in a wood-paneled bathroom at...
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