Pierre Paulin’s “Alpha” furniture series was first designed in 1970 for President Georges Pompidou’s private apartment in the Élysée Palace in Paris. Earning its name from the original manufacturing company that produced the model, the present lot represents a turning point in French design aesthetics. New technological innovations, including polyurethane foam, allowed Paulin to create forms which were more organic and sculpted. His resulting furniture invited relaxation. The present lot’s cream-colored curves and contours with soft fabric upholstery lure individuals to peacefully recline. Together, the sofa and armchairs constitute a complete living room suite. The present lot is a fantastic opportunity to acquire a contemporary edition of these iconic designs.

Pierre Paulin is a French architect and furniture designer who was active in the late 20th century. His designs are characterized by their curved, flexible, and innovative features, and he is often hailed as an icon of 20th-century design alongside Brutalism.

Paulin, Paulin, Paulin® is a family-owned brand established in 1927 by Pierre Paulin, renowned for its exceptional quality. Through their unique designs, they innovate spaces and stimulate the visual senses of observers. Their works primarily emphasize material selection and design finesse, offering aesthetics that transcend time, representing a significant brand in France's design heritage.

Paulin Paulin Paulin

Alpha Club Chair

The Alpha Sofa is a graceful blend of form and function and radiates magnetic allure like no other. Its stunning and meticulous design includes cushy channels and charming curves that never disappoint. Let yourself be enveloped in warmth and softness, akin to a comforting hug. 

Alpha Sofa

Pearl Lam is a driving force within Asia’s contemporary art scene. Founded in 2005, the gallery plays a vital role in stimulating international dialogue and cross-cultural exchange between the East and West.

Following a rigorous programme, Pearl Lam presents museum-quality exhibitions that re-evaluate and challenge perceptions of cultural practice in Asia. With a thoughtfully balanced roster of Chinese and international artists, the gallery is strategic in its curation, positioning itself as an educator.

The gallery maintains spaces in Hong Kong and Shanghai. With a team of international staff, Pearl Lam’s reach is global, having presentations at major international art fairs including Art Cologne, Art Basel Hong Kong, Frieze Masters, and West Bund Art and Design.

Pearl Lam

Pattern 8

Winter Still Life

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

SEOJUNG ART is an art gallery that strives to engage with the public as an institution dedicated to exploring new cultural and artistic possibilities, with a focus on contemporary art. Established in 2015, SEOJUNG ART has played a pivotal role in recognizing and fostering emerging talent both locally and on the international stage. Following its success, the gallery has further expanded, opening branches in Seoul and Busan.

SEOJUNG ART astutely identifies trends in both domestic and international art culture and markets, aiming to propel artists onto the global stage. As part of its mission to foster dialogue with art professionals, the gallery has showcased emerging talents at numerous international art fairs in cities such as Paris, Miami, and Tokyo. Additionally, the gallery is forging connections on the international scene by presenting solo exhibitions featuring artists, like Rusudan Khizanishvili and Guy Yanai, who have not previously been showcased in Asia, especially Korea.

SEOJUNG ART aspires toward sustainability in our timely quest to find aesthetic methods and actionable plans for art, with an emphasis on its public nature. Its ongoing interest spans not just the realm of art but also broader societal issues that are emerging as long-term challenges, which allows it to deliberate on the sustained influence of artistic practices. By offering a new perspective, the gallery is in pursuit of ways for art to gain a footing as a universal value, moving beyond domestic activities and towards global interaction that benefits society as a whole.

In addition to hosting exhibitions, SEOJUNG ART offers educational programs, including art theory lectures and seminars to provide more comprehensive and profound understanding of art. Through persistent and thoughtful efforts to lower the barriers to art and widen its accessibility for the broader public, the gallery seeks to foster a fresh realm of communication, encouraging ongoing dialogue within the community.

In its endeavors, SEOJUNG ART emphasizes enriching the aesthetic value in everyday life and strive to cultivate a progressive international art and culture network. By promoting the artistic integrity and value of creators, it is committed to playing a central role in the advancement of the Korean art scene. With a foundation in artist sponsorship, nurturing, and discovery, it breathes vitality into the art world. As an institution always in pursuit of innovation, SEOJUNG ART continues to exert a lasting influence.

SEOJUNG ART

Institutional Performance, V&A

Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

Gallery THEO is founded in Seoul, South Korea in 2020. The priority mission of THEO is to establish a sustainable art cycle rooted in diversity. THEO was established by two directors who have built their careers in the art markets of the UK and the US, bringing their international expertise and networks to the Korean art scene.
The primary objective of Gallery THEO is to showcase the wide-ranging spectrum of Korean art and its richness. The gallery is dedicated to supporting young and gifted Korean artists, regardless of artistic genres, and identifying the commercial potential in their work. By providing a platform for these artists, the gallery aims to foster their growth and development within the rapidly evolving art ecosystem.
In addition to promoting local artists, Gallery THEO actively seeks to encourage diversity and bridge cultural boundaries. The gallery accomplishes this by establishing strong relationships with relevant institutions and collaborations with galleries both locally and internationally. By engaged in collaborations with artists and directors from various backgrounds, Gallery THEO strives to introduce international artists to Korean and Asian audiences, thereby promoting cross-cultural exchange and expanding the artistic discourse. 
Through challenging projects and a commitment to artists excellence, Gallery THEO envisions a gallery space that can co-exist and thrive alongside art creators, adapting to the dynamic art landscape.

THEO

虎上 One upper

The narrative in literature, as a distinctive discourse system, is based on real life. Through logical coherence, description, lyricism, and interpretation, it creates a distance between fiction and objective reality. The creative inspiration for this exhibition's works originates from Yan Jingzhou's journey to the UK. However, the imagery of British elements goes beyond regional characteristics. Much like accomplished science fiction writers and film directors, Yan Jingzhou, through the creation of an alternative world, brings to light historical or contemporary truths that often elude conventional narratives.
Yan Jingzhou's creations are consistently rich with imagination. His unique perspective, akin to a distorted mirror, reflects an apparently similar yet exaggerated infinite world within the confines of a finite frame. In the town of "Buster" in the fictional world constructed by Yan Jingzhou, most characters still possess the classic characteristics of the "Old Buster." The difference lies in Yan Jingzhou's artistic iteration, expanding from a focus on specific character images to a more extensive depiction of various domains through the technique of fictional narrative. One could say that Buster permeates every nook and cranny of the town. Essentially, Buster and the town can be situated in any corner of the world.
In the construction and portrayal of scenes, Yan Jingzhou exhibits a more precise and vivid mastery. He skillfully intertwines reality and imagination through metaphorical techniques, reflecting the authenticity of life and reconstructing a colorful world. In the town of Buster, seemingly ordinary scenes reflect the humorous aspects of everyday life. The simple tone both highlights the charm of the characters and contrasts with the bitterness of life.  The narratives within the town can unfold in diverse directions, accommodating individuals of varying identities and colors. The plot may feature straightforward actions or embrace a diverse amalgamation of characters and settings, transitioning from a semi-realistic portrayal to a novel aesthetic creation and narrative expression.
In front of the green dessert shop in the West district, a police officer holding doughnuts in both hands unexpectedly locks eyes with a thief who, in disguise, is attempting to slip away. At a bar in the North district's nightlife scene, a bartender with a face covered in mayonnaise casts a sidelong glance at a drunken patron lying down. The youngster peddling chewing gum on the diagonal street in the West district during the day morphs into a playful ghost reveling in the East district at night. Around a long table, individuals of different skin tones, each with a distinct expression, gaze at the baked beans held by the first person. In a fast-food restaurant, two adults are distributing three kinds of condiments to seven children, and so forth. Countless stories are unfolding in the town—upper and lower districts, the sky, dinner parties, exams, str

Tang Contemporary Art was established in 1997 in Bangkok, later establishing galleries in Beijing and most recently Hong Kong. Tang Contemporary Art is fully committed to producing critical projects and exhibitions to promote Contemporary Chinese art regionally and worldwide, and encourage a dynamic exchange between Chinese artists and those abroad.   Acting as one of the most progressive and critically driven exhibition spaces in China, the gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia. Tang Contemporary Art represents leading figures in Chinese art including Ai Weiwei, Huang Yong Ping, Shen Yuan, Wang Du, Liu Xiaodong, Yang Jiechang, Xia Xiaowan, Sun Yuan & Peng Yu, Yan Lei, Wang Yin, Guo Wei, Ling Jian, Chen Wenbo, Zheng Guogu, Michael Lin, Lin Yilin, Zhuang Hui, He An, Zhao Zhao, Wang Yuyang, Weng Fen, Yang Yong, Xu Hualing, Xu Qu, Xu Xiaoguo, Ji Zhou and Cai Lei, additionally collaborating with international artists such as Rirkrit Tiravanija, Navin Rawanchaikul, Sakarin Krue-on and Preeyachanok Ketsuwan.

Tang Contemporary Art

Community garden trimming ac6vity at the East District

CDA is pleased to announce group exhibition "Painting Around Me" starting from 3/8 to 4/6.  Three artists Seokmee Noh, Duri Baek and Kyutae Lee will be participated for the exhibition.

CDA is a gallery stands for ‘Creative’, ‘Discovery’, and ‘Appreciation’. The gallery mainly presents creative activities in various fields of contemporary visual arts in the form of exhibitions. CDA exhibition mainly focuses on paintings but subjects to all kinds of genres and mediums such as sculpture, prints, photography, animation, and video. The form of the exhibitions is also balanced, with a mix of solo and group exhibitions, as well as art fairs and collaborative projects. We sincerely hope that our activities will serve as a spark for the realization of meaningful projects for creators(artists) and an opportunity for audiences to expand their inspiration and collecting.

Synchronism 5

Poetry of Posture: The Seated Woman’s Grace

Bac Jungwon has an innate ability to capture the unseen emotions and psychological layers within individuals she encounters in everyday life. Her artwork titled 'Dance' encapsulates this theme, using a spectrum of artistic media to express the complexities of human emotions that are often too profound to put into words. Focused on the enraptured expressions of a couple engaged in a social dance, this piece provides a raw glimpse into the depths of their emotion, portrayed through the intricate nuances of their visages. The 20-piece charcoal drawing series stems from these freeze-framed expressions of the dancing lovers. While their facial expressions might conform to societal norms, a closer observation reveals the delicate and fragile emotions lurking beneath the surface. Though the subjects might seem familiar—faces one might easily encounter in any setting—it's the fleeting subtleties in their expressions that lend an air of unfamiliarity. These split-second, nuanced facial changes create a distance, making the viewer feel as though they're observing strangers. Through this, Park hopes that those viewing her portraits will experience the sensation of emotionally connecting and exchanging sentiments with these seemingly unfamiliar faces.

아투(Artue)는 동시대 예술 현장의 역동성을 자양분으로 삼은 역량 있는 예술가들의 작품을 엄선하여 생동감 넘치는 미술의 본질을 세계에 알리는 데 헌신하고 있습니다. 예술가들을 위한 플랫폼 구축은 갤러리, 컬렉터 및 미술 애호가들을 연결해 지리적, 물리적 경계를 넘어선 총체적 경험을 제공하려는 아투의 핵심 미션과 연결됩니다. 아투를 통해 매력적인 미술의 세계를 발견하고 그 어디에서도 만날 수 없는 기회를 경험해 보시기 바랍니다. 

Artue is dedicated to bringing the vibrant essence of art to the world stage, presenting a curated selection of works by talented artists who embody dynamic contemporary scenes. By creating a platform for these artists, we foster connections among galleries, collectors, and art enthusiasts, offering an immersive experience that transcends geographical boundaries. Discover the captivating world of contemporary art through Artue and unlock unparalleled opportunities for growth, exposure, and success. Join us in celebrating the diverse and remarkable contributions of artists to the global art community.

Artue - Korea

Dance

“Liquid” is one of the 2021 projects that focuses on the empty space formed by the structure of board and the placement of components that elicit evoke psychological pleasure in that space. The empty space comprises not only the painting support structure, but also the structure and characteristics of the empty space, including the ceiling of the building, the subway station, and the exhibition hall. To find vitality, which is a condition in which empty space is maintained, he uses various mediums, such as plaster molding, to create an organic relationship in his work. In this process, the elements of the image create tension between the image and the support, demonstrating the image’s mobility. 

Liquid

Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

GALLERY IN, located in Yeonhui-dong, Seodaemun-gu, is a space dedicated to making Contemporary Art easily accessible and friendly to the public. We aim to introduce artists, both domestic and international, fostering communication with art lovers through various exhibitions. GALLERY IN annually showcases an exhibition featuring Japanese craft artists. We have plans to create various projects beyond crafts in the future.

GALLERY IN

Untitled

Instead of presenting a sense of eternity, ‘Pink’ is a chaotic arrangement of chaotic masses that acknowledges the limitations of time and space. For the artist, painting is about recognizing the responding faithfully to the square’s limited area. The directionless brushstrokes either cover the canvas with heavy layers of paint or scrape over the screen with a noise-like sound. The canvas, which was a space of escape in life, strives to reconcile with reality by immersing itself in it and recognizing its existence. In this way, she believes that the images she portrays will freely connect and collide within the physically closed and flat screen, so producing a story of chance. 

Pink

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.


The Communer

Over the course of twenty years, my work has been a succession of journeys towards the middle. In the visual arts, the middle is a broad and vague concept: space. And it is the obstinate repetition of that obsession that interests me as an artist. Thematizing it. Rebuilding it. Piecing it together. The work always has several possible pathways: it holds all of them. This fascinating chaos is what most appeals to me about the visual arts: doing it is totally liberating (a fact that does not stop it from being used, on occasion, as a mere surrogate for mental crafts). – Cildo Meireles
Cahiers d’Art is most happy to present the latest issue of its historic Revue in homage to Cildo Meireles. A resplendent appraisal of the work of Brazilian artist Cildo Meireles, the issue features previously-unpublished texts and exquisitely-printed plates of his installations, sculptures, and a selection of rarely-shown drawings. The issue is guest-edited by Guilherme Wisnik and Diego Matos.
The issue is available in English and in French. It is presented wrapped in glassine paper, inside a cardboard presentation box.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

Cildo Meireles, Revue

“Fitting hole” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. 

Fitting hole

Pierre Paulin, born in 1927, originally trained as a sculptor but shifted to design after injuring his right arm. His iconic designs for Artifort in the 1960s, including the Mushroom Chair and Ribbon Chair, showcased his innovative use of materials and clean lines. Influenced by German design principles and early modernists like George Nelson and Charles Eames, Paulin also emphasized the social aspect of modern design. His work adorned prestigious spaces like the Élysée Palace and the Louvre Museum's Denon Wing. Posthumously awarded the title of "Royal Designer for Industry," his designs remain timeless icons of 20th-century design, epitomizing the essence of Brutalism.

2 seaters

3 seaters

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Duri Baek expresses the will to live through the light that illuminates the plants and the shadows behind them. The light that shines on the plants simultaneously creates the darkness of the shadows. The light and shadows that fall on the plants show their fierce determination and efforts to survive.The works in <Transition> are colored yellow for light and green for shadow. In the past, Baek's paintings have been characterized by the light and shadow of trees, poles, roots, and plants on rocks in the "빛의 자리","마중" , and "바위 위", but this time, the land, which is the basis of recovery, occupies a large area of the painting. <Transition> shows a green shadow falling on a neglected yellow ground, and tells the story of the beginning of life.


Alimi Adewale was born on 8 May, 1974 in Lagos, Nigeria. Although he studied mechanical engineering, he developed an interest in art by going to exhibitions. He furthered his extensive knowledge of art after graduating by attending various art workshops around the world.
Adewale uses the mediums of painting, sculpture and installation to explore urban issues and the lives of everyday people in cities. Some of his work examines the impact of excessive urbanisation, rapid modern development, and the growing global economy on society. His practice combines elements of minimalism and abstraction to evoke the dynamism and intensity of the cosmopolitan environment. Most of his work has a profusion of rich textures and oftentimes an uncommon
sculptural finish, whether utilising photography and oil paint (Owambe, 2015) or thick lumps of oil mediums (House of Assembly, 2013).
The artist mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compared to traditional African sculptures, creating an oeuvre that
is distinctly current and as witty as it is macabre.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Jonghwan Lee attempts to extract the vitality of painting from the illusion of paintings medium's physical relationship. For this purpose, he frequently combines pictures from his prior works with new elements. Instead of being recognised for what the image itself represents, they are recognised as a material for paintings. Through the interaction between image and medium, vision and reality, the artist evokes the painting with a subjective vital eye. In addition, while he dissects, penetrates, deconstructs, examines the relationship between pictures produced in paintings and mediums, and investigates the 'vitality of painting.' The process begins with the hypothesis and repeats as 'production-observation-confirmation-hypothesize-resetting'. There are no such things as an independent project; rather, they are interconnected, moving forward and continuously reflecting.

Painting is a gauge of gravity, according to Jeongyoon Park. The artist, who is taking a master's degree in the Department of Fine Arts at Seoul National University of Science and Technology, has been focusing on the concept of gravity. Instead of defying or destroying gravity, she investigates what is possible with gravity. The artist actively utilizes various materials and methods in her works, experimenting with the horizontal possibility of the painting by incorporating fragmentary or complex elements into her works to show various art universes. 

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

HaSeulLin Jeong has an interest in paintings that are located between images and materials and can simultaneously deduce the axis of time. She is a graduate of the Korea National University of Arts and the Academy of Fine Arts in Prague, where she studied Printmaking and Painting. Later, the artist deliberately leaves traces of the previous layer or creates a support structure that will be influenced by the prior and following layers of paint, resulting in visual interpretation. HaSeulLin Jeong's artwork provides the viewer with the experience of pondering for a prolonged period of time, imagining the source of the material, and sensing that the senses are real through an individual sense that is intuitive and universally shared. 

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