Please check your email to reset your password
An Immersive Art Experience For You
We do not support Internet Explorer 9 and 10 to view this content : (
Please upgrade it to Internet Explorer 11 or Edge. Otherwise, please use Chrome or Safari!
Touch and drag to look around the space.
Use a pinch gesture to zoom in and out
Tap on the rings or direction on the screen throughout the space to move around.
Click on the caption icon to get information of artwork or play video for media art.
linn meyers: Rings of Saturn
Jason Haam is pleased to present linn meyers: Rings of Saturn, the first solo exhibition of linn meyers with the gallery in Seoul, South Korea. Referencing W. G. Sebald’s book of the same name, the title of the exhibition acts as a form of mimesis through correspondence between the visual image within meyers’ physical work and the fragmented narrative within Sebald’s distinctive prose.
For linn meyers, process begins before the act of mark-making. The artist’s physical movement towards the work itself becomes a part of process—similar to the moment of distinction between walking towards the walk and the walk itself. It is in this way that the origin of her works is contextualized not only through the manifestation of the visual image, but also through the immateriality of movement.
The sense of a diverted movement that is nonetheless a movement forward, a movement alongside yet oblique path toward an end, is divided, and more than once. There is the sense of the pilgrimage as devotional journey to a sacred destination and then the sense of pilgrimage as an event of endless wandering, an itinerancy without any clear path toward outcome. - Lecia Rosenthal, “On the Late Sublime: W. G. Sebald’s The Rings of Saturn”
While visual forms may end at the periphery of meyers’ works, manifestations of process, as a form of movement, continue beyond the work itself—emerging as a record of her pilgrimage. For meyers, a state of finality is negated through its paradox—a memory of movement within the spatial limitations of the physical work.
The entropic yet methodical image of meyers’ works, exists within a state of visual equilibrium, maintained through a state of perpetual movement. Its resolution is dependent upon a sense of perspective. Meyers’ process is defined by intuitive gestures, in which the visual image emerges from a progressive digression of movement —directed by a sense of ‘nonobjective wandering.’ Simultaneously, meyers’ visual image is defined by a sequential organization, in which process emerges from regressive patterns of movement—delineated from a sense of ‘nonobjective wandering.’ Herein lies the paradox of movement within the visual image—the awareness of a systematic order within an experience of chaotic destabilization.
Order is, at one and the same time, that which is given in things as their inner law, the hidden network that determines the way they confront one another, and also that which has no existence except in the grid created by a glance, an examination, a language; and it is only in the blank spaces of this grid that order manifests itself in depth as though already there, waiting in silence for the moment of its expression. - Michel Foucault, “The Order of Things”
Hence, the paradox of movement can exist only in reference to the grid—the context in which one and one other exists only in reference to themselves. Movement, without regard to a sense of destination or finality, emerges as a state of contingency—the absence of necessity; the fact of being so without having to be so.
A state of finality can thus only be achieved through the visual image of the work itself. Process becomes a means of documenting the physical movement of the body. In this way meyers’ exploration becomes displaced by the visual image of her works. The resulting image emphasizes the distinction between her body as a construct of process and creator of movement and the work as an embodiment of process and a document of past movement. Herein lies the paradox that exists throughout meyers’ works—the visual image is contextualized in reference to the body as movement, yet the works themselves manifest a state of finality.
And thus, the resulting state of contingency within meyers’ works—in which both movement and finality exist within an oscillating state of uncertainty—becomes a paradox in and of itself.
linn meyers > <
linn meyers > <
NAVER Hello! Artist 2016, Art Around : The Gap Between Narrations
Gunwoo Shin, Sangho Noh
project space SARUBIA, Seoul
Jul 27 - Aug 19, 2016
Sungkok Art Museum, Seoul
Jun 17 - Oct 30, 2016
Bae JongHeon.ZIP: Alone deep in the mountains
Paradise ZIP, Seoul
Apr 05 - Jun 30, 2018
Do One Im
Hanmi Gallery, Seoul
Nov 12 - Dec 04, 2016
Seoul Museum of Art, Seoul
Dec 13, 2016 - Apr 16, 2017
Sophis Gallery, Seoul
Apr 05 - May 10, 2017
Play Pray Paint
Gallery Meme, Seoul
Jan 26 - Feb 25, 2018
Kiyoung Lee : Erase and Erase
Gallery Planet, Seoul
Aug 31 - Oct 05, 2016
Ha Seok Jun : 'Readymaker'
Hanmi Gallery, Seoul
Jul 09 - Jul 28, 2016
Min ha Park
ONE AND J. Gallery, Seoul
Apr 04 - May 04, 2019
Dawn Breaks, Seoul
Jewyo Rhii, Jihyun Jung
Art Sonje Center, Seoul
Mar 24 - May 14, 2017
Absence and Distance
Hyein Lee, Kangseung Lee
Baik Art , Seoul
Apr 04 - Apr 28, 2017