lisa myeong-joo

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	<title>lisa myeong-joo</title>
	<link>https://lisamyeongjoo.com</link>
	<description>lisa myeong-joo</description>
	<pubDate>Thu, 12 Mar 2026 07:10:02 +0000</pubDate>
	<generator>https://lisamyeongjoo.com</generator>
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		<title>Home</title>
				
		<link>https://lisamyeongjoo.com/Home</link>

		<pubDate>Fri, 18 Jul 2025 00:09:09 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

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		<description>
	
	
LISA MYEONG-JOO&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	The red chair in your picture does not exist @ Joynton Avenue Creative Centre 1-11 October Wed - Sunday 11-4pm&#38;nbsp;
	

	The red chair in your picture does not exist @ Space illi&#38;nbsp; Seoul 24 October - 8 November&#38;nbsp;

	
	Body as mountain with Alice Woo Hwa McCool @ FF Seoul 17-29 October&#38;nbsp;
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		<title>INFO</title>
				
		<link>https://lisamyeongjoo.com/INFO-1</link>

		<pubDate>Mon, 24 Sep 2018 13:56:55 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

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		<description> 
contact: lisamyeongjoo@gmail.com
solo exhibitions
2026: 

공간일리 space illi, Seoul, South Korea [upcoming]
2026: Final Frontier, Seoul, South Korea with Alice Woo Hwa McCool [upcoming]
2026: The red chair in your picture does not exist, Joynton Avenue Creative Centre (JACC), Sydney 2025:&#38;nbsp;For the time being, The Kitchen Studios, Sydney&#38;nbsp;
2024: The red chair in your picture does not exist, Firstdraft, Sydney&#38;nbsp;

group exhibitions
2025: In the morning there were birds, birds, birds, Upspace Gallery, Sydney
2025: A dialogue of two waves, The Big Draw, Gosford Regional Gallery

2024: Rockpool Residency, Unseen Worlds, Nielsen Park, Sydney&#38;nbsp;
2023: Loose Threads, POP gallery, Adelaide
2023: Cool Change (In the middle of a heatwave), Abstract Thoughts Gallery, Sydney

2022: A Plant in the Wrong Place, Counihan Gallery, Melbourne&#38;nbsp;
2022: Life, Love on the Line, PROP Gallery, Wangal Lands
2022: All Stars, Kudos, Goodspace, Sydney
2022: Drawing, Sydenham International, Sydney


2021: Hatched 2021, Perth Institute of Contemporary Arts (PICA), Perth 


2021: Traversed Differences, Firstdraft, Sydney
2021: Intimations, AD Space, Sydney
2020: A&#38;amp;D Annual 20, UNSW graduate exhibition, Sydney
2019: Real Time Art, Post Territory Ujeongguk, Seoul
2016: No Man’s Land, MMCA Changdong, Seoul


performances2026: Inside My Hands The World Trembles, Mel O’Callaghan, Musée d’Art Moderne de Paris, France
2023: Pouring Tea until it is all Evaportated, Jingwei Bu, Woollhara Gallery, Sydney
collaborations
2026: K-Publishing: Creating our Australian Kids' Korean Story, Kids Own Publishing
2019: Real Time Art, live performance with Dahn Gim for Post Territory Ujeongguk, Seoul
2019: SUN-SANGA, live performance with Reiko Shimizu, studio ex-forma, Mumbai 
2018: The Flower Act, live performance with Reiko Shimizu, Noti Binodini Memorial Museum, Kolkata
2018: SUN-SANGA live performance with Reiko Shimizu&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;The Lighthouse, Kolkata &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Chander Haat, Kolkata &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Kriti Gallery, Varanasi 
2017: Dérive for Seoul, performance work with Dahn Gim, Our Prime Property, Online

residencies / awards&#38;nbsp;
2024: Artist in residence, Horanggasy, Gwangju
2023: Artist in residence, Barim, Gwangju
2021-22: Artist in residence, Kudos AiR Off-Site, Sydney

2020: Finalist, John Olsen Drawing Prize, Sydney
2019: Artist in residence, What About Art, Mumbai
2018: Artist in residence, X-Temporary, Online2018: Blank Noise, Bangalore&#38;nbsp;
2018: Artist in residence, Chander Haat, Kolkata
2018: Artist in residence, Kriti Residency, Varanasi
2017: Artist in residence, Kriti Residency, Varanasi
2016: Artist in residence, MMCA Changdong, Seoul
2016: Artist in residence, 24-Hour Residency 800/40, Seoul

publications / awards / talks

2024: The red chair in your picture does not exist by Toyah Webb, Memo Review
2022:&#38;nbsp;Beyond Borders and Biology: Lisa Myeong-Joo’s Self-Portrait of a Circle (2016) by Soo-Min Shim, Refract Journal&#38;nbsp; 5(1)


2021: Hatched Artist Talk PICA&#38;nbsp;
2017: The Honest Journal Process issue

2016: MMCA Residency Changdong 2016 Catalogue


education

2024-2026:&#38;nbsp;University of New South Wales, Masters of Fine Arts [research]
2020-2021: University of New South Wales, Fine Arts Honours 
2008-2012: University of Technology Sydney, Bachelor of Design in Interior Spatial Design </description>
		
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		<title>In the cauldron there were birds birds birds</title>
				
		<link>https://lisamyeongjoo.com/In-the-cauldron-there-were-birds-birds-birds</link>

		<pubDate>Thu, 12 Mar 2026 07:04:55 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

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		<description>In the cauldron there were birds, birds, birds, 2025, single channel colour HD video installation 4:3 with sound, 11 minutes 44 seconds, white feathers. Exhibited at Upspace Gallery, Marrickville.&#38;nbsp;
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Photo credit: Jessica Maurer</description>
		
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		<title>For the time being</title>
				
		<link>https://lisamyeongjoo.com/For-the-time-being</link>

		<pubDate>Wed, 30 Jul 2025 03:54:15 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

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		<description>For the time being, 2016-present, ginkgo leaves, spray paintPresented at Kitchen Gallery 24.7-27.7.25Ancient dust blown in from Seoul,
it only took 9 years
Recently I found you on a street in Paris, 
it was spring
Last year I swear you were following me around 
until someone said, “turn left”.
A landscape under and landscape.
O M M A is the mother of a nation with 28 eyes,
made of sun, bird, mountain, rock and walking stick. 
Don’t disturb the process of change!
But you haven’t changed for over 250 million years.
Perhaps another lesson in letting go...


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		<title>Dialogue of 2 waves</title>
				
		<link>https://lisamyeongjoo.com/Dialogue-of-2-waves</link>

		<pubDate>Fri, 18 Jul 2025 01:01:23 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

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		<description>Dialogue of 2 waves, 2025, durational performance, two rakes, two performers. 

‘Dialogue of 2 waves’ is a performance for the Karensansui (dry stone garden). In its modern interpretation of the traditional Sazon arrangement, in the Edogawa Commemorative Garden you find three stones as islands representing heaven, earth and man floating within a sea of white gravel. This ‘ocean of life’ provides a unique setting for a dialogue to unfold between two invited participants, both zen practioners. Often raked in private, and alone as a form of meditation, here we observe two waves in conversation, crossing, passing, and changing as they encounter one another on the way. The rakes have been custom-made for this performance, with the ability to draw different patterns. And just as the waves emerge, they dissipate––returning the sea to how it begun.

Participants: Sean Loughman and Monika Wunderlin
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&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/eff8ae3587fb2524f825acd639676c012ea42c760943351918bceb9e45119683/20250615_WolfeWiseCreative_TheBigDraw_LR-137.jpg" data-mid="235979001" border="0"  src="https://freight.cargo.site/w/800/i/eff8ae3587fb2524f825acd639676c012ea42c760943351918bceb9e45119683/20250615_WolfeWiseCreative_TheBigDraw_LR-137.jpg" /&#62;
Photo credit: WolfeWiseCreative</description>
		
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	<item>
		<title>The red chair</title>
				
		<link>https://lisamyeongjoo.com/The-red-chair</link>

		<pubDate>Sun, 27 Oct 2024 09:05:43 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

		<guid isPermaLink="true">https://lisamyeongjoo.com/The-red-chair</guid>

		<description>The red chair in your picture does not exist, 2024, steel, plywood, PVC, vinyl, PU foam, acrylic, coins, 400 x 84.5 x 42 cm
&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/7dcb3a4be571ff5d6d57981cb5e138f15b00f4b56a5f8488a1b7fe7853b5e57b/156A0669.jpg" data-mid="220358608" border="0"  src="https://freight.cargo.site/w/1000/i/7dcb3a4be571ff5d6d57981cb5e138f15b00f4b56a5f8488a1b7fe7853b5e57b/156A0669.jpg" /&#62;
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&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/3eec2402bbd76045d72c8e802a92d156487851271ff1eeaf04bd3ca998edcbf5/156A0653.jpg" data-mid="220358619" border="0"  src="https://freight.cargo.site/w/1000/i/3eec2402bbd76045d72c8e802a92d156487851271ff1eeaf04bd3ca998edcbf5/156A0653.jpg" /&#62;

Lisa Myeong-Joo, The red chair in your picture does not exist, 2024, steel, plywood, PVC, vinyl, PU foam, acrylic, 400 x 84.5 x 42 cm, Firstdraft, Sydney. Photo: Jessica MaurerExhibition essay ‘Broadening the joining’ by Alice Woo Hwa McCool
Memo Review by Toyah Webb

There is a red chair that once existed in an adoption agency in Seoul. Between 1983-1989, the red chair, also known amongst social workers as the ‘photo chair’ in the ‘photo room’, helped stage (by its very function) the ‘first photo’ of a child for their future family. The ‘photo chair’ was almost inconspicuous were it not for its gold detailing and bright red vinyl. It is understood that this red chair was sat on by every adoptee (propped up by their foster mother) from this adoption agency during this period––with two copies posted to the receiving family and one kept in a file at the agency. The camera’s flash captures the act of sitting – a momentary pause – before departure. This year, 36 years after the artist’s ‘red chair photo’ was taken, she contacted the agency to enquire about this red chair and if it might still be there. The social worker’s only response––‘The red chair in your picture does not exist’. In the potent slippage of translation, correspondence and negation, this exhibition is a performative affirmation that, ‘yes, it does!’

By addressing an absence with a presence, the artist has worked with a local prop maker to reproduce the red chair, re-asserting its existence in the here-now. Approaching the neglected histories, subjects and objects encountered through her photo, she engages counter-memory as an act of resistance against dominant narratives of remembrance. This red chair, extruded to 4m in length, not only stands in for the long (ongoing) history of Korean transnational adoption, but offers space to sit together as adults, self-consciously and supported – as a collective site of repair, belonging and return.


This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
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Lisa Myeong-Joo,&#38;nbsp;The red chair in your picture does not exist, 2024, steel, plywood, PVC, vinyl, PU foam, acrylic, 400 x 84.5 x 42 cm, Korean Cultural Centre, Sydney. Photo: Jessica Maurer
</description>
		
	</item>
		
		
	<item>
		<title>meaning is later</title>
				
		<link>https://lisamyeongjoo.com/meaning-is-later</link>

		<pubDate>Thu, 12 Mar 2026 07:10:02 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

		<guid isPermaLink="true">https://lisamyeongjoo.com/meaning-is-later</guid>

		<description>
Meaning is Later, 2023, chalk, performance.&#38;nbsp; 
Loose Threads curated by Alice Woo Hwa McCool at POP Gallery, Adelaide

This performance is part of an ongoing series of two-handed drawings. It is also a drawing for two languages, where the artist writes the same word in both Korean and English simultaneously enacting a double translation. Three paths are created in a single gesture, though all of them temporary in action and&#38;nbsp; medium as indicated by the impermanence of the chalk. The paths like words are endless and forever hinged by the body as a space for meaning to arise. The artist recalls, there was once a Korean language teacher in Gwangju, who in her first lesson said to her class,
“it doesn’t matter if you don’t understand now — meaning is later.”


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&#60;img width="3000" height="2001" width_o="3000" height_o="2001" data-src="https://freight.cargo.site/t/original/i/82495a573eef9c4d0aea2fa9750f8bdf53ec299ad3cb421b515454dcc3fc5c71/20230319_86371.JPG" data-mid="245921387" border="0"  src="https://freight.cargo.site/w/1000/i/82495a573eef9c4d0aea2fa9750f8bdf53ec299ad3cb421b515454dcc3fc5c71/20230319_86371.JPG" /&#62;
Image Credit: Rosina Possingham

</description>
		
	</item>
		
		
	<item>
		<title>100 bodies of water</title>
				
		<link>https://lisamyeongjoo.com/100-bodies-of-water</link>

		<pubDate>Sat, 14 Jan 2023 01:44:11 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

		<guid isPermaLink="true">https://lisamyeongjoo.com/100-bodies-of-water</guid>

		<description>
100 Bodies of Water, 2023, 3x5 inkjet print tattoos, metal bucket, sponge, water, participatory performance. 


 Cool Change (In the middle of a heat wave)&#38;nbsp;
COLLECTIVE RIVER (images of the bodies of water post activation)

100 Bodies of Water is a series of 3x5 photographs; functioning as both collectable objects and temporary tattoos ready to be activated on the body. The photographs document a sunset on the Ganges River in Varanasi, 2017, a site considered sacred to many. Sharing in this collective body of water, object and subject blur, beginning a process of change – shaped entirely by the participant’s own body of water and its habits. By doing so, they choose to honour this life-giving element and may be reminded of the fluidity and impermanence of all things, all beings. 
Photo Credit: Floorplan Studio

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</description>
		
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	<item>
		<title>Surface-in-motion</title>
				
		<link>https://lisamyeongjoo.com/Surface-in-motion</link>

		<pubDate>Fri, 26 Aug 2022 02:00:27 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

		<guid isPermaLink="true">https://lisamyeongjoo.com/Surface-in-motion</guid>

		<description>

In 2016, for the MMCA Changdong residency in Seoul, I exhibited a body of works titled, ’Self-portrait of a circle’, including a video, a performance and an object work. I had found the mobius, which since has been a key metaphor, tool and carrier of ideas surrounding identity – especially that of the transracial adoptee, but more broadly, the poetics of embodiment. Returning to this form, I have made another mobius from Saekdong, a Korean traditional fabric often used for the sleeves of hanboks. There is a self-portrait taken in this mobius outside my bedroom window in Summer Hill and the video component of the original exhibition in Seoul, visualing what becoming this surface-in-process may look like.&#38;nbsp;


 “When I press my two hands together, it is not a matter of two sensations felt together as one perceives two objects placed side by side, but an ambiguous set-up in which both hands can alternate the role of ‘touching’ and being ‘touched'.”


Maurice Merleau-Ponty, Phenomenology of Perception : An Introduction (London: Routledge, 2011): 93. 


ARTWORKS EXHIBITED:
surface-in-process, 2022, inkjet print, framed 21cm x 29.7cm, photograph taken by Jana Ortanez

Self-portrait of a circle, 2016, single-channel HD colour video 16:9, 3mins 48secs
Mobius 2, 2022, saekdong silk fabric, timber, thread, 75cm x 195cm 


EXHIBITION:
Life, Love on the Line, PROP Gallery, Ashfield, Wangal Land (Sydney) w/ Natalie Quan Yau Tso, Tanaporn Norsrida and Jana Ortanez. Curated by Sineenart Meena&#38;nbsp;
Photo Credit: Jana Ortanez
&#60;img width="2400" height="3600" width_o="2400" height_o="3600" data-src="https://freight.cargo.site/t/original/i/06d11b7a6549264076c405b83ef6e9c7a0b8bac6f292980238284a0b922e4038/_MG_2710.jpg" data-mid="151329387" border="0"  src="https://freight.cargo.site/w/1000/i/06d11b7a6549264076c405b83ef6e9c7a0b8bac6f292980238284a0b922e4038/_MG_2710.jpg" /&#62;
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&#60;img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/1a94172f8c3bc0c2216e1b1429dd3ef62b2200ce00dc95e0ee7b0009b495bfa4/_MG_2702.jpg" data-mid="151329205" border="0"  src="https://freight.cargo.site/w/1000/i/1a94172f8c3bc0c2216e1b1429dd3ef62b2200ce00dc95e0ee7b0009b495bfa4/_MG_2702.jpg" /&#62;
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&#60;img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/21d0984e007d1978da4a72c999778e1128bd3eeec5ab0a28f9c85c66fdc7342e/_MG_2719.jpg" data-mid="151329207" border="0"  src="https://freight.cargo.site/w/1000/i/21d0984e007d1978da4a72c999778e1128bd3eeec5ab0a28f9c85c66fdc7342e/_MG_2719.jpg" /&#62;
&#60;img width="1181" height="1656" width_o="1181" height_o="1656" data-src="https://freight.cargo.site/t/original/i/a950a3daf9fa7d6552cac1567c8ef2744bf6b80eb46d58a77d583bcad63bf491/Mobius_Edit_Lisa_Small.jpg" data-mid="151329638" border="0"  src="https://freight.cargo.site/w/1000/i/a950a3daf9fa7d6552cac1567c8ef2744bf6b80eb46d58a77d583bcad63bf491/Mobius_Edit_Lisa_Small.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Map of the 'Motherland' 모국의 지도</title>
				
		<link>https://lisamyeongjoo.com/Map-of-the-Motherland</link>

		<pubDate>Thu, 23 Jun 2022 23:08:38 +0000</pubDate>

		<dc:creator>lisa myeong-joo</dc:creator>

		<guid isPermaLink="true">https://lisamyeongjoo.com/Map-of-the-Motherland</guid>

		<description>

Map of the ‘Motherland’ 모국의 지도 1, 2022, 65x100 cm, Hanji, clover flowers, wood.
KUDOS All Stars, Goodspace Gallery, Chippendale
This map can be used for wandering, or for the purpose of digressing. It is made to move between, and is also moving. Reimagining the map of the motherland from the word omma – the Korean word for mother – I don’t know if she is burnt into the map, or the map itself.
&#60;img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/65b287c8c46f32bb57c1cfc056707581376f8b59d90d040d340ac4a04b6ae54d/OMMA_KUDOS_2.jpeg" data-mid="146257107" border="0"  src="https://freight.cargo.site/w/1000/i/65b287c8c46f32bb57c1cfc056707581376f8b59d90d040d340ac4a04b6ae54d/OMMA_KUDOS_2.jpeg" /&#62;
&#60;img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/b04733c993655ef2b84c1177ba3bfa3045cd041fb3576cd835a4543ec202e75b/OMMA_KUDOS_1.jpeg" data-mid="146257106" border="0"  src="https://freight.cargo.site/w/1000/i/b04733c993655ef2b84c1177ba3bfa3045cd041fb3576cd835a4543ec202e75b/OMMA_KUDOS_1.jpeg" /&#62;Photo credit: Kieran Butler</description>
		
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