The Meeting will present a selection of paintings from an international and cross-generational roster of five individual artists and one artist collaboration: Regina Bogat, Horacio Alcolea Crespo, Alfred d’Ursel, Jutta Koether, Beaux Mendes, and BREYER P-ORRIDGE / Eric Heist. The paintings included in the The Meeting’s presentation at Palai deal with the phenomena of the physical world and human nature through abstraction and representational imagery.

In Regina Bogat’s abstract painting Wuxi, 1994, her signature painted wood sticks provide perspective for the golden yellow landscape she experienced while traveling in China, as well as her appreciation for the Scholar Gardens of Jiangsu Province, which seek to recreate natural landscapes in miniature.

A self-taught artist, Horacio Alcolea Crespo’s colorful and expressionistic landscape is positioned on its side appears to raise question ideas of authorship and originality. While Alfred d’Ursel’s questions the trust we put into images we are confronted with daily.

Jutta Koether’s Leibhaftige Malerei (red version) (2007), represents an aspect of Koether’s practice drawing upon art historical references and reproduces Sandro Botticelli’s The Story of Nastagio Degli Onesti: The Disembowelment of the Woman Pursued (1483-87). Beaux Mendes’s process often begins in plein-air: adolescent woodland, old-growth forests. By assigning and simultaneously denying the attachment of language in their work, Mendes foregrounds a trans-identity that locks meaning as it’s on the brink of resolution.

The collaborative work of the late Genesis Breyer P-Orridge and Eric Heist is based on a new, sequentially ordered, silkscreened gender-indeterminate details of bodies on square surfaces from Candy Factory: pop-infused images and bodies without sex, age, class, or race; a symbol for the one as well as the multiple. The name for the project combines Candy Darling and Factory Records, an overlap of art and music.

PALAI