For Frieze Seoul 2026, Meyer Riegger Wolff brings together works by Marcel Duchamp, Miriam Cahn, Katinka Bock, Jeewi Lee and Jioong Kang. Spanning nearly a century of artistic practice, the presentation explores how artists working across different generations continue to question perception, the transformative potential of materials, and the shifting relationship between image and object.

At the heart of the presentation is Marcel Duchamp’s Rotoreliefs (1953), a landmark work in the history of twentieth-century art that transforms simple printed discs into moving optical events through rotation. Conceived as an experiment in perception rather than representation, the work extends Duchamp’s lifelong investigation into vision, movement and the active role of the viewer. Its presentation at Frieze Seoul coincides with Marcel Duchamp: A Parisian Collection, on view at Meyer Riegger Wolff Seoul from 27 August to 5 November 2026, placing the work in dialogue with a major exhibition dedicated to one of the twentieth century’s most influential artistic figures.

While each artist pursues a distinct practice, unexpected correspondences emerge in the ways perception, material transformation, and the relationship between image and object unfold across their works. Katinka Bock’s sculptures reconsider familiar forms through subtle shifts of balance, function and scale, allowing ceramic, bronze and found elements to acquire unexpected poetic resonance. Miriam Cahn’s recent paintings transform everyday domestic motifs into psychologically charged images in which intimacy and unease quietly coexist. Jeewi Lee’s Silent flame series explores the material qualities of hanji and tree resin, creating luminous surfaces through processes of layering, translucency and accumulation. Jioong Kang’s works similarly investigate the photographic image through processes of transfer, layering and sedimentation, combining photography with textile, leather and tidal mud sediment to create layered compositions in which images remain in a continual state of transformation.

Across painting, sculpture, installation and photography, the presentation brings together five distinct artistic practices while allowing each work to retain its own autonomy. The resulting encounter reveals unexpected affinities across generations, opening new ways of thinking about materiality and the evolving relationship between image and object.

21 – 24 May, 2026
National Agricultural Exhibition Center, Beijing
Booth C19

Meyer Riegger Wolff is pleased to announce its inaugural participation in Loop Plus 2026 in Busan, presenting Surface Composition 2024, a video work by German media artist Clemens von Wedemeyer (b. 1974).

Within the context of Loop Plus , where technology, ecology, and contemporary visual culture intersect, the presentation examines the infrastructures and latent systems that underpin contemporary life.

Closely linked to Clemens von Wedemeyer’s 2025 exhibition Social Geometry at Meyer Riegger Wolff, Seoul, the work extends the artist’s investigation into the structures that organize contemporary existence.

If Social Geometry addressed the immaterial relations and invisible architectures governing social behavior, Surface Composition turns toward the opaque physical sites through which digital capitalism is materially enacted.

Composed of footage recorded across California, the video traces the paradoxes of contemporary society through images of corporate headquarters, logistics facilities, mines, and fenced border zones.

Though the systems shaping our era are omnipresent, access to their operative core remains tightly restricted. Through a restrained visual language, these sites emerge as surfaces, spaces where power is exercised while remaining inaccessible to public view.

Presented in Busan, a city shaped by one of the world’s largest port and logistics networks, the work enters into resonance with its surroundings, amplifying the physical and conceptual immediacy of the images.

At Art Basel Hong Kong 2026, Meyer Riegger Wolff presents a carefully articulated selection of works reflecting the gallery’s sustained engagement with artistic practices grounded in material precision, conceptual rigor, and close
attention to human experience. Bringing together historical and contemporary positions from Europe, Latin America, and Asia, the booth unfolds through dialogues across generations, geographies, and formal languages.

The presentation brings into focus artists whose work engages the body, perception, memory, and the transformation of form over time. Works by Miriam Cahn, Katinka Bock, and Santiago de Paoli address the human figure as a site of
exposure and tension, shaped by psychological, political, and environmental forces. Alma Feldhandler further explores these themes through figures in clothes that seem to emerge from thin washes of colour, evoking a sense of memory
materialising on the canvas. Within this context, the body appears not as a stable image, but as a shifting presence, marked by fragility, resistance, and change.

These themes extend into practices that investigate abstraction, repetition, and material process. Franz Erhard Walther redefines sculpture as a temporal and relational condition, activated through participation and use. Peter Dreher’s
decades-long engagement with seriality and observation anchors painting in duration and discipline. Horst Antes and Jacqueline de Jong contribute distinct positions in figuration, marked by formal independence and psychological
intensity, while Caroline Bachmann’s landscapes suspend perception between immediacy and contemplation.

Historical depth is introduced through works by Eugène Carrière, whose inclusion establishes a dialogue between early modern sensibilities and contemporary concerns. Diego Bianchi and Paulo Nazareth further expand the field through
works engaging questions of social structure, movement, and identity, often drawing on performative and sculptural vocabularies.

At the center of the booth, a dedicated Kabinett presents a curated dialogue between Jeewi Lee and Francisco Tropa. Conceived as a booth within the booth, this focused presentation brings together two practices linked by a shared sensitivity to trace, absence, and the inscription of time in matter. Jeewi Lee translates residues, dust, erosion, surface memory, into restrained visual fields, while Francisco Tropa draws on myth, archaeology, and sculptural form to evoke
temporal disjunctions. Together, their works form a concentrated space where material becomes a carrier of memory and duration.

Meyer Riegger Wolff is pleased to announce its first participation at West Bund Art & Design. From the familiar objects that populate our daily surroundings to complex compositions of extended surreal imagination, this presentation brings together works by Katinka Bock, Diego Bianchi, Miriam Cahn, Isa Melsheimer, Eva Kotátková, and Santiago de Paoli. Each artist engages material reality as both subject and catalyst, transforming the ordinary into a site of psychological, bodily, and poetic inquiry.

Through strategies of displacement, fragmentation, and juxtaposition, these works reveal how the banal can act as a threshold to the surreal. Rather than illustrating dream or fantasy, the presentation considers surrealism as a methodology, a mode of perception through which the everyday becomes charged with ambiguity, affect, and narrative potential.

Diego Bianchi (b. 1969) constructs an apotheosis of everyday situations, tracing the derailments of human excess and the anarchic order that emerges in their wake. Isa Melsheimer (b. 1968) draws from the histories of architecture and urban planning, cultivating dialogues between humans, animals, and plants through material and spatial form.

Eva Kotátková (b. 1982) , inspired by surrealism, unites sculpture, text, and performance into a distinctive vocabulary. Her works metaphorically mirror modern civilization, its dreams, expectations, and shared anxieties, particularly those of children, the elderly, and animals. Miriam Cahn (b. 1949) , influenced by performance art and the feminist movements of the 1960s and 1970s, often instrumentalizes the body as a drawing tool, transforming seen images into mental ones and reshaping perception into a medium of introspection.

In Santiago de Paoli’s (b. 1978) oeuvre, painting becomes a conduit to what lies beyond the visible, not the invisible, but rather what is perceived with closed eyes, in the threshold between wakefulness and sleep, between consciousness and dream.

Meyer Riegger and Galerie Jocelyn Wolffhave been exploring and developing the Asian market for the last ten years with different approaches, but in a very complementary way. From 2025, the two galleries will join forces and continue exploring Asia through the new gallery Meyer Riegger Wolff, based in Seoul, South Korea. The gallery will open its inaugural exhibition in September 2025.

Marking the debut of Meyer Riegger Wolff at Frieze Seoul 2025, the presentation brings together works that reflect on the human figure and its entanglement with nature, supernature, and the surrounding world. Featuring artists represented by both galleries – Miriam Cahn and Santiago de Paoli – the exhibition centers on the transformative nature of the human form: its vulnerability, mutability, and expressive potential. Alongside their works, pieces by Horst Antes, Colette Brunschwig, Peter Dreher, Alma Feldhandler, Sheila Hicks, Jeewi Lee, Isa Melsheimer, Jonathan Monk, Elodie Seguin, and Francisco Tropa further explore these relationships through myth, memory, abstraction, and materiality.

A dedicated section will also offer a glimpse into the inaugural exhibition at Meyer Riegger Wolff, Seoul, featuring selected works on paper from the salon de dessins show.