한편, 상하이와 도쿄를 기반으로 활동하는 루 양은 불교 철학과 디지털 기술을 결합하여 인간 존재의 본질을 탐구 해왔다. 그는 게임 엔진과 3D 애니메이션을 주요 매체로 활용하며, 디지털 환경 속에서 신체와 자아가 어떻게 재구 성되는지를 지속적으로 질문한다. 특히 DOKU 시리즈는 작가의 디지털 페르소나를 중심으로 정체성의 다층성과 존재의 가변성을 드러내는 작업이다. 전시에서 소개되는 〈DOKU: Six Realms of Samsara〉는 여섯 개의 채널로 구성된 영상 설치로, 불교의 육도 윤회 세계를 각각의 스크린 위에 구현한다. 동시적으로 재생되는 영상과 개별 사 운드는 관객을 분산된 감각 환경 속으로 이끌며, 반복과 순환의 구조를 경험하게 한다. 이 작업은 물리적 신체를 넘 어 디지털 공간에서 확장되는 존재의 형태를 가시화한다.
두 작가는 서로 다른 방식으로 시간과 존재를 사유한다. 진 마이어슨이 역사와 기억의 재진입을 통해 정체성의 불 연속성을 탐구한다면, 루 양은 윤회와 디지털 순환 구조를 통해 존재의 반복과 변형을 제시한다. 이들의 작업은 결 국 "나는 어디에서 왔고, 어디로 향하는가"라는 근본적인 질문으로 수렴되며, 관객을 물리적 이동과 인식의 전환이 교차하는 경험 속으로 이끈다. 기억과 데이터, 육체와 아바타, 과거와 미래 사이를 가로지르는 이번 전시는, 인간 존 재를 고정된 실체가 아닌 지속의 과정 가운데 있는 존재로 바라보게 한다. 이는 귀환의 서사를 넘어, 변화와 변형을 전제로 한 동시대적 존재 방식에 대한 사유를 제안한다.
《2026 루프 랩 부산》의 일환으로 진행되는 이번 전시는 부산 전역에서 펼쳐지는 동시대 디지털 미디어아트 흐름 속에 위치한다. 부산시립미술관은 오는 4월부터 6월까지 국제 디지털 미디어아트 페스티벌 '루프 랩 부산'을 개최 하며, 올해로 2회를 맞이한 본 행사는 시간과 이미지를 매개로 한 다양한 전시와 포럼 프로그램으로 구성된다. 이 번 행사는 부산 지역 30여 개 문화예술기관이 참여하는 협력형 플랫폼으로, 《디지털 서브컬처》, 《무빙 온 아시아》,기관 협력 전시 《제로 랩 부산》 등 다층적인 프로그램이 동시다발적으로 진행되며, 부산 전역의 공공 및 민간 전시 공간이 참여하여 도시 전체를 하나의 확장된 전시 플랫폼으로 구성할 예정이다.
Johyun Gallery is pleased to present concurrent solo exhibitions by Jin Meyerson and Lu Yang, presented as part of 2026 Loop Lab Busan, the international digital media art festival. The exhibitions are on view from April 23 through May 31, 2026, on the second and first floors, respectively, of the Johyun Gallery_Dalmaji exhibition space. Identity and being, as these are reconstituted under the conditions of a technologically mediated world, are the shared horizon of two practices that otherwise depart from distinct cultural and philosophical starting points.
Jin Meyerson was born in Incheon and raised in the United States through adoption as a young child. His practice operates at the intersection of Korea's postwar historical context, severed memory, and contemporary image technologies. His paintings and video works overlay meta-narratives and shifting stratas of recollection, disclosing a sense of self that is unfixed and perpetually under reconstitution. The accumulation and transformation of images is the method by which he constructs a nonlinear temporality. Past and present traverse one another, rendering visible the gap between history and the individual.
The Shape of Re-entry (2024), a large-scale painting, discloses the process of memory's re-entry through image-traces accumulated on a physical surface. Overview Effect (2025), a video work, approaches the question from the opposite direction: seeing the Earth from the outside, it explores a perceptual shift and the reconfiguration of distance. Light gradually brightens and fades over a five-meter painting in repeated cycles. As darkness falls, a video projection activates the opposing wall, extending the spatial narrative. The interplay between painting and video oscillates between digital imagery and material surface, proposing a non-linear, mutable understanding of time and causality. Together, the two works bring Meyerson's concerns into focus. "Re-entry" in his practice signifies not merely a return, but a condition of being continuously reconstituted through repetition and transformation.
Lu Yang, based between Shanghai and Tokyo, takes Buddhist philosophy and digital technology as the twin foundations of a sustained investigation into the nature of human existence. Game engines and 3D animation is the primary media through which they continually interrogate how the body and the self are reconstituted in digital environments. The DOKU series is centered on the artist's digital persona, and is the vehicle through which this interrogation is most fully realized, exposing the multiplicity of identity and the mutability of being. DOKU: Six Realms of Samsara, presented on the first floor, is a six-channel video installation. The six realms of Buddhist cyclical rebirth are rendered on separate screens. The simultaneous playback of video and discrete sound channels draws the viewer into a dispersed sensory environment, producing an embodied experience of iteration and circulation. The work gives visible form to the modes of being that extend beyond the physical body into digital space.
The two artists think through time and existence by different means. Meyerson explores the disruption of identity through the re-entry of history and memory; Lu Yang presents the iteration and transformation of being through the structures of reincarnation and digital circulation. The two practices converge on a fundamental question: "where did I come from, and where am I headed?" leading the viewer into an experience where physical displacement and perceptual reorientation intersect. The exhibition traverses between memory and data, body and avatar, past and future, asking us to see human existence not as a fixed substance but as something situated within a process of continuation. What they propose is more than a narrative of return: it is a reflection on contemporary modes of being premised on change and transformation.
This exhibition is situated within a broader current of contemporary digital media art unfolding across the city of Busan. The Busan Museum of Art organizes the international digital media art festival 2026 Loop Lab Busan from April through June. Now in its second edition, the festival encompasses diverse exhibitions and forum programs organized around the mediation of time and image. Some thirty cultural and arts institutions across the Busan region participate in this year's collaborative platform, with concurrent multilayered programming including Digital Subculture, Moving on Asia, and the institutional partnership exhibition Zero Lab Busan. Public and private exhibition spaces throughout the city participate in constituting Busan as a single expanded exhibition platform.
