Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .
After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.
For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.
Lee Bul (b. 1964, Seoul; lives and works in Seoul) works across a diverse range of media—from drawing, sculpture, and painting to performance, installation, and video—in examining the intricacies of shared human consciousness and the myths and folklore that accompany history. She investigates the liminal space between binaries such as the individual and the collective, and contradictory feelings such as isolation and claustrophobia. Her installations and sculptures explore universal themes such as the utopian desire to achieve perfection through technological advances, and the dystopic suspicions and failures that often result. Though varied in material and content, the works are united in their exploration of structural systems—from the individual body to larger architectural frameworks that encompass cities and utopian societies. For Lee Bul, humankind’s fascination with technology ultimately refers to our preoccupations with the human body and our desire to transcend flesh in pursuit of immortality. This interest often materialises in her work in the form of a cyborg—a being that is both organic and machine—the closest thing to a human that truly achieves this ideal. Lee Bul considers the cyborg a conceptual metaphor in its personification of social attitudes to technology; simultaneously a paragon and a monster.Read More
Lee Bul received a BFA in sculpture from Hongik University, Seoul, in 1987. Solo exhibitions of her work have been organised at Art Sonje Center, Seoul (2016 and 2012); Vancouver Art Gallery, (2015); Palais de Tokyo, Paris (2015); National Museum of Modern and Contemporary Art, Seoul (2014); Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2013); Mori Art Museum, Tokyo (2012); Fondation Cartier pour l’art contemporain, Paris (2007); The Power Plant, Toronto (2002); New Museum, New York (2002); and The Museum of Modern Art, New York (1997). Her work has been included in important group exhibitions and biennials such as Score Music for Everyone, Daegu Art Museum, Daegu, Korea (2017); X: Korean Art in the Nineties, Seoul Museum of Art, Seoul (2016); The Future is already here– it’s just not very evenly distributed, 20th Biennale of Sydney (2016); Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York (2015); Burning Down the House, 10th Gwangju Biennale, Gwangju, Korea (2014); Prospect 1: A Biennial for New Orleans, New Orleans, LA (2008); Not Only Possible, But Also Necessary: Optimism in the Age of Global War, 10th International Istanbul Biennial (2007); and dAPERTutto, 48th Venice Biennale (1999). Her work is in numerous international public and private collections, including Los Angeles County Museum of Art; M+, Hong Kong, Hong Kong; Mori Art Museum, Tokyo; Museum of Fine Arts, Houston, TX; National Gallery of Victoria, Melbourne, Australia; National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art, Seoul; the Solomon R. Guggenheim Museum, New York; Tate Modern, London; and Walker Art Center, Minneapolis, MN.
In 1999, Lee Bul was awarded an honourable mention at the 48th Venice Biennale for her contribution to both the Korean Pavilion and the international exhibition curated by Harald Szeemann. In 2014, she received the Noon Award at the 10th Gwangju Biennale, given to an established artist who has produced the most experimental work that embodies the theme of the biennale
Text courtesy Lehmann Maupin.
Although Art Basel in Hong Kong is the youngest of the Art Basel fairs, and a relative newcomer to the international art fair circuit, it has now become a major attraction for collectors and galleries from around the world. The seventh edition of Art Basel in Hong Kong saw thousands of art courtesans and benefactors kick off the week with a...
If Koyo Kouoh 's 37 th EVA International took the Easter Rising of 1916 as its starting point, marking the beginning of a revolutionary period that culminated in the establishment of the Irish Free State in 1922, then Inti Guerrero's follow-up edition continues the trajectory. With no title, the 38 th edition of EVA International (14...
Gwangju is only the sixth largest city in Korea but its history has become well-known to art audiences around the world through its provocative biennale, now a fixed event in the international art calendar. The Gwangju Biennale began twenty years ago specifically to commemorate the historic fight for democracy that took place in the city, known...
In March 2014, a show opened at Paul Kasmin Gallery titled Alexander the Great: The Iolas Gallery 1955–1987 , which celebrated the legendary gallerist Alexander Iolas, who was among the first to introduce American audiences to Surrealism and who gave Andy Warhol his first gallery exhibition (and, coincidentally, also his last in 1987). The...
This year, all Koreans at the Venice Biennale are women. The Korean Pavilion is curated by Kim Hyun-jin and three participating artists Jung Eun-young, also known as siren eun young jung, Jane Jin Kaisen and Nam Hwa-yeon. At the main exhibition, the works of three Korean women artists Lee Bul, Suki Seokyeong Kang and Anicka Yi are on view.
Feminist science-fiction has long played on the idea that women are liberated when humans are confronted with other intelligences.
The sci-fi imagination of Lee Bul literally lit up the Hayward Gallery last night, as one of the artist’s works set on fire just an hour before the private view was scheduled to occur. It was an appropriate moment for the exhibition, as the works look as though they have smashed into the gallery from another cosmos.
Lee Bul's earliest memories are defined by dust. In a military town outside Seoul, where she lived aged 11, many of the trees had been cut down for fuel, while, under the dictator Park Chung-Hee's modernisation programme, new roads were begun and abandoned. The inhabitants of her neighbourhood's cheap and fragile houses came and went: soldiers...
Artist Lee Bul reveals her thinking and inspiration behind her site-specific installation at the Turbine Hall of the Industrial Precinct on Cockatoo Island, titled Willing To Be Vulnerable (2015–16) for the Embassy of the Real.
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