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 .
'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'
In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .
Beginning around 2005, Lee Bul began an ambitious series of sculptures and related works on paper and canvas under a broad rubric titled “Mon grand récit”—slyly inverting Lyotard’s idea of the impossibility of “le grand récit,” or “the master narrative” of progress and liberation, in our age. Fusing the fractured tropes and narratives of collective utopian aspirations with the artist’s own experiences of coming of age in Korea during a period of turbulent social transformation, “Mon grand récit” constitutes a fiercely imaginative yet melancholic topography of what Lee sees as “the collapse and disintegration of progressivist projects to reinvent the world.” In the fall of 2007, Fondation Cartier pour l’art contemporain, Paris, mounted a major solo exhibition showcasing these works.Read More
Born in Seoul in 1964, Lee Bul has been featured in solo exhibitions throughout the world, including the Fondation Cartier pour l’art contemporain, Paris (2007); Domus Artium, Salamanca (2007); Museum of Contemporary Art, Sydney (2004); Centre for Contemporary Arts, Glasgow (2003); The Power Plant, Toronto (2002); MAC, Galeries Contemporaines des Musées de Marseille, Marseille (2002); and the New Museum of Contemporary Art, New York (2002). In 1999 she was awarded a prize at the 48th Venice Biennale for her contribution to both the Korean Pavilion and the international exhibition in the Arsenale curated by Harald Szeemann. She was a finalist for the 1998 Hugo Boss Prize. In 1997, the MoMA, New York, commissioned the artist to create her signature installation of decomposing fish adorned with sequins for the museum’s Projects gallery. The exhibition was brought to a premature close, however, amid controversy over the work’s inescapable olfactory component.
Text courtesy PKM Gallery.
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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