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.
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Ocula contributor Diana d'Arenberg gives her annual post-mortem of Hong Kong's Art Basel week, running through some of the highs and lows of the fair's seventh edition, which opened to the public from 29 to 31 March 2019.
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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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