Title
Lee Bul: Shaping Science Fiction Fantasies Out of Crystal and Glass
Posted In
Installation
Artist
Lee Bul
Detailed Information
TitleLee Bul: Shaping Science Fiction Fantasies Out of Crystal and GlassPosted InInstallationArtistLee Bul

Although research, science and technology are all meant to be the guiding forces leading to a better tomorrow and the optimization of our living standards, sometimes the question as to whether an over-technological future really stands for the perfect utopia society we’re looking for really needs to be asked. With critical voices from all disciplines questioning the positive impact of scientific achievements, especially when we think of the atomic bombs that destroyed Nagasaki and Hiroshima, one particular artist has stood out.
 

Lee Bul, Diluvium (2012), a floor installation covering a large part of Mudam's Grand Hall.Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Lee Bul, Diluvium (2012), a floor installation covering a large part of Mudam's Grand Hall.
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulAfter Bruno Taut (Beware the Sweetness of Things), 2007Perles en cristal, verre et acrylique sur armature en acier inoxydable, filet d’aluminium et de cuivre, PVC,chaînettes en acier et aluminium258 × 200 × 250 cmGalerie Thaddaeus Ropac, Paris – Salzburg© Photo : Patrick Gries, Courtesy de l'artiste et de la Foundation Cartier pour l’art contemporain, Paris

Lee Bul
After Bruno Taut (Beware the Sweetness of Things), 2007
Perles en cristal, verre et acrylique sur armature en acier inoxydable, filet d’aluminium et de cuivre, PVC,
chaînettes en acier et aluminium
258 × 200 × 250 cm
Galerie Thaddaeus Ropac, Paris – Salzburg
© Photo : Patrick Gries, Courtesy de l'artiste et de la Foundation Cartier pour l’art contemporain, Paris

LEE BULMon grand récit: Weep into stones . . ., 2005Polyurethane, foamex, synthetic clay, stainless-steel and aluminum rods, acrylic panels, wood sheets, acrylic paint, varnish, electrical wiring, lighting.Approximately 280 x 440 x 300 cm as installed.Installation view, Tapei Biennial.Collection of HITEJINRO CO. LTD, SeoulInstallation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

LEE BUL
Mon grand récit: Weep into stones . . ., 2005
Polyurethane, foamex, synthetic clay, stainless-steel and aluminum rods, acrylic panels, wood sheets, acrylic paint, varnish, electrical wiring, lighting.
Approximately 280 x 440 x 300 cm as installed.
Installation view, Tapei Biennial.
Collection of HITEJINRO CO. LTD, Seoul
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulAfter Bruno Taut (Beware the Sweetness of Things), 2007Perles en cristal, verre et acrylique sur armature en acier inoxydable, filet d’aluminium et de cuivre, PVC,chaînettes en acier et aluminium258 × 200 × 250 cmGalerie Thaddaeus Ropac, Paris – SalzburgInstallation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Lee Bul
After Bruno Taut (Beware the Sweetness of Things), 2007
Perles en cristal, verre et acrylique sur armature en acier inoxydable, filet d’aluminium et de cuivre, PVC,
chaînettes en acier et aluminium
258 × 200 × 250 cm
Galerie Thaddaeus Ropac, Paris – Salzburg
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Known for being science-sceptical but also for strongly criticizing society’s search for utopia, South Korean artist Lee Bul creates sinister but also visual astounding works depicting the progress of humanity. In the process, she touches all kind of topics regarding the obsession for perfection, thus translating this human desire to a bizarre dimension. Bul, who hails from a very political upbringing, learned from the first tentative steps that she took to question her cultural surroundings. And with South Korean society’s constant struggle with coming to terms with its traditional heritage and combining it with its lightening fast technological developments, suffice it to say that Lee Bul has had a fair share of subject matter to go on.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulMon grand récit: Weep into stones . . ., 2005Polyurethane, foamex, synthetic clay, stainless- steel and aluminum rods, acrylic panels, wood sheets, acrylic paint,varnish, electrical wiring, lighting280 x 440 x 300 cmHITEJINRO CO. Collection, SeoulInstallation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Lee Bul
Mon grand récit: Weep into stones . . ., 2005
Polyurethane, foamex, synthetic clay, stainless- steel and aluminum rods, acrylic panels, wood sheets, acrylic paint,
varnish, electrical wiring, lighting
280 x 440 x 300 cm
HITEJINRO CO. Collection, Seoul
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulVia Negativa, 2012Bois, miroir acrylique, miroir sans tain, LED, peinture alkydeEditions anglaise et coréenne de The Origin of Consciousness in the Breakdown of the Bicameral Mind de Julian JaynesEnviron 290 × 600 × 600 cmCourtesy Studio Lee BulInstallation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Lee Bul
Via Negativa, 2012
Bois, miroir acrylique, miroir sans tain, LED, peinture alkyde
Editions anglaise et coréenne de The Origin of Consciousness in the Breakdown of the Bicameral Mind de Julian Jaynes
Environ 290 × 600 × 600 cm
Courtesy Studio Lee Bul
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulA Perfect Suffering, 2011Perles en cristal, verre et acrylique sur chaînettes en acier et bronze, acier inoxydable, structure en aluminium163 × 174 × 116 cmCollection Mudam LuxembourgAcquisition 2013© Photo : Jeon Byung-cheol. Courtesy Studio Lee Bul, Séoul

Lee Bul
A Perfect Suffering, 2011
Perles en cristal, verre et acrylique sur chaînettes en acier et bronze, acier inoxydable, structure en aluminium
163 × 174 × 116 cm
Collection Mudam Luxembourg
Acquisition 2013
© Photo : Jeon Byung-cheol. Courtesy Studio Lee Bul, Séoul

Entering the Mudam - Museum of Modern Art in Luxembourg where Lee Bul’s work is currently being showcased in a wide ranging exhibition, visitors immediately notice the humanoid female figures hanging from the ceiling. Dating from the 90’s, the ''Cyborg'' and ''Anagram'' series signify the creative pinnacle of the artist’s interest in Western and Asian societies’ fixation with beauty,  and cosmetic surgery in particular. Part mechanical, part feminine and organic, these sculptures seem to point to a manga-inspired version of the Frankenstein myth. In exploring the hazards of genetic science and creating these nightmarish body shapes which are often missing a head or a limb, the artist also references idealized sculptures from Greek antiquity such as the ''Nike of Samothrace''.

Another important subject that Lee Bul has been working on since 2005 is the cultural construct of architecture. Showcasing in the Mudam’s Basement, her 2007 series ''Sternbau'' inspired by futurist architect Bruno Taut's vision of a crystalline city in the Alps features opulently sparkling, chandelier-like floating castles in the air. Despite the ethereal beauty of it all, it becomes crystal-clear that these architectural models of the future would however, be cold, inhuman and toxic places to live in. Finally, in the museum’s Studio section, visitors are given an insight into Bul’s artistic creativity. By reconstructing her studio, containing drawings, models and materials, understanding Lee Bul’s work is enhanced through the curatorial interpretation through presenting it in very different stages of its development.

The exhibition at Mudam - Museum of Modern Art  in Luxembourg will be open until the 9th of June, 2014. It is the biggest exhibition so far of Lee Bul’s work in Europe and is definitely worth a visit. Other solo exhibitions featuring showcasing other elements of her work are currently being held in New York at the Lehmann Maupin Gallery (from May 2 to June 21, 2014) and in Birmingham at the HYPERLINK Icon Gallery (from 10th of September to 9th of November 2014) come Autumn.

Lee Bul lives and works in Seoul, South Korea.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulAmaryllis, 1999Collection Arario, Séoul© Photo : Watanabe Osamu. Courtesy Mori Art Museum, Tokyo.

Lee Bul
Amaryllis, 1999
Collection Arario, Séoul
© Photo : Watanabe Osamu. Courtesy Mori Art Museum, Tokyo.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee BulCyborg W1, 1998Collection Artsonje Center, Séoul© Photo : Watanabe Osamu. Courtesy Mori Art Museum, Tokyo

Lee Bul
Cyborg W1, 1998
Collection Artsonje Center, Séoul
© Photo : Watanabe Osamu. Courtesy Mori Art Museum, Tokyo

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

LEE BULUntitled (Infinity wall), 2008wood, mirror, LED, glass, polyurethane and acrylic63 x 47.5 x 7 inches160 x 120.7 x 17.8 cmInstallation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.photo © Eric Chenal.

LEE BUL
Untitled (Infinity wall), 2008
wood, mirror, LED, glass, polyurethane and acrylic
63 x 47.5 x 7 inches
160 x 120.7 x 17.8 cm
Installation view at the exhibition LEE BUL, Mudam Luxembourg (5 October 2013 - 9 June 2014.
photo © Eric Chenal.

Lee Bul: Shaping Science Fiction Fantasies Out of Crystal and Glass

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