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Lee Bul

Commencing her career as an artist in the late 1980s, Lee Bul was able to gain enough traction in the early 1990s through participating in multiple group and solo exhibitions. She is renowned for her Cyborg series (1997-2011), which is constructed of sleek sexualised sculptures that reflect political and societal interpretations of the feminine form, inspired by the Japanese art, manga and anime. There is a real sense of irony regarding her Cyborg collection as their ‘polished appearance belies their laborious manual construction’ [Rachel Kent, 2004]. Embedded in these uncanny sculptures are motifs that explore the power of cloning, genetic engineering and cosmetic surgery. These ideals display the crossroads of technology and the human body, raising queries about transformation and identity.

Cyborg, 1998

One of her earliest works to date include an art performance named – “Sorry for suffering- You think I’m a puppy on a picnic?” This performance was spread over 12 days on the streets of South Korea to Japan, where Bul wore a self made costume depicting a sort of creature/ monster. Some may say this act was provoked due to the controlling state of the East Asian government, specifically over the matter of women’s bodies. To provide some political context, Bul was born in the 1960’s in South Korea where the country was under strict military dictatorship. However she ‘came of age during a period of incredible social and economic upheaval marked by the transition to a democratic state’ [Lee Bul, 2021].This ultimately provided her with an opportunity to freely express debatable social and political issues through her performances.

Sorry for suffering- You think I’m a puppy on a picnic?, 1990

This act led her to the Tokiwaza Theater, where she reproduced her most controversial performance “Abortion.” Naked and bound with ropes, she was suspended from the ceiling. This piece, powerful yet disturbing, shows Bul’s physical and emotional discomfort throughout the run time of 2-3 hours. Shockingly she carried out this performance every day until the end date of the ‘exhibition.’ I believe she was driven from her own personal experiences with abortion and this emotional turmoil is laid out bare for the viewers to witness.

Abortion, 1989

To me, Bul wanted to unapologetically share the raw struggles of women in South Korea. I am a fan of how unpleasant her performances are as it challenges the political and socials norms of how women should be perfectly upheld. She embraces the feminine discomfort and boldly confronts taboo subjects, tabling conversations regarding gender roles to be faced publicly. Ultimately her work not only questions women’s expectations but also encourages women to reclaim their narratives.  

Bibliography:

Rachel Kent, RK (2004) Lee Bul | Exhibitions | MCA Australia

Available at: https://www.mca.com.au/exhibitions/lee-bul/

(Accessed: 13 Oct 2024)

Thaddaeus Ropac, TR (1998) Lee Bul Cyborg W1 [Photograph]

Available at: https://ropac.net/artists/31-lee-bul/works/11870/

(Accessed: 13 Oct 2024)

Lee Bul, LB (2021) Thaddaeus Ropac

Available at: https://ropac.net/fr/news/438-south-korean-artist-lee-bul-on-her-homecoming/

(Accessed: 13 Oct 2024)

Sabukaru (2022) Sorry for suffering – You think I’m a puppy on a picnic? [Photograph]

Available at: https://sabukaru.online/articles/lee-bul-sorry-for-suffering

(Accessed: 13 Oct 2024)

Stefan Altenburger, SA (1989) Abortion [Photograph]

Available at: https://www.artsy.net/artwork/lee-bul-abortion

(Accessed: 13 Oct 2024)

Bloom (2015) Pushing the Boundaries of Korean Art: Lee Bul | Brilliant Ideas Ep. 16

Available at: https://www.youtube.com/watch?v=WhyeyI3fKY8

(Accessed: 13 Oct 2024)

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When creating this piece I wanted to capture the feminine and masculine aspects of the persona. We were initially presented with 2 models who posed as cross dressers and were challenged to create illustrations that highlighted the ‘characters’. In the life drawing room both models seemed very confident at posing with the items of clothing however when I asked the question of whether photography was allowed I was given two very different responses. The female model said “yeah why not…. I have no problem with that” however the male model stated “Are you trying to ruin my life, I can’t have photos of me like this, especially on social media!!” His tone was humorous however this goes to show how the weight of judgement from society impacts one’s confidence when they are displaying something out of the norm. In this illustration I used ink and focused on creating a range of different marks and played with the weight of line (this was all done with the same brush). The subtle masculine notes are challenged with the boldness of female associated characteristics. Overall I think this image was able to successfully capture the juxtaposing elements of cross dressing.

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Reading Report: Investigating Diaspora Art

The term ‘diaspora’ derives from the ancient Greek word ‘dia speiro’, translating to the term “to sow over.” The general understanding of this word is that it refers to the migration of a large group of people from their motherland to a more developed region. Sieglinde Lemke takes time to appreciate the history of not only this movement, but also the chosen artists techniques and subjects. Whilst reading this text the ideas of belonging, displacement and culture were very evident within the identities exhibited in the artworks. She highlights the historical and societal importance of this creative expression, and how the diasporic views of these three artists, created an open discussion around community and acceptance for immigrants. Four main themes were explored in this text: Cultural Identity, Historical Context, Visual Language and the Legacy of Future Impact. Cultural Identity: It’s very evident that the book focuses on the exploration of how each artist conveys their understanding of cultural heritage; alongside how they take to respond to social injustices like, racism, inequality and the pursuit of the self. This is also highlighted through her themes of Roots, Routes and Riots, which are embedded into the artworks. Historical Context: Lemke highlights the artists importance within the broad historical narrative of African diaspora through examining the impact of migration, colonialism and cross-cultural exchange. Visual Language: There is a discussion regarding each artists approach and the powerful dynamic of expressionism is questioned. You are able to detect the distinctive aesthetics of each artist- Douglas uses modernists forms, Lawrence focuses on narrative storytelling and Basquiat applies the rawness of a graffiti-inspired aesthetic. Legacy of Future Impact: Most powerful, is the consideration of how these pieces raised contemporary discussions about race and representation in art. Ultimately, Lemke’s analysis of these artists affirms the significant role of art in expressing diaspora experiences, presenting a platform for the voices of migrants.