290:(Seoul, South Korea) in Seoul in 2015, is a work of installation performance art exploring the nature and structure of the human body as architectural space within the context of technological, aesthetic, and theoretical approaches. The audience experiences the creation of the ideal body by walking through a huge "black box" space, installed as an interlocking transitional space, in a 3D printed corset temporarily attached to each individual's body. A subsequent performance by six performers, representing actualization of the ideal body, while simultaneous projection on canvas captures the historical progression of representation, conveys a "new space" combining the real world and the virtual world. The space where the real world and virtual world co-exist and where the unseen reality becomes presented reality is demonstrated. The audience becomes part of the performance art and also function as the subjects driving the intention of the artist. At the end of the performance, the audible, disembodied questions "Who are you?" and "Where are you?" are projected. These common questions resonate freshly in this moment. The performance leads the audience to contemplate identity contextualized by the body as architectural and malleable.
501:. The first recording shows the shadows of performers through a lace curtain. The second recording provides an overhead view of the same performance, which appears horizontally and parallel to the first recording. The performance, which takes place in the interior of the building, starts with the appearance of a queen, who is wearing items of fashion that visually symbolize her authority, including a ruffed collar and an elaborate gown, moving across the stage trailed by a procession of followers. All the performers wear the architectural elements of form, structure, material, plan and section as fashion items. At the beginning of the performance, the performers' fashionable accoutrements visually project power to the audience. As the performance proceeds, the performers progressively deconstruct the elements of power. At the end of the performance, the audience is invited to interact with these elements of power, inhabiting the same stage space as the performers, wearing and playing with these fashionable items as toys while appearing as shadows behind the curtain.
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traditional authority of churches, wearing an exaggerated red 50-meter long bridal veil. The bride and groom enter the space simultaneously and equally, and follow a line of candles prepared with the help of the audience to a small central stage. Here, the ceremony is performed, integrating
Western visual elements of fashion and architecture (seen) and Eastern actions of symbolic meaning (unseen). After the ceremony, the removal of the bride's veil symbolizes the discarding of restrictions and challenges society's taboos about weddings and marriage. The performers leave behind the existing strictures and seek a new liberated future outside the gallery space.
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225:, South Korea. She lived in Seoul and Japan during her early life. Influenced by eastern Asian traditional cultures, she began to incorporate a deep interest in combining food, clothing and shelter, which are basic necessities of life, to the arts. She became interested in the philosophical origin of visual representation and began to study architecture. She received her Master of Architecture degree from the
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440:. The earth is thought of as yin and the sky as yang. Sunset occurs at the point where the sky and the earth meet. For that reason, Korean wedding ceremonies traditionally occur during the sunset hour. This art performance was inspired by the desire to question current wedding culture, which has been highly distorted as Korean culture adopts Western traditions without question.
229:. Her work reflects the harmonization of philosophy, fashion, and architecture. Her installation and performance art has been shown at galleries and museums worldwide. Currently, she resides in Los Angeles, California in the United States. She also provides art, design, and architecture consultation to major companies and to the cities of Seoul and
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in the 18th century to efficiently control people through the usage of space, and which visually looks strikingly like a ruff. By interconnecting the ruff and the
Panopticon from a philosophical perspective, Lee has integrated fashion and architecture in order to explore the interrelation between the
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As soon as the viewers, who have been provided with ruffed collars, enter the room, they are dominated by the appearance of an endless array of ruff collars and view themselves through endless reflected images. The small room is transformed into an infinite world, while a viewer from outside the room
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This work, which is a reenactment of the artist's own wedding ceremony, incorporates the symbolic color red, and interprets the traditional meanings of the wedding ceremony in a contemporary context. The performer playing the bride makes her appearance in a high-ceilinged gallery, which signifies the
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Human experience begins with the relationship between the act of viewing and the viewed object. When one views an object, he or she perceives it and forms a relationship with it. The act of viewing comprises an important aspect of this artwork. The theme of ocular centrism explores the relationship
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of France, le Roi-Soleil, in order to showcase the authority of France. This artwork features a new hall of mirrors, conveying the concept of decentralized authority. In a small room in the
Kunsthalle, mirrors are placed on the left and right walls and on the floor and ceiling, while the front wall
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In this space, viewers discover that they are slaves to subconscious desires that are not filtered through their perceptions. Rather than responding to the image of the Queen and the endless repetition of images with the awe and deference typical of art galleries, viewers interact organically with
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The installation proposes the human body as a vessel subject to design and reconfiguration. The performers embody the dimensionality of conceptualized reality. However, the imaged body is re-created through the processes of digital information and 3D printing. This coalescence of actualized and
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Event of
Philosophy 2013 (Alain Badiou and Slavoj ลฝiลพek in South Korea)" held in the Seoul Platoon Kunsthalle in South Korea. Her work has been widely noted for reflecting the current historical moment of contemporary art by combining various genres, including architecture, technology, virtual
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A good example of the relationship and restrictions in the area of fashion is the ruff collar and cuffs that were popular amongst the nobles and royalty of 16th and 17th century Europe to project their status and power. In architecture, a good example is the
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of subject and object, mediated by sight, which acts as a medium of power and restriction. By spatially aligning this concept with the format of the
Panopticon, Lee's artwork symbolically illustrates the desire and awe that we experience for objects we see.
473:. At the base of the Queen's portrait, a large, red ruff collar sits at the level of her neck. This room of mirrors expresses the organic change inherent to ocularcentrism by using mirrors to explore the interrelationship of the viewer and the viewed.
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Designed specifically for the Zizek/Badiou Event of
Philosophy 2013, the Flexile Panoptiosis occupied the smallest unit of the Kunsthalle gallery. This work challenged ideas of spatial and cultural authority.
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the mirror room, lying on the floor, making funny faces, and laughing at the results. While the artwork intrinsically projects power, viewers are able to free themselves from the authority of images.
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This opening ceremony underscored themes of freedom, social deconstruction, and challenging taboos, which featured prominently in the subsequent talks given by
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artist, architect, director, and writer exploring the experimental nature of contemporary art from the perspectives of architecture, fashion, and philosophy.
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will see a distorted shadow through the window. The opulent interior of the mirror room is simply perceived as flat shadows and reflections from the outside.
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2017 Guest
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JungAng Ilbo. New media artist
Kyunghwa Lee invited to 2017 Hong Kongโs Art Basel Conversations and Salon
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The Korea Times Artist uses 3D printing and holograms to explore evolving perception of physical bodies
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She serves as the
International Director of the Nam June Paik Cultural Foundation and a columnist for
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Conflation of
Spatiality by Ex Nihilo Production and Corsetization of the Body Through 3D Printing
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Conflation of Spatiality by Ex Nihilo Production and Corsetization of the Body Through 3D Printing
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Conflation of Spatiality by Ex Nihilo Production and Corsetization of the Body Through 3D Printing
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2017 Plasticity: Architectural Bodies - Telepresence Philosopher's Talk Performance, Los Angeles
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2017 Panelist of Art Basel Hong Kong 2017 | Technologies of the Present | New Media at Work
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New Original Works from LAโs Dancers, Musicians, and Performance Artists - Hyperallergic
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2013 The Zizek/Badiou Event of Philosophy 2013, Platoon Kunsthalle, Seoul, South Korea
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The Korea Times World's first sustainable floating city in Korea and Busan's expo bid
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2018 Preserving Virtuality in Continuity | From New Media to the Posthuman in Art
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and was formerly the International Director at the Korean Society of Art Theory.
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theAsiaN. Modern Marriage as Satirized by the Performance Art Exhibition โTabooโ
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2018 Malleable Bodies: Flusser, Plasticity, and the Corset, REDCAT, Los Angeles
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of art and philosophy have gained attention since the opening ceremony of "The
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Two recordings of "flexile panoptiosis" are projected onto the faรงade of the
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Telepresence Philosopher's Talk Performance, Building Bridges Art Foundation
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2015 Malleable Bodies: Flusser, Foucault, Plasticity, and the Corset, MMCA
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Urban Facade: Integration of Fashion and Architecture: Projection Mapping
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Urban Facade: Integration of Fashion and Architecture: Projection Mapping
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Korea Daily. Serene but Silly Ink Painting Comics Harmonize with Pop Art
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KyungHyang Sinmun. Visual Artist KyungHwa Lee and "The Body as Fashion"
912:์์ ๋ธ๋ก๊ทธ '๋ฏธ์ ๊ด ๊ฐ๋ ๋จ์'. 2017 ์ํธ๋ฐ์ ค ํ์ฝฉ, ์ํธ์ผํธ๋ด ๋ฑ ํ์ฝฉ์ํธ์ํฌ, ํ๊ตญ์ ์ด๋ค ๊ฐค๋ฌ๋ฆฌ์ ์๊ฐ๊ฐ ์ฐธ์ฌํ๋?
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Korea Times. New Media Art, Considering the Form of an Artistic Future
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comprises a street-facing window covered with an image of the head of
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Transition In-Between: Performance Art: Opening Ceremony for the Event
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Transition In-Between: Performance Art: Opening Ceremony for the Event
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902:์ค์์ผ๋ณด. ํ์ธ ์๊ฐ '์ํธ ๋ฐ์ ค ํ์ฝฉ'์ ์ด์ฒญ - ๋ด๋ฏธ๋์ด ์ํฐ์คํธ ์ด๊ฒฝํ ํ
๋ ํ๋ ์ฆ์ค ๋ฐฉ์์ผ๋ก ํ์ฝฉ๊ณผ LA ๋์์ ์ ์
927:๊ฒฝํฅ์ ๋ฌธ. Body Metamorphing ํจ์
๋์์ด๋ ๊ฒธ ๊ฑด์ถ๊ฐ ์ด๊ฒฝํ์จ "์ฑํยท๋ช
ํ๋๊ตญ ํ๊ตญโฆ ๋ชธยท์ถ์ ์ฒ ํ์ด ์๋ค"
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The traditional Korean wedding ceremony signifies the union of the
676:"Kyunghwa Lee Screening + Talk "Plasticity: Architectural Bodies""
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Monochromatic Flat Shadow of the Corset Body as Idealized Reality
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Monochromatic Flat Shadow of the Corset Body as Idealized Reality
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907:ํ๊ตญ์ผ๋ณด. ์ด์ฐํยท๊ถ์์ฐ ์ํ์ถํ ์ธ๊ณ์ ์ํธํ์ด - 34๊ฐ๊ตญ 241๊ฐ ๊ฐค๋ฌ๋ฆฌ ์ฐธ์ฌ โ๋ํ์ ์ด๋กฑโ ์ด๊ฒฝํ์จ ์ด์ฒญ
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The Korea Times Architecture exhibition as brain of future city
723:"The Zizek/Badiou Event of Philosophy 2013, Platoon Kunsthalle"
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Three-DimensionalIty of the Appearance of the Disciplined Body
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imagined reality is made manifest in contemporary experience.
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Malleable Bodies: Flusser, Foucault, Plasticity, and the Corset
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Four-Dimensionality of the Transformation of the Digital Body
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Two-Dimensionality of the Photographic Projection of the Body
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Three-DimensionalIty of the Appearance of the Disciplined Body
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The Zizek/Badiou Event of Philosophy 2013, Seoul, South Korea
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Four-Dimensionality of the Transformation of the Digital Body
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Two-Dimensionality of the Photographic Projection of the Body
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Nam June Paik, climate change and the moon - The Korea times
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https://www.kccla.org/events/view/?eid=5909&cm=&cy=
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JungAng Ilbo. Korean Artist Invited to Art Basel Hong Kong
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A "Hall of Mirrors" was originally built at Versailles by
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South China Morning Post Korean art fascinates Art Basel
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Visual art and new media artist, architect and director
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The Korea Times Expanding and diversifying Korean wave
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456:Flexile Panoptiosis: Mirror Room: Installation Art
488:Flexile Panoptiosis: Mirror box: Installation Art
747:Flexile Panoptiosis solo exhibition, space GGOOL
142:but its sources remain unclear because it lacks
288:National Museum of Modern and Contemporary Art
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227:Harvard University Graduate School of Design
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922:์์ ๋ธ๋ก๊ทธ '๋ฏธ์ ๊ด ๊ฐ๋ ๋จ์'. Malleable Bodies ์๊ฐ์ธํฐ๋ทฐ
897:๋ด์์ค. ๋ด๋ฏธ๋์ด ์๊ฐ ์ด๊ฒฝํ, 2017 ์ํธ๋ฐ์ คํ์ฝฉ '๋ํ์ ์ด๋กฑ' ์ด๋
847:Segye Ilbo. Ego in the era of body-tuning
173:Learn how and when to remove this message
972:Harvard Graduate School of Design alumni
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553:2014 Body Metamorphing, Gana Art Center
812:Documentary about artist Nam June Paik
100:Plasticity : Architectural Bodies
241:Lee's experimentations to reveal the
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932:theAsiaN. ์ด๊ฒฝํ ๊ฐ์ธ์ Body Metamorphing
917:์ธ๊ณ์ผ๋ณด. Malleable Bodies ์ธ์ฒดํ๋์๋์ ์ ์์
882:ํ๊ตญ์ผ๋ณด. โ์ธ๊ฐ์ ๋ชธ์ ๋ํ ์ ํต์ ยท์ฒ ํ์ ยท์ค๋ฆฌ์ ๋ฌผ์ ์ ๊ธฐโ
802:Special Documentary "Nam June Paik"
817:Special Documentary- Nam June Paik
700:Body Metamorphing, Gana Art Center
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65:Harvard Graduate School of Design
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877:์ค์์ผ๋ณด. 3D ํ๋ฆฐํ
์ผ๋ก '๋ชธ' ์ ์๋ฆ๋ค์์ ํํ๋ค
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967:Ewha Womans University alumni
594:. 8 June 2018. Archived from
592:"NOW Festival 2018: Week Two"
409:Philosopher Video Interview
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942:theAsiaN. <๊ธ๊ธฐ> ๊ณต์ฐ๋ฆฌ๋ทฐ
862:ํ๊ตญ์ผ๋ณด. ๋ฐฑ๋จ์ค์ ๋ฏธ๋์ด ๋ฐฑ์ ์ผ๋ก ์ธ์ ์น์
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892:ํ๊ตญ์ผ๋ณด. ์ด์ด๋จยท์ด๊ฒฝํ์จ โ์๊ฐ์์ ๋๋ดโ
872:์ค์์ผ๋ณด. 3Dํ๋ฆฐํ
๋ฐ๋โฆ๋น์ ์ ๋๊ตฌ์ธ๊ฐ?
573:2012 Flexile Panoptiosis
128:This article includes a
618:"Preserving Virtuality"
518:viewer and the viewed.
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282:", exhibited at the
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266:"Malleable Bodies:
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568:Urban Facade
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149:Please help
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95:Notable work
30:KyungHwa Lee
654:"Art Basel"
632:"Art Basel"
192::
155:introducing
54:South Korea
951:Categories
733:2016-01-24
578:References
511:Panopticon
499:Kunsthalle
384:Transition
362:Transition
278:, and the
276:Plasticity
243:interstice
200:visual art
466:Louis XIV
204:new media
21:Gyeonghwa
406:Epilogue
272:Foucault
556:2013 ๊ธ๊ธฐ
268:Flusser
198:) is a
151:improve
602:5 July
395:Stage3
373:Stage2
351:Stage1
284:REDCAT
280:Corset
251:Badiou
190:Korean
247:Zizek
237:Works
231:Busan
223:Seoul
136:, or
69:MArch
50:Seoul
604:2018
429:and
202:and
45:Born
233:.
195:์ด๊ฒฝํ
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