动态 | 天线空间宣布代理艺术家李美来Mire Lee

Artist Portrait 艺术家肖像

天线空间荣幸地宣布代理艺术家李美来（Mire Lee）。

Mire Lee (1988, Seoul) lives and works between Seoul and Amsterdam. She earned a bachelor’s degree from the Department of Sculpture at the Seoul National University College of Fine Arts (2012) and a graduate degree in media art from the same institution (2013). She has recently been shortlisted for the Future Generation Art Prize 2021. Her work will be the subject of solo exhibitions at Schinkel Pavilion, Berlin (2021, two-person) She has participated in residencies at the Rijksakademie van beeldende kunsten, Amsterdam (2018); Seoul Museum of Art (SeMA Nanji Residency) (2017) and Cité internationale des arts, Paris (2015).

Untitled, Pigmented silicone and other mixed media, 2021

展览现场 Installation View: 

Contamination (Group Exhibition), Kunstverein Freiburg, 2021

The Liars, latex, chain, thickened silicone oil, 2021

展览现场 Installation View: 

CHAPTER 40UR (Group Exhibition), Het HEM, 2021

Mire Lee’s promethean sculptures and installations are motored by minimal technologies such as electric motors and pumps, evocative of dysfunctional organic machines. These humanlike objects are defined by affection reproduce entropic movements painstakingly. They crawl around, twisting on the ground, revealing viscous liquids (grease, lubricants, glycerine…) that circulate and spread through the moving tangles of pipes and cables, triggering an amalgam of nausea and arousal.Reflecting the artist’s conflicted affective relationship with her materials, which include PVC hoses, silicone, steel, plaster, plastic and clay, these works explore the ambiguous tension between love and hatred, attraction and repulsion, domination and submission.

Horizontal Forms, mixed media, 2020

展览现场 Installation  View: 

Carriers (Solo Exhibition), Art Sonje Center, 2020

Horizontal Forms (details)，mixed media, 2020

展览现场 Installation  View: 

Carriers (Solo Exhibition), Art Sonje Center, 2020

Carriers, silicone, pvc hoses and other mixed media, 2020

展览现场 Installation View: 

Carriers (Solo Exhibition), Art Sonje Center, 2020

这些情感张力的来源是个体的吸引和依恋，同时又带有一层强烈的焦虑感。这些感觉共同转移到她的雕塑中，让这些作品承载情感的重负，显露出与生俱来的不安。李美来认为，她的艺术实践是一种矛盾关系的后果。在这种矛盾关系中，她同时对材料的输入和雕塑结果的输出都密切关注。她认为她对雕塑情感的深切投入很容易让自己陷入心动、迷恋、窥伺、侵犯或暴力之中。因此，她的艺术实践总是围绕这一种虐恋式的关系，而艺术家想掌控对材料的塑造，让它们臣服于自己的意志。在这个双向过程中，艺术家采用本能和身体的形式，发展出过度和超载的审美，展现着深刻的亲密对抗。

The tension comes from a personal attraction and attachment that also contains a strong layer of anxiety; jointly these feelings are transferred onto the sculptures, emotionally laden volumes that reveal hereditary discomfort. Lee perceives her practice as a consequence of ambivalent relations in which she takes ardent care of both her material input and sculptural outcomes. She testifies that her affective sculptural dedication can easily slip into fondness, fetishistic obsession, voyeurism, violation, or violence. Thus, her practice revolves around an abusive, almost masochist，relationship in which Lee wants to dominate and mould the material, has it surrender to her wants. This reciprocal process leads the artist to an instinctive and bodily form, affected by intimate confrontations with an aesthetic of excess and overdrive.

Carriers, horizontal forms (details), mixed media

展览现场 Installation View: 

Breathing Through Skin(Group Exhibition)‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍, Antenna Space, 2020

天线空间与李美来的首次合作在2020年11月，由李佳桓策划的 “切肤之息Breathing Through Skin” 中，呈现了一组庞大的《带原者，平面式》（Carriers, Horizontal Forms, 2020）。这件作品将艺术家对吞噬癖这一网络亚文化的哲学思考延伸到雕塑创作中；在动力装置的辅助下，一大一小的两件雕塑相互串联，构成循环，使之如同两具浸润在黏液中的两栖动物，共生依存。

Antenna Space has first presented Mire Lee's Carriers, Horizontal in the group exhibition Breathing Through Skin curated by Alvin Li during November 2020.  This work reflects the artist's philosophical rumination about the concept of Vorarephilia, an internet subculture. With the aid of a pump, two sculptural bodies of different size and volume are connected through an internal circulatory system. When the power is on, the two bodies then become amphibians immersed in a slimy substance, tangled in an interdependent and symbiotic relation.

Tender buttons hanger, resin and other mixed media, 2019

展览现场 Installation View: 

In between uneven stairs, Tunnel Tunnel, 2019

Tender buttons hanger (details), resin and other mixed media, 2019

双个展 Two-Person Exhibition: HR GIGER & MIRE LEE

@ Schinkel Pavillon，Berlin 

18th September 2021

作品图 Artwork images: courtesy of the artist and Schinkel Pavillon

李美来（b.1988，韩国首尔）现工作生活于阿姆斯特丹和首尔。她于2012年在首尔大学美术学院的雕塑专业获得学士学位，并于次年获得媒体艺术硕士学位。最近她入围了2021年度“未来世代艺术奖”。李美来的雕塑取材于她和既有作品之间的互动，材质通常是钢铁、硅胶和黏土等材料，并采用了低科技的动力装置和机械玩偶制造技术。艺术家认为她对雕塑情感的深切投入很容易让自己陷入心动、迷恋、窥伺、侵犯或暴力之中。因此，她的艺术实践总是围绕这一种虐恋式的关系，探索爱恨之间情感张力胶着的地带。

李美来的近期个展包括：“HR Giger & Mire Lee”，Schinkel Pavillon，柏林（双个展，即将展出）；“带原者”，善才艺术中心，首尔（2020年）；“words were never enough”，Lily Robert，巴黎（2020年）；“Het is of de stenen spreken (silence is a commons)”，卡斯柯艺术学院，乌特勒支（2019年）；“War is Won by Sentiment Not by Soldiers”，Insa Art Space，首尔（2014年）。

李美来的部分群展包括：“污染”，弗莱堡艺术协会，弗莱堡（2021年）；“切肤之息Breathing through skin”，天线空间，上海（2020年）；(Im)Possible Bodies，Niet Normaal Foundation，登博斯（2020年）；“As time went on, a rumor started”，Gianni Manhattan，维也纳（2020年）；“Other.Worldly”，Friesmuseum，吕伐登（2020年）；“In Between Uneven Stairs”，Tunnel Tunnel，洛桑（2019年）；“第15届里昂当代艺术双年展：水流与其他水流交汇之处”，里昂（2019年）；“表面张力”，沙迦艺术基金会，沙迦（2019年）；“Lubricated Language”，AKINCI，阿姆斯特丹（2019年）；“第12届光州双年展：想象边界”，光州（2018年）；“双重否定”，Arko Arts Center，首尔（2018年）；“移动/图像”，Arko Art Center，首尔（2017年）；“安养公共艺术项目”，安养（2016年）；“NERIRI KIRURU HARARA”，首尔市立美术馆，首尔（2016年）。

Mire Lee (b. 1988, Seoul, South Korea) lives and works between Seoul and Amsterdam. She earned a bachelor’s degree from the Department of Sculpture at the Seoul National University College of Fine Arts (2012) and a graduate degree in media art from the same institution (2013). She has recently been shortlisted for the Future Generation Art Prize 2021.  Originating in the interaction between the artist and her created bodies of work, Lee’s sculptures are formed from materials such as steel, silicone, and clay, and function with low-tech kinetics and animatronic-like technology. She testifies that her affective sculptural dedication can easily slip into fondness, fetishistic obsession, voyeurism, violation, or violence. Thus, her practice revolves around an abusive, almost masochist, relationship in which Lee explores the tense, uncertain zone between love and hate.

Her recent solo exhibitions include: HR Giger & Mire Lee, Schinkel Pavillon, Berlin (two-person, upcoming) ; Carriers, Art Sonje Center, Seoul (2020); words were never enough, Lily Robert, Paris (2020); Het is of de stenen spreken (silence is a commons), Casco Art Institute, Utrecht (2019); War is Won by Sentiment Not by Soldiers, Insa Art Space, Seoul (2014).

Her selected group exhibitions include: Contamination, Kunstverein Freiburg, Freiburg (2021); Breathing through skin, Antenna Space, Shanghai (2020); (Im)Possible Bodies, Niet Normaal Foundation, Den Bosch (2020); As time went on, a rumor started, Gianni Manhattan, Vienna (2020); Other.Worldly, Friesmuseum, Leeuwarden (2020); In Between Uneven Stairs, Tunnel Tunnel, Lausanne (2019); The 15th Biennale de Lyon: Where Water Comes Together With Other Water, Lyon (2019); Surface Tension, Sharjah Art Foundation, Sharjah (2019); Lubricated Language, AKINCI, Amsterdam (2019); The 12th Gwangju Biennale: Imagined Border, Gwangju (2018); Double Negative, Arko Arts Center, Seoul (2018); Moving/Image, Arko Art Center, Seoul (2017); APAP5, Anyang Public Art Project, Anyang (2016); SeMA Biennial Mediacity Seoul: NERIRI KIRURU HARARA, Seoul Museum of Arts, Seoul (2016).