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The Japan Foundation Forum
Organized by
The Japan Foundation Asia Center[Okayama]
August 2, 2003-September 15, 2003
Kojima Torajiro Memo rial Hall, Ohara Museum ofArt, Kurashiki
Organized by
Ohara Museum of Art
The Japan Foundation Asia Center

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MianCont1.'fflporaryArtistSoloExh1bi1oon~,1

The Japan Foundation Asia Center

Foreword

The Japan Foundation Asia Center is pleased to present "Lee Bui; Theatrum Orb is
Terrarum," the third in our series of solo exhibitions of contemporary Asian artists.
This series of annual exhib itions was begun in the year 2000, and on this occasion
we have elected to show the work of one of the most internationally renowned
artists from Korea, Lee Bui.
Lee Bui was born in Yongwol, Korea in 1964 and began showing her art in thelatter half of the 1980s. Last year she was rated as the number-one artist in the 35
to 45 age range by Korean art professionals. Wh ile her reputation in Korea isassured, she has also achieved international fame, appearing in many exhibitions
throughout the world from the latter half of the ninet ies through the present.
However, there have been few opportunities for her work to be seen in Japan up
until now, so th is is a long-awaited exhibition.
Lee Bui began her career with radical performances and grotesque, kitschy threedimensional figures, advancing in the nineties to a greater diversity of materials andforms, includ ing real fish, balloons, cyborgs, monsters, and karaoke chambers, tocreate works that were open to diverse interp retations by viewers. Critics havenatura lly noted the esthetic qualities of her art, but they have also discussed it interms of fem inism because of its incisive protest against the male chauvinism stillprevalent in Korea and in terms of cultural theory because of the way it commentson the influence of Japanese manga and anime on Korean popular culture as well as
an esthet ic viewpo int. Lee believes that the body is the most effective medium of
expression. She focused on th e body to convey a femin ist message in her earlyworks, and in the cyborg and monster projects she called attent ion to a crisis of the
breakdown of the body. In recent works, she has begun explor ing more universal
themes of common interest to people throughout the world, science andtechnology, nature (life and death), and ecology.
Lee will show her works, with a focus on her new work, Theatrum Orbis Terrarum,
as an installation that takes up the entire Japan Foundation Forum and create anillusionary "world" space. She is also showing related drawings of these
installations. The title of the new wo rk is taken from the first modern wor ld atlas,
published in 1570, during the Age of Exploration. The exhibit ion confronts
spectators with penetr ating questions posed by the artist. On this stage of the"world" of the future that Lee Bui has created, will human beings continue to be
the main actors?
Our sincere thanks go to the artist, Lee Bui, for her generous cooperation in
preparing for this exhibit ion. We wou ld also like to express our appreciation to 2 1st
Centu ry Museum of Contempo rary Art , Kanazawa who loaned works in theircollection, and all the other people who provided many kinds of valuable help andassistance.

June 2003
The Japan Foundation Asia Center

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l!lM / Acknowledgements;::'.tll1JHi•J :tL,too
tc1J, el2c7)n,, s J:V'mlilll/J''>** 1.i:*Mc7)1lll11t:a;:t"t o!2V, J!lll!fc7):@:f,l!L,.
The followingpeopleand organizationshavegivenus their generousassistance
We would like to take thisopportunityto extendthem our sinceregratitude.

Lee Bui
pkm gallery~5R211!t~~lf,jfi!

(i&f,J;) [ 21st Century Museum oi Contemporary Art, Kanazawa]l,lilliil7':J7'~,l,ifi!

[Fukuoka Asian Art Museum]

8:f:i::J/j-;...,;f-7•)-7'-I'-[ShiraishiContemporary Art, Inc.]

Bae Sook-nyeo
Doryun M. Chong

Hur Sun-mi
Eungie Joo
Jo Young-a
Kang Tae-hi
Kim Hye-shin
Kim Seung-duk
Kim Sun-jung
James B. Lee
Lee Hwa-young
Nam Zie
Oh Shi-ne
Park Kyung-mee
Shin Jung-pi!
Shin Seung-jun
Franck Gautherot
Catherine Millet

EvenceVerdier
i!!iliiiJ!l!i, [ EchizenToshiya)[ FukushimaMizuha)
iiiiMilitoll

Jt;•V'c,J,. [ Kitazawa Hiromi)~ iliHEJl~ [ Kubota Maho)/!EEili','/, [ Kuroda Raiji)

ifli!l'iiff [Namba Sachiko)JlEE6'.>~0[Washida Meruro)[Yamamoto Atsuo)
W*i!ii:'I(;§ ;;,:/ Contents

ll1llt&( t!tWO)Jifi, ) / Plates Theatrum Orbis Terrarum
1' •:1J1,0)( t!t-!'I-O)Jifi>) [~:t91a In>rt:

Y-'T,

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31

Lee Bul's Theatrum Orbis Terrarum [Kang Tae-hi)

35

Les deux corps de l'artiste: An interview with Lee Bui

41

il11/t&/ Plates Previous Works45

Pll\~/ Biography

70

w~:itiltUBibliography73

fl'o~1J;;(e / List of Works

78

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Allucquere Rosanne Stone, "Willthe Real Body Please Stand Up?" The Cybercultures Reader, Eds.DavidBell and Barbara Kennedy (London: Routledge, 2000), pp.5 17-23.
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o RosiBraidotti, "Signs of Won-5/:L,,friii1e:iEm>j:tO), t!f~L it!rli/:;i,,1;;,-;~.,_,l:L,tc/lilSEO)l/ltlll:>j:~fc
der and Traces of Doubt: On Teratology and Embodied Differences," Between Monsters, Goddesses
and Cyborgs: Feminist Confrontations with Science, Medicine and Cyberspace, Eds.Braidotti and Nina
Lykke(New York Zone Books, 1996), pp.135-52.
3. 1-·;i)i,/:f\:,- 1 -j'Jt,/:-fO)f~.l'H [1 · j'Jl,)f. J:/J'.$1A='))l,l)-yl::. ,tj'IJ;,:t,/:O)xHJl o 1-tt1;Jf-7 & ;, 1):::J;,..
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1'S•J , ~t.l!9{],j:Jja'/-O)!il!itH~~-; -s>o Donna
Haraway, "A Cyborg Manifesto," Simians, Cyborgs, and Women . The Reinvention of Nature (Free
Association Books, 1991 ), pp.149-82.
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Tl ,, , )..raVM!li;tO)[R,J-J:•J, !llii / 'ti:!10)12:,l-O)la'?il'li:-5/J'l:jRlgj, ' o Judith Squires,"Fabulous Feminist Futures and the Lure of Cyberculture," The Cybercultures Reader, pp.360-71
7. Anne Balsamo, Technologies of the Gendered Body: Reading Cyborg Women (Duke U. Press, 1996),
pp.3-31.
8. Anita Hagerman-Young and Kerry Wilks, "The Theater of the World," Ed. Larry Norman, The Theatrical Baroque (Universityof Chicago, 2001), pp.36-45.

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Lee Bul's Theatrum Orbis Terrarum
Kang Tae-hi (Professor,The Korean National Universityof Arts)

The Body
There is one certain diagnosis of the contemporary era. It asserts that there are twomost important problems the contemporary human is facing: speed and the human
evolution incapable of cultural advancement.' Vertiginously developing scientific,
medical technologies have literally turned the human body into an object ofredesign and reprogramming, but there is no one adequately prepared for suchmassive changes. The 1992 exhibition "Post Human" early on predicted this social
condition. Already making art that consistently uses the body as its subject five
years prior to that groundbreaking exhibition, Lee Bui is a rare artist who presents
through her art reflect ions on the present and future of our bodies.
Lee believes that "the body is the most appropriate site for making statements
about society, history, civilization and culture." From the very beginning of her
career, Lee has been making monst rously malformed bodies, i.e., organic "pseudohuman" or "strange-human," rather than technology-friendly post-human. Lateron, she continued to make dynamic statements about the status of the body withher monsters and cyborgs. The theme running through her oeuvre is a reflection on
the materiality of the body and its limitations. A lthough the bodies her hands create
are beautifu lly decorated, Lee posits them as sites of the phenomena of life such as
decomposition and disintegration. Similarly, death functions as the fundamental
motif in her art from her mechanized cyborgs to recent works. Ranging
chronologica lly from the early period, when she exposed the feminine body as thelocus of inequity or source of oppression, till the present moment, in which sheinterrogates the contemporary body at risk of fundamental changes, the methods inwhich the artist interprets the body's social, cultural codes warrant a serious
explorat ion. Given such a background, t he current exhibit ion at the Japan Foundation Forum is especially remarkable as Lee shows us her new approaches towardand perspectives on this thesis.
Theatrum Orbis Terrarum
In a pitch-black darkness, several tiers of dimly shimmering translucent matter hangfrom the ceiling. This "organic" formation, whose surface is dotted with air
pockets, at first appears to be one gigantic mass, but is actual ly numerous separate,
fragmented units connected to each other by thin pipes. At close inspection, thesemi-transparent white bodies are of all different shapes, which resemble eye, head,breast, hand, foot, knee or tail, and consist of scales and shells. These fantastic,
amb iguous bodi ly fragments of gleam ing beauty are the protagonists of Lee Bul's

fig.1 (p.25)

HieronymusBosch,The Garden of
Earthly Delights (detail),Museo delPrado, Madrid
fig .2 (p.26)

HieronymusBosch, The Third Day ofCreation, The Garden of Earthly
Delights (verso), Museo del Prado,
Madridnew work.
The work's title, Theatrum Orbis Terrarum (pp.1-16) means "the stage or theaterof the world" in Latin. It specifically refers to the atlas, the very first world map in
the modern sense which, appearing in the lat e 16th centu ry, gained a t remendous
popu larity. Another term of the same meaning, "theatrum mundi," widely used byartists of the time, implies that life is like a drama stage, and human beings areactors and audiences of this drama. Lee Bui seems to have chosen "theatrum orbis
te rrarum" t o suggest that the hu manity is of diverse shapes and appearances,rather than to specifically refer to the historical map of the world.
Lee points to the historical genre of ceiling fresco and Hieronymus Bosch's The
Garden of Earthly Delights (fig. 1) in particu lar as the art historical sources for her
new wo rk. Lee discusses how the ceiling fresco, in creating an illusionistic representation of the Heaven, orders its figures into a hierarchy-i.e., from God on top, thensaints and moral beings, down to the Satan and monsters in the lower tiers. Her
new work t hen relates to Bosch's painting, which stages a surreal hybridization ofhumans, monste rs and all ot her biological beings that have already turned into
cyborgs. In that light, The Third Day of Creation (fig.2) on the rear side of the35

fig.3, fig .4 (p.26)
Hieronymus Bosch, LastJudgement(detail), Alte Pinakothek, M unich
fig.5 (p.26)
Peter Paul Rubens, Fall of theDamned, c. 1620, Alte Pinakothek,
Munichpainting is of special note; in it, the earth, where the firmament and the land, andlight and darkness are in the process of separation, represents the atlas, or "thetheater of the world," in which bizarre hybrids of animals, plants and inanimate
things make appearances. Another group of fantastic crossbreed monsters inanother painting by Bosch, Last Judgment (figs.3, 4) are, in their strangeness andbeauty, clearly conceptual predecessors of Lee Bul's new work. The faintly
shimmering bodies are also reminiscent of Bosch's Hell on fire or Rubens's Fall of theDamned (c. 1620) (fig.5), which dramatically portrays bodies plunging in an intenselight-dark contrast. Why might it be that this artist, who, ahead of any other artists,
has been making cutting-edge futuristic cyborgs, is now invoking historical ceiling
frescos and Bosch's monsters? In order to better address this question, we need tolook back at her works up to this point
Monster
Lee Bul's career is roughly divided into two periods: the first runs about 1O years
from 1987, when the artist graduated from college and began to exhibit her works,
until 1997, the year of her one-person show at Museum of Modern Art, New York;the second period begins in the same year with the earliest cyborg sculptures andlasts into the present If the former period is dominated by organic bodies in which
the human being and the monster interfuse, mechanized cyborg-monster
organisms and human-machine coexistences have populated the following five
years. While her personal and social interests were rather directly presented throughthe body in the earlier period, Lee's work since 1997 has dealt with the technologygoverned body as its main text However, there is no fundamental change between
the two periods. Her interest has been consistently focused on reflecting andcontemplating upon the temporary nature of human flesh and all attempts totranscend it
Even from the moment when she made her early soft sculpture in the shape of
an incompletely-developed fetus with an umbilical cord still attached, Lee Bui seems
to have never been concerned about "normal" bodies. She has made sculptures/
costumes in the shapes of, for instance, underdeveloped or malformed fetuses andmonstrous bodies with abnormally developed limbs, and collaged with brilliant
patterns and sequins on top. In one of her early performance works, Sorry for
Suffering: You Think I'm a Puppy on a Picnic? (1989), Lee, clad in one of her soft
sculptures, walked around a number of places for 12 days in Korea and Japan,
including Narita Airport and downtown Tokyo. Works such as this evoke throughritualistic acts the spiritual power of the feminine being as shaman-monster-mother,or induce attentions and gazes directed at such a monstrous body in order toconfront and challenge them. Around this time, she also presented She Was the
Source of My Salvation at Gallery K, Tokyo. In this work, Lee placed breads shaped
like the human body along with vegetables, released chickens and had them peckand eat the scattered foodstuff on the floor; later, she built a grave out of theremaining breads. Using crumbling and rotting breads in lieu of the body tosymbolize the Christian notions of sacrifice and salvation, Lee revealed for the firsttime her interest in religious deliverance.
From 1996 for three years, Lee also made a series of balloon sculptures. In thisseries of works, the artist takes the Korean fan-dance doll, which was developed asa souvenir for foreign tourists, as the model, and dresses herself up in the image of
the Asian female, hybridizing a queen, goddess, geisha and shamaness. Lee
transfers the photographic images of herself in these various guises onto phallic
balloons, with titles such as/ Need You and Hydra. Inflating and deflating throughaudience participation, these balloons are humorous parodies of Orientalism as well
as of masculine power and authority. As the phallus blows up into its fullness, it

36

conjures up the femi nine image, the most outstanding point of which is a lily heldby the artist. The flower, wh ich customar ily symbolizes pur ity, and the baby dol ls
attached on the artist's breasts and stomach mock the stereotypica l binary of saint/
whore and mother/temptress on the one hand, and, on the other, the male gazethat seeks simultaneously fem inine sexual purity and licentiousness.
Lee Bul's career reached a crucial turning point w it h her notorious exhibition at
New York MoMA, well publicized fo r its early cancellat ion unprecedented in themuseum's history, due t o the odor of rotting fish that was used in the work. The
unt itled work, later shown all over the wor ld, generated a shock with its illogica l
combination of the natural and the artific ial embodied by the sequin-decorated fish,
and, in eff ect, wen t beyond th e or iginal context that deals with the social sacrificeof women in Korea to gain considerable values added. This work, removed from themuseum premises because of the rotting stench, actua lly took the form of afem inine-form monster composed of a gold -thread net filled with w igs, sequins,
traditional Korean hair pins and lilies, as we ll as fish. The mater ials used here
connect the work to the balloon monuments, and in terms of the content, it also
deals with Orientalism and fem ininity. However, it differs from other earlier works inthat th is body, made up of fish, directly addresses th e ideas of decomposit ion andlowliness of fl esh. In consequence, the femin ine body here becomes the example ofthe intense abject in which excessive beauty and disgust, allure and rejection
coexist.
Here, we need to give some room for consideration around the hidden meanings
of Lee Bul's obsession with monsters. The monster traces its origin back to theclassical period. Its definition came into a wide circulation in the late 18th century,
and at that t ime, it connoted all sorts of bodily excess and lack, or misplacement of
bod ily organs. 2 When scientific knowledge was in its infancy, various theories had
to be invented in order to explain abnorma l, malformed fetuses and located thef emale body as the site of the production of monst ers. As the opposition of the
masculine sex, the feminine sex was already considered a kind of a monster, thus
doubly othered. Furthermore, in contrast to the rational, "non-defective" male
body, the female body is fluid. Constantly shiftin g w ith reproductive functions, suchas menstruation, pregnancy, delivery and lactation, the female body was considereda dangerous and unstable being, even an obJect of displeasure and fear-i.e , theabject itself.
In her pre-Cyborg period, Lee Bui made representat ions of anima listic bodies
whose limb s and organs are overdeveloped. Through such bod ies, the artist
interjects into the monstrous feminine identity, refracting, fractur ing and twist ing
the male gaze to ultimately deconstruct it. This artistic act is, on the one hand, oneof claiming the "pseudo -human" that maximizes the always already peripheral
female body, and, on the other, one of intent ionally superseding the frame ofrepresentation to present an unsacred body (Donna Haraway) that resists the docile
body rendered comp liant by apparatuses of management and self-surveillance(Michel Foucault). In other words, those bodies that have othered themselves into
monste rs are absolutely not socially alienated, reclusive beings, but rather selfaware subjects t hat boast thei r monstrosity to the extent that they attempt evendisrupting preexist ing orders.
Cyborg
The trademark of Lee Bul's art, cyborgs f ind their source in Korean and especiallyJapanese animat ion (anime) and cartoon (manga). Gendered female, Lee's cyborgs
are endowed w ith super-hu man powers, feminine bodies and girlish personalities,
and they are thus inf iltrated w ith the male desire for girl-like vulnerability incoexistence with fantast ic super-human powers. 3 Up until th is point in her career,37

Lee had focused on critiquing and illegitimating the male gaze inscribed upon thefema le body by exposing and metamorphosing the body per se. From here on, theartist changed the course to realign her artist ic task to scrutinizing, through themedium of the cyborg, the very mechanism of popular representations of feminin ity.
Lee especially pays attention to the feminine ident ity that is directed by technology
and to the ways in which the logic of power surreptitiously enters into that identity.
"Cyborg"-etymo logical ly speaking, a neologism conjoin ing the two words,"organism" and "cybernetics"-or iginal ly belongs to the realm of science andtechnology. Its circulation in the popu lar cultural realm, however, was effected byscience fiction. Although Lee was already fami liar w ith feminist cyborg theorist
Donna Haraway's "A Cyborg Man ifesto" (1985), the essay was not the direct mode lfor her wo rks.• The f irst pair, Cyborg (Red) (p.46) and Cyborg (Blue) (p.47), we remade out of silicone, t oday's materia l for bodily enhancement. Completely leaving
behind the previous forms of organic monsters, they were reborn as mechanized
forms. In the following year along came a series of white polyuret hane cyborgs(pp.48 -53) and a pair of pink and black monsters (pp.48 -49). For the first t ime in her
artistic career, Lee began to take form itself as an important element. Lee installed
these bodies-sti ll unstab le but reminiscent of a graceful princess or woman
warr ior-hang ing from the ceiling rather than placing them on top of pedestals. In
their presence, the viewer is compe lled to look up as one would when view ing
goddess statues in a Greek temple.
Immediately fol lowi ng the early cyborgs and monsters, Lee produced anotherseries of sculptures interf using cyborgs and monsters. Their tit les-such as Amaryllis(pp.54,62), Chrysalis (pp.56 -59) and Siren (pp.55,60)-areetymologically associatedwi t h the female sex and myt hology, like Sargasso, the t it le of an earlier series ofsmall pink monsters. 5 In terms of form, they are separated into erect, radiat ing andcocoon-shaped groups. Origina lly inspired by the larva of a cicada and also books ofillustration of animals and plants, their final forms are mechanica l metamorphosesof flowers and insect s, in which allure and dange r, the beautifu l and the grotesquecoexist. In a departure from earlier human-anima l hybr id monsters, these wo rks
synthesize all biological life fo rms and resemble the menacing, ten t acle-brandish ing
space monsters of science f ict ions. Made up of jo ined organs and clearly displaying
the met al rods and knots that connect the fragments, the ir bod ies important ly
depart from t he cyborgs' anthropomorph ism. They also boast certa in fetish istic
eroticism and contrast the power and fantasy of technolog ical authority with thesublime of monstrous entities.
Despite all the advancements in science, there are limits to the extent in wh ichtechnology penetrates our bodies. Our society similarly remains deep ly patr iarchal,and the cyborg society is no exception to this. Historical fem inine "cybo rgs" havenot been exempt from the passive, subservient image, and this t radition persists,
without a change, in contemporary advert isements, animations and science
fictions. 6 That is, science and tec hnology may have recoded the body in the realm of
cultu re, but gender remains the naturalized sign of human ident it ies. The fem inine
body is, in spite of everyth ing, still ignored, disparaged and inscribed in the excess
signs of the consume rist cult ure.7 In that light, Lee Bul's cyborgs encounterconceptually with cyber-fem inism, and it is from such a premise that the artist has
te naciously been making the feminine-form cyborgs, criticiz ing the views of
fem ininity in cyberpunk discourses. However, she has recently conf essed that she nolonger calls herself f emin ist as the fem inist mora l position has posed too muchdelimitat ion t o her work. Perhaps, Lee w ishes to speak to the quest ion of"fu ndamental" death from a perspective that transcends the feminist one.

38

Exiled Body
Subsequently, Lee Bui started producing a series of karaoke chambers, which
addresses the problems of life and death from a perspective distanced fromfeminism. In this group of works, she shows the dreams, hopes and enduring limitsof humans-turned-cyborgs. In the most recent work Theatrum Orbis Terrarum which
immed iately follows this last group of works, Lee uses historical frescos to turn her
attention to the longstanding human religious drama of salvation andtranscendence.
In the long history of painting, fresco is the medium that best embodies thedictum "Life is Short, and Art is Long." And especially the Baroque-period ceiling
painting took illusionism to its ult imate limit. It may be said that both, which are
representative attempts to overcome the limits of time and space in art, arethemselves the greatest illusions. Signifying the human interest in a limitless space aswell as the material body's desire to escape the gravity's hold, ceiling frescotransports the viewer's mind to the realm of infinity. Though times and contexts arediffe rent, the illusion of the ceiling painting, which seeks to surpass time and space,is not so different from the cyborg's illusion of t ranscending the limits of the body.
The reflections like these lead Theatrum Orbis Terrarum back to the Baroqueperiod. Thanks to new scientif ic discoveries, people were learning that the earth andthe human being are no longer the fixed center of the universe, and the universe issimply an enormous material mass moving in space. Life was seen to be but a brief
moment. Time was newly approached in a dimension unrelated to the theologicalworldview that focuses on the humanity and its salvation. The hierarchicalcosmology of God-human -Hell was shaken down to its fundamental roots . The
order ly Renaissanceceiling fresco broke out of its frame, turning into a f loat ing
space. As people of the time felt an obsessive fear toward the incomprehensible
infinity never previously experienced, the question of salvation was a desperatematter. Abovementioned "theatrum mundi" was often used to refer to the orderly
wor ld and dangers posed to it. Artists also worked in such a philosophical context. 8
Did Lee Bui find in Baroque ceiling frescos a metamorphosis of time-space that so
closely resembles the contemporary cyberspace, or the consciousness of its dangers7
The question of death and salvation transcends specific histor ical periods. The
body's uncontrol lable revolts and the human struggles to overcome them have also
continued throughout history. As I have suggested above, these issues have been
the main thesis of Lee Bul's art. Shedding the inadequate human body is the basic
premise for the cyborg. Those fresco figures, who are depicted as being saved anddelivered to the Heaven, are then the cyborgs of the past. In the lower register in the"theate r of the world," we find the shattered, fragmentary bodies of monsters,
exiled and dr ifting in the darkness. In the end, what Lee proposes to us is theheart-rending drama of us humans still trapped in our bodies.
Standing in front of Theatrum Orbis Terrarum, we ask ourselves what ultimate
consolat ion we derive for our inevitably limited bodies from all our advanced
scientific know ledge represented by a far more meticulous atlas, several centuries
since the Baroque period had passed. Reflected on those bodies glittering dimly, likea mirror in the darkness, we see none other than our own bodies. Are we thenactors or audiences in this drama of salvation and escape?

39